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Payton Bissel’s Top Ten Films of 2019

This year was a crazy ride for film. Huge crowd pleasers like Avengers: Endgame were released and cinema giants like Scorsese and Tarantino dropped passion projects (The Irishman and Once Upon a Time in Hollywood.) While I sadly missed some of my most anticipated movies of the year, being The Lighthouse and Parasite, circumstance did not bring me to see them in the year they were released. This list will be what I have seen this year, not what I believe to truly be the best films of 2019.

10. Shazam! (David Sanberg, 2019)

DC, after a long period of disappointment, took 2019 to show that they can produce something of quality given enough time. In the great sea of superhero movies, Shazam! cements itself for me as one of the higher quality fims in the genre. Superheos being at its core a genre for children and young adults, having a hero that is a child makes it more entertaining and connectable. It is far from high cinema, but it blew my low expectations out of the water.

You can read Aleks Jovcic’s full review of Shazam! here.

9. Dark Waters (Todd Haynes, 2019)

I was surprised at how invested I was in this tale of an insider attorney facing the system that he protects. The film has a lot of heart, and Ruffalo delivers a great performance of his character. Not much to discuss but I enjoyed it.

You can read Luccas Pryor’s full review of Dark Waters here.

8. Avengers: Endgame (Russo Brothers, 2019)

Wow, this was an event. I’m not exaggerating when I say that I have waited for this for a decade. I have been a Marvel fan since Iron Man and seeing it accumulate into this cultural phenomenon is something else. While I prefer Infinity War a bit more, this is still undeniably one of the biggest movie events since the original Star Wars trilogy. As a film, it is lacking. It is still corporate Marvel movie, but this is the peak of what corporate Marvel movie can be.

You can read Greg Arietta’s full review of Avengers: Endgame here and listen to UW Film Club’s podcast on Avengers: Endgame here.

7. Jojo Rabbit (Taika Waititi, 2019)

Taika Waititi is quickly rising to become one of my favorite people in the movie business. This film only cemented his place in my mind even more. He is a master of the New Zealand comedy I fell in love with when watching Flight of the Conchords. Jojo Rabbit is exactly the kind film I wanted from Waititi. He did not disappoint in the least. Great acting and an overall entertaining experience.

You can read Ajay Rawat’s full review of Jojo Rabbit here and listen to UW Film Club’s podcast on Jojo Rabbit here.

6. Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

While it is my least favorite Tarantino movie to date, I cannot deny the beauty of this film. I don’t have the nostalgia from the time period or the emotional connection to the tragedy that occurred in that time, but I do understand how this is a perfect way to reminisce and emotionally heal. The craftsmanship behind the movie is amazing, and the acting is superb, especially Brad Pitt’s. While overshadowed by its comrades in Tarantino’s filmography, it is a strong film nevertheless.

You can read Jim Saunders’ full review of Once Upon a Time in Hollywood here and listen to UW Film Club’s podcast on Once Upon a Time in Hollywood here.

5. Invader Zim: Enter the Florpus (Jhonen Vasquez, 2019)

As a huge fan of the series as a kid, seeing this return to glory made me so happy. I could feel the film leaking with love and care for the series and it showed. I couldn’t see a movie/finale for the series being any better.

4. Waves (Trey Edwards Schults, 2019)

At first, I really didn’t think much of this film, but the more it sat with me the more I appreciated it. The film really is an epic told in the most personal way. It stays close to its characters and lets their emotional journeys play out in a deep and compelling way.

You can read Rohan Patel’s full review of Waves here.

3. Midsommar (Ari Aster, 2019)

The person I watched this movie with puked from the psychological torment. This film is an attack on the psyche and I absolutely adore it. A great horror film and an amazing film about relationships, with amazing set design and score it is an experience to say the least.

You can read Cynthia Li’s full review of Midsommar here and listen to UW Film Club’s podcast on Midsommar here.

2. The Irishman (Martin Scorsese, 2019)

This movie was three and a half hours well spent. As someone who has not been completely immersed in the gangster genre, it does not hit home that much for me, but I completely feel the impact of the story and everything that happens in the life of the Irishman. A solemn yet humorous experience that is a true slow burn but is worth every single second.

You can read Ryan Circelli’s full review of The Irishman here.

1. Joker (Todd Phillips, 2019)

I was blown away by this film. I never had faith in this project and I am still blown away by how much I love this movie. I see it as an amazing homage to Taxi Driver, while doing its absolute best with the Joker and Batman IP. It is the perfect blend. I see the passion in the project and the artistry explode from the scenes as the movie plays. I love it. I won’t say it is without flaws, but I am continuously disappointed how the magic is overlooked by audiences. I am exited to look back at this film in a few years and see if it gets any more appreciation, or if it pulls in any Oscars.

You can read Cynthia Li’s full review of Joker here and listen to UW Film Club’s podcast on Joker here.

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Review: ‘Shazam!’ Is the Lighthearted Flick the DCEU Needed

In 2016, the massive success of Marvel Cinematic Universe loomed over Warner Brothers and pressured them to catch up. In a retaliatory act, they began the DC Extended Universe which came with a bevy of bad decisions, poor marketing, and most importantly, terrible movies. Shazam! is the latest installment in this franchise which, after the commercial successes of Wonder Woman and Aquaman, seems to be gaining some footing. The blockbuster features Asher Angel as DC Superhero Billy Batson, a 15-year-old foster child who is imbued with the incredible power to transform into an adult superhero after uttering “Shazam.” Starring in the film is Zachary Levi as the titular character, rising star Jack Dylan as Billy’s friend, and Mark Strong as the movie’s antagonist.

Shazam! takes a more comedic and lighthearted approach to the genre than other DCEU films, and it’s here where the movie truly excels. When the film leans into its funnier moments, the jokes consistently land. Obviously sense of humor is subjective, but for myself, there were several stretches with back-to-back laugh out loud moments. In such scenes, Zachary Levi truly shines with his enthusiasm for the role being clear and evident throughout.

However, the biggest lull in Shazam! comes from moments outside its comedic and lighthearted core. In fact, there are a couple scenes that are distinctly and tonally jarring, so much so as to interrupt the flow of the film. One scene in particular is indicative of director David Sandberg trying to show off this horror chops instead of making something interesting and compelling to the story at hand. In other moments, it appears the screenwriters tried a bit too hard at crafting a brutal, emotional confrontation, and the result ends up being nothing more than a depressing detour. While Shazam! fails to stay on track at times, the moments where it maintains its consistency are enjoyable.

Costume design is another area where Shazam! can be hit or miss. On the one hand, Shazam’s design is delightfully over-the-top with bright colors hearkening back to the golden age of comic books from which he hails. On the other hand, we have the design of the villainous Seven Sins. [Minor Spoilers Ahead] Early on in the plot, Mark Strong’s villain, Dr. Sivana, releases the personifications of the seven deadly sins. Each of these seven characters, if you can even call them that, are perhaps the worst offenders of the bland, dark CGI villain trope that seemingly dominates tent-pole films. It’s a travesty that the seven sins, each of which have so much potential, are given designs which are indistinguishable from each other. Their inclusion is unnecessary and feed into the several tonally jarring moments mentioned before.

Shazam!’s plot is one of the more unremarkable aspects of the film; it’s neither engrossing nor an overall detriment. It bogs itself down with excessive exposition, however, it does a pretty good job of maintaining strong, clearly motivated characters. Aiding our main characters is a supporting cast of likable figures who aren’t the most unique, but stand out just enough to be memorable. In the end, Shazam! has a sweet, albeit clichéd, message about found families and delivers a movie-going experience that is above all else fun.