Cynthia Li’s Top 10 Films of 2019

According to Dictionary.com, the 2019 word of the year was existential. Existential defined as “of or relating to the existence and/or concerned with the nature of human existence as determined by the individual’s freely made choices.” In choosing the word existential, the importance lies in that it, “inspires us to ask big questions about who we are and what our purpose is in the face of our various challenges—and it reminds us that we can make choices about our lives in how we answer those questions.” If that is the importance of the word existential, then I can’t describe a better word to describe how I felt about the 2019 year in films. As the movie landscape continuously becomes bombarded with the same formulaic box-office hits, it’s the gems found within that provide me the most hope, as they ask the questions that the word existential ponders us to question. These are the films that ask questions not for purely the creation of entertainment, but because they view the world of cinema as life and death, a world in which the words and images spattered on the screen work to make a difference in a viewer’s perspective of life.

Continue reading “Cynthia Li’s Top 10 Films of 2019” →

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Ryan Circelli’s Top Ten Films of 2019

2019 has been one of the best years for film of the past decade. The year was full of incredible and interesting sophomore efforts from rising star directors, like Ari Aster’s Midsommar, Jordan Peele’s Us, Robert Eggers’s The Lighthouse and Greta Gerwig’s Little Women. Industry veterans, like Tarantino, Scorsese and Bong Joon Ho added to their already impressive resumes. Big blockbusters also had their time in the spotlight as Avengers: Endgame broke box office records with its historic release in April. There were so many magnificent films from the past year that it was almost impossible to pick just ten of the best. Additionally, it wouldn’t feel right if I didn’t mention some honorable mentions that deserve recognition as great films.

Avengers: Endgame was the culmination of 10 years of storytelling that was finally brought to a satisfying conclusion. I was mostly astounded and impressed at the feat of making a big budget series end in a way that was coherent and satisfying. Ad Astra was a thrilling sci-fi epic telling the story of an astronaut who tried so hard to be his father only to realize that he should become his own man separate from his father. Booksmart was a refreshing female friendship and coming of age film, from a first-time director that had me dying with laughter. Under the Silver Lake and I Lost My Body were both films that had strange narratives but worked well and kept me interested throughout the entire runtime. After much consideration, these and many other great films just couldn’t make it into my top ten. Now that I’ve mentioned so of the greats from this past year, Let’s move onto my top ten favorite films of 2019.

10. The Irishman (Martin Scorsese, 2019)

Martin Scorsese brings us into the world of gangsters once again, but instead of the glitz and glamour of Casino and Goodfellas, we are instead treated to a slow paced, grim look at the life of one mobster, Frank Sheehan. This self-reflexive look at the gangster genre that Scorsese helped breathe life back into shows that being a gangster commonly left you either dead or alone with no one left to care about you. Although it is a depressing message, it reigns true and Scorsese reminds the audience of this with intro text for each new character stating how they died. The film’s 3.5 hour runtime doesn’t waste a second showing you how the lives of people are affected by the gangster lifestyle. While the expensive de-aging technology can only shave off a few years off the actors’ faces, their performances were as energizing as their performances from years ago. The Irishman is a captivating addition to Scorsese’s filmography that would be the perfect end to a strong, successful career.

You can read my full review of The Irishman here.

9. The Lighthouse (Robert Eggers, 2019)

Upon leaving the theater after watching The Lighthouse, I felt like I was a bit disappointed because I had expected to see something like Eggers’ The Witch. However, after letting the film ruminate, I realized that the film was a lot better than I had originally thought. Robert Eggers has created another disturbing period piece, which can become nonsensical at times with the plot, but still keeps the viewer engaged in what’s happening on screen. The decision to shoot the film in black and white helps set the tone along with the ominous music and sounds coming from the lighthouse. The 4:3 aspect ration also helps focus on a very performance heavy film. Both Willem Dafoe and Robert Pattinson give some of the best performances of this past year. Robert Eggers is yet another up and coming director that I personally can’t wait to see what he has in store for the future.

You can read PJ Knapke’s full review of The Lighthouse here.

8. Little Women (Greta Gerwig, 2019)

Greta Gerwig’s adaptation of the classic novel is a joy to watch in the cinema. Little Women follows the March sisters as they live their lives together and make their own paths following their dreams and aspirations. The film is a wonderful period piece that is exquisitely designed and shot. From the beautiful costumes to the well-crafted sets, it is clear every bit of the film was created with passion for the film. Saoirse Ronan, Timothée Chalamet, and Emma Watson were all stunning in the film and Florence Pugh definitely deserves her Oscar nomination for her role in this film. Greta Gerwig has successfully made both a low budget and middle budget film and I’m excited to see more and what she could do with a blank check.

You can read Stephanie Chuang’s full review of Little Women here.

7. Waves (Trey Edwards Shults, 2019)

The night of the screening I went to for Waves, I showed up at the wrong theater and had to Uber across town and barely got to the theater before the start of the film. All I could think about after I sat down was, “I really hope this film was worth the $16.77 for the Uber I took to get here.” Two hours and 15 minutes later I was sitting in my seat, silent in awe of what I just watched, and all I could think was, it was so worth that Uber to watch this. Trey Edward Shults has created this intense family drama that feels so real. The film is full of beautiful shots, scenes that will bring you to tears, and quite possibly the most needle drop soundtrack that exists. The budget to license songs for this film must have been half of its budget and it was worth it. This is another film I can’t wait to revisit as soon as I can.

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

6. Knives Out (Rian Johnson, 2019)

Rian Johnson, the master of the genre subversion, has done it once again with Knives Out. This modern who-done-it is one of the most fun theater going experiences I’ve had in a while. I was pleasantly surprised at how Rian Johnson was able to keep me guessing right up until the very end. The film is well written, well-paced and Johnson’s ensemble cast does an incredible job of making his world come alive right on the screen.

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

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

Quintin Tarantino’s 9th film sends us back in time once again to bring us his happy ending fairytale from the Hollywood of the late 60s. It tells the story of fictional actor Rick Dalton and his best friend and stuntman Cliff Booth as they go about their everyday business, all while a looming threat from the Manson family lurks in the shadows. If I could name one of Tarantino’s films that is the most ‘Tarantino,’ it would be Once Upon a Time in Hollywood. It takes place in the film industry and focuses actors and stuntmen as they go about their days filming and living their life. It would almost be a fitting end to his career in film, but he has his heart set on one more film and no one is going to stop him. While it is on the longer side, I still had a good time enjoying the slower parts of the film. Leonardo DeCaprio, and Brad Pitt both give great performances in the film and I think Margot Robbie’s role as Sharon Tate isn’t talked about enough, given how good it was. Once Upon a Time in Hollywood is definitely a film that I will be gladly revisiting as soon as possible and one that everyone should take the time to see.

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.

4. Uncut Gems (Josh and Benny Safdie, 2019)

An excerpt from my review – “Before going to see this film, I revisited Josh and Benny Safdie’s previous directorial effort, Good Time, and it reminded me why I was so excited to see Uncut Gems. From that film alone, it’s easy to see all the potential for the Safdie brothers both as writers and directors. Uncut Gems is the embodiment of that potential; they have found a type of narrative that they can tell extraordinarily well and a style that perfectly coincides with that narrative.” The film follows Howard Ratner (Adam Sandler), a degenerate gambler/jeweler in the diamond district of downtown Manhattan. The film follows Howard throughout the city as he is making bets and taking huge risks that he hopes will eventually pay off. Once the plot starts going it’s non-stop until the very end of the film. Howard Ratner’s character was written specifically for Adam Sandler and it is clearly evident on screen. It’s hard to imagine anyone other than Sandler as the sleazy 2012 gem dealer. This film is one of the most intense rides of recent years and everyone who is the least bit curious should carve out the time to see it.

You can read my full review of Uncut Gems here.

3. 1917 (Sam Mendes, 2019)

1917 is the “one shot” WW1 film that I didn’t know I needed to exist. 1917 takes you down into the tranches of WW1 as you follow two soldiers on their race against time to warn another battalion of an ambush. While the single shot style may sound like a gimmick, it serves to enhance the story, so well in fact that by the time you’re halfway through the film, you’ve forgotten all about it. It makes you feel like you’re right behind the soldiers, following them on their perilous journey, and it keeps you close to the horrors of being a soldier in WW1. All of this gets paired with Roger Deakin’s beautiful cinematography to create one of the best war films ever to be put onto the big screen.

You can read Levi Bond’s full review of 1917 here.

2. Parasite (Bong Joon-Ho, 2019)

There’s a reason that Parasite is near the top or at least on everyone’s top ten films of 2019 list. Simply put, it’s just that damn good. For those who haven’t yet seen this film, I’m warning, no, telling you to skip the rest of this entry. The best way to experience this film is to go in knowing absolutely nothing about it. Bong Joon Ho has created what I am willing to call a modern masterpiece. He’s made a film that has broken down a barrier and gotten people who wouldn’t normally head down to their local theater to watch a foreign language film to do so. It tells a captivating story with a social message that is well constructed and coherent (unlike another 2019 release that will remain anonymous). Everything about the film from the set design and the way that scenes are shot make this almost a perfect film that should (fingers crossed) win Best Picture.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

1. Midsommar (Ari Aster, 2019)

A24 was able to capitalize off the success of Ari Aster’s first full length film, Hereditary, and market Midsommar as the next horror film from an up and coming director. While there are disturbing images and jump scares, Midsommar isn’t a horror film. Ari Aster himself described it as both a fairy tale and a breakup film and I think that it falls into both of these categories and more. Aster has created a film that is outside the bounds of genre but still manages to tell a story about someone who has lost everything and goes on a journey to discover something she’s always been missing, something I’ve never seen before. A24 released the director’s cut of the film and just by extending a couple scenes and adding one or two more, the film is made even better than the theatrical cut. Ari Aster knocks it out of the park with his sophomore effort and I can’t wait to see his next projects. Finally, the performances in this film are outstanding. One of the biggest snubs this Oscar season is that Florence Pugh didn’t get a nomination for her role in Midsommar.

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

Piper Coyner’s Top Ten Films of 2019

2019 seemed to be an absolutely incredible year for film, both because it was one of the first years that I felt caught up with new releases and because this year’s films were, in fact, outstanding. For me, 2019 was the year of sophomore features from some of my favorite A24 directors, as well as much anticipated films from directors at the peak of their careers. Notable films that I have still yet to see include A Hidden Life, Portrait of a Lady on Fire, and Honey Boy, all of which probably would have made it onto this list. Honorable mentions include The Souvenir, The Last Black Man in San Francisco, and Booksmart.

Continue reading “Piper Coyner’s Top Ten Films of 2019” →

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Stefan de Villiers’s Top Ten Films of 2019

A good year for movies, though I haven’t come close to seeing everything I wanted to get to. Notable exceptions to my viewing log include An Elephant Sitting Still and Portrait of a Lady on Fire. I’m also yet to see Jojo Rabbit, but don’t believe that it would’ve broken into this list. I don’t have many honorable mentions to give, but I’d encourage everyone to go see Burning Cane and Apollo 11 if they haven’t yet. Very solid films.

10. Marriage Story (Noah Baumbach, 2019)

I’ve only ever seen three Baumbach films (Frances Ha, Kicking and Screaming, and this), but none of them have really blown me away. Frances is interesting, but I also find her kind of obnoxious. The graduates are funny and fatalist, but they’re also so pathetic. Charlie and Nicole are well-developed, but everyone around them (Dern and Liotta in particular) just seem like caricatures. That’s not to say I didn’t enjoy Marriage Story. It’s my favorite Baumbach so far. I’ve probably watched the “Being Alive” scene upwards of 17 times and Adam Driver absolutely works his usual magic throughout. It’s just that I didn’t really buy into the absurdity of going through divorce that Baumbach tries to portray. Maybe I should break up with someone and then watch this again.

You can read Maddie McDougall’s full review of Marriage Story here.

9. Waves (Trey Edwards Schults, 2019)

I said in my Letterboxd review that this film is less than the sum of its parts. Moments of this film (like THAT scene and then a lot of others) blew my mind. Moments were downright frustrating, but to its credit, Shults stays creative throughout. He masterfully commands a plot structure that I’ve seen employed in other films with much less finesse. He uses a dizzying array of aspect ratios, without it ever seeming like a gimmick. And he knows exactly how to whale away at the audience’s stomachs and their hearts, without ever going too far. I’m a sucker for the music too.

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

8. The Irishman (Martin Scorsese, 2019)

This isn’t the Scorsese of Mean Streets, Goodfellas, or The Departed. This is a Scorsese who’s growing older and who lets his experience influence his art. Power, Old Scorsese says, is not eternal. Humans are ultimately human. Soon we will be gone from this Earth. Yes, it’s still a gangster flick. It still revels in the mean combination of Pacino and De Niro and Pesci and… Ray Romano? But it’s always working towards a message of frailty. The 209-minute runtime is just enough to let us get there on our time. Masterful work. Not my favorite Scorsese, but that’s just because he’s made too many damn good films. Where does he go next?

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

7. Parasite (Bong Joon-Ho, 2019)

There’s a lot of good things that can be said about this film; most of them have been said already. I’ve heard each of those good things said, and I’ve never disagreed with any of them. And yet, I’m still not blown away. Maybe it has something to do with colossal expectations I had (ranked #1 on Letterboxd all-time) that weren’t entirely fulfilled. Maybe it’s because the first half of the film feels more like a very competent heist movie than anything particularly special. Maybe it’s because I never connected with the characters. I liked the film and I loved its messages about class. I could clearly see The Housemaid’s influence and the theme of the ignored, but it was never my favorite.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

6. The Last Black Man in San Francisco (Joe Talbot, 2019)

What a wonderful bit of cinema. It’s achingly nostalgic, while also intensely hopeful. It’s a film on a very small stage, but the implications it has for identity, home, and belonging are massive and especially relevant right now. It’s filled with the sort of poetic exploration of a city that can only come from its close acquaintance, and its deep affections for San Francisco could make anyone want to move there. As Joe Talbot’s first feature film, it took seven years, unwavering commitment, and faithful support to finally come to the screen. We can only be grateful that it did. There’s a slight bittersweetness in the thought that Talbot may never be as devoted to a film as he was to this one. Let’s pray he dispels that notion soon.

5. Uncut Gems (Josh and Benny Safdie, 2019)

Uncut Gems is miles above Good Time, which is quite a decent movie. It’s unfathomable to me how very deserving this movie and all its players are of awards and how very little recognition they’re getting. It might be just about everything a typical young guy could want in a movie: tension, action, sports, money, gambling, shiny stuff, the underworld, celebrities, gratuitous sexuality, a funny Jewish actor with a penchant for bad comedies, and a breakneck pace. And, it’s all combined brilliantly by Safdie brothers, never feeling cheap or forced. Its sound design is incredible. Adam Sandler is incredible (which we already knew but maybe some of us forgot). That diamond encrusted Furby thing that’s also in the trailer is incredible. Very much fun.

You can read Ryan Circelli’s rull review of Uncut Gems here.

4. 1917 (Sam Mendes, 2019)

Deakins! You beautiful man! What a beautiful thing you’ve done again! It’s the sky lit up by the flame of war, the charge of the doomed soldiers, and the subtle hand required to paint it all in a “single” take. It’s the cinematography that crowns this consequential journey, but that’s not to say that the other features are lacking. 1917 plays like an epic poem, as a young hero fights enemy and affliction in a glorious quest through barren, grief-stricken land. It’s moving and it’s marvelous, but it’s also very accessible. Of every film on this list, I reckon it’s the most likely to become a classic in time, even if it’s not my favorite. What is there not to like? Would you not want to see it again?

You can read Levi Bond’s full review of 1917 here.

3. Synonyms (Navad Lapid, 2019)

The following is excerpted from my Film Club review.
“I am Yoav,” says the naked man lying in the bed, staring up at his strange saviors. “I have nothing anymore.”
…
We cannot know Yoav. We can only tell that he is unabashedly alive, or another thing like it. Call it life, or urgency, or perhaps even just naive aspiration, it remains a core theme throughout the movie. “Die or conquer the mountain!” [he] exclaims. He internalizes the fight for a free spirit, for individualism. He believes in a French ideal of bravery and initiative and walks the streets with it proudly emblazoned on his chest. He longs to assimilate into his new world.

This semi-biographical story that director Nadav Lapid tells is clearly close to the heart and imbued with emotion. It dances into existence on the screen with an energy reminiscent of the French New Wave. It begs one to think deeply about the conduct of life. It fills one with the crackling sensation of vivacity, then rends one to shreds with the monstrous teeth of despair. It is ever evolving and never constrained by plot or structure. Its characters love with insatiable passion and hate with burning fury. It quietly flirts with beautiful homoeroticism, then playfully jerks back the veil and makes no effort to hide it. And it all plays out with a soundtrack that is simultaneously nostalgic and hopeful, tragic and angelic.

You can read my full review of Synonyms here.

2. The Lighthouse (Robert Eggers, 2019)

Its mythical, magical, morbid, and just plain weird. I loved it. It’s Eggers as only Eggers can do. It’s Robert Pattinson in a very good role and Willem Dafoe in an even better one. It’s seagulls and sorcery and sea creatures and sex. It’s absolutely entrancing and perhaps a little nauseating. It’s impossible to look away. And amidst all that, it finds time for slow, bleak, meaningful cinematography à la Bela Tarr. It’s hypnotic and hilarious and hallucinatory and just a little bit terrifying. It’s something you may remember more as a dream than as an experience, but what an experience it was! I, for one, cannot be more excited for Nosferatu (2023).

You can read PJ Knapke’s full review of The Lighthouse here.

1. A Hidden Life (Terrence Malick, 2019)

There is a place in the mountains where the air is so very pure, and the grass is so perfectly green, and the clouds are beneath you so that it feels just like heaven. Where when you breathe, you breathe the very first breaths of life. The very breaths that inspired the LORD who made the ground your feet sink into. And when you are in that place, you are so filled with love for it and for its people and for the very notion of beauty that you feel you will never again know evil. A Hidden Life is about that place and about its corruption. Death in that place and that place never again; Eden unraveled. I cannot quite describe the film. I remember it not as a memory but as a pain and a terror. This was my first Terrence Malick and it absolutely tore at my soul.

You can read PJ Knapke’s full review of A Hidden Life here.

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Rohan Patel’s Top Ten Films of 2019

To me, 2019 was arguably one of the best years for film this decade. Coming up with the top 10 list was extremely difficult; I was a lot more in tune with the releases this year and saw more new movies than any year previously. I was constantly changing my rankings on Letterboxd either because of new films I saw or simply because some films aged worse as time went on. However, I can confidently say that the following 10 are the best of the bunch (to me, of course). Before I dive into these films, I just want to give some honorable mentions, which include: The Lighthouse, Us, Paddleton, I Lost My Body, and The Irishman. Now, let’s dive in.

10. A Hidden Life (Terrence Malick, 2019)

This film probably deserves a higher spot on this list. Having seen only Malick’s first two feature films, Badlands and Days of Heaven, I didn’t quite have an idea of his voice and I cannot comment on whether this is a “return to form” for him. However, this is probably the most overlooked film of 2019. A Hidden Life loosely tells the true story of an Austrian man during World War II who refuses to swear loyalty to Hitler. It is truly a beautiful yet haunting film that captures the power of human will in one of the most unique ways. It has some of the most beautiful shots I’ve seen this year and, more than anything, made me feel the atmosphere of the world more than any other movie of 2019.

You can read PJ Knapke’s full review of A Hidden Life here.

9. Marriage Story (Noah Baumbach, 2019)

2019 featured a lot of movies that were extremely personal to the writers behind them. Marriage Story is no exception. Written and directed by Noah Baumbach, this film, partially based on his own divorce with actress Jennifer Jason Leigh, examines a couple going through a divorce while trying to keep their family together. The film has some of my favorite editing of the year and has a brilliant script that shows the flaws and mishaps of everyday life. It just felt so real and authentic. Adam Driver gives probably my favorite of the year. The only reason this film is not higher is I didn’t quite feel the emotional punch to its fullest extent. But, I digress. This film is amazing.

You can read Maddie McDougall’s full review of Marriage Story here.

8. The Farewell (Lulu Wang, 2019)

Lulu Wang writes and directs The Farewell, which I should have watched when it was in theaters. The Farewell narrates the story of Billi as she travels to China to say goodbye to her grandmother who has, unbeknownst to her, been diagnosed with cancer. Inherently, the film has a lot of emotional potency. It’s just a shame that this film got the cold shoulder from the Oscar nominations. As a person with family tied closely to India, I completely related to the feelings which arise from the conflict between Western and Eastern ideals. I really can’t wait to see more from Awkwafina and Lulu Wang after this and I highly recommend watching this film!

You can read Cynthia Li’s full review of The Farewell here.

7. Honey Boy (Alma Har’el, 2019)

Honey Boy feels as it was created; Shia LeBeouf wrote this as part of his emotional therapy while in rehab. But this film shows the beautiful complexity behind the idea of one-sided love and pulls your soul through a cathartic experience. All the performances in the film were truly great and the writing was terrific. You feel every ounce of courage and vulnerability in the film and it’s a fantastic watch.

You can read Maddie McDougall’s full review of Honey Boy here.

6. 1917 (Sam Mendes, 2019)

1917 was originally lower on this list. While this might be recency bias, my second viewing bumped this up. On a technical level, I think this is the best film of the year. For a “one-shot movie” seems like it could be used as a gimmick (and it was in the marketing), the technique really enhanced the intensity and pacing of the film. It placed me in the eyes and perspective of Will and Blake as they went on their mission. What boosted the film on second viewing was the emotional punch 1917 gave; I felt it a lot more during the second viewing.

You can read Levi Bond’s full review of 1917 here.

5. Uncut Gems (Josh and Benny Safdie, 2019)

Uncut Gems is an anxiety attack on film. The Safdie Brothers delivered a fantastic character study about a diamond seller who suffers from a compulsive gambling addiction. However, as shown through the beginning and ending psychedelic gem sequences, the film is also about the sick, cosmic power luxury has upon people and society. This is a fast-paced movie featuring Sandler’s best performance ever. I think this is one of my favorite endings in 2019 and I couldn’t imagine the film ending any other way.

You can read Ryan Circelli’s full review of Uncut Gems here.

4. Midsommar (Ari Aster, 2019)

I love, love, love horror movies. Last year, when Ari Aster came out with Hereditary, I knew there was going to be a great new voice in this genre. With Midsommar, he proved this with a “fairy-tale breakup story” as he so elegantly describes it. After a tragic event, Dani travels with her boyfriend’s friends to a cult celebration in Sweden. At this celebration, some strange things starts to happen. The bright cinematography puts you in a trance as Aster makes us question our approach to cultures we consider “alien.” Unfortunately, Aster says he wants to move away from horror. If you’re reading this Mr. Aster, please don’t. Just don’t.

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

3. Waves (Trey Edwards Schults, 2019)

Waves was my most anticipated movie of 2019. I loved Trey Edward Shults’ debut movie Krisha and liked It Comes At Night. Shults continues to dive into very personal family trauma to create a narrative about an African-American family that learns to love and forgive in the face of an unspeakable tragedy. It has the most underrated sound design of the year; the score from Trent Reznor and Atticus Ross blends into the world of the film and complements the lush cinematography from Drew Daniels. Shults is a young, up-and-coming filmmaker and if I could scream something to the world, it would be to watch his filmography.

You can read my full review of Waves here.

2. Jojo Rabbit (Taika Waititi, 2019)

Taika Waititi is a master of happy-sad cinema. I’m a sucker for happy-sad cinema. Therefore, this, of course, has to be on my top 10. I think Jojo Rabbit has some of the best performances of the year while masterfully combining satire with sadness. It had some solid laughs throughout. I loved the costume and production design in the film and am glad that the Oscars gave some love to the film. It deserves it (even if that may be a controversial statement).

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

1. Parasite (Bong Joon-Ho)

Wow. Just, wow. I’m not even joking when I say my first time watching Parasite, I left the theater with my jaw dropped open. The film defies the concept of genre, delving into comedy, thriller, horror, and even a bit of melodrama. Bong Joon-Ho is a straight-up genius as he subtly weaves motifs and symbols which criticize class inequality. The characters in the film are real and genuine in the sense that they are not “good” or “bad,” they are treated like real people with flaws that make them greedy and virtues that make their plights empathetic. I really can gush about this movie but I encourage everyone to beat that “one-inch barrier” and go see this movie.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

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Jim Saunders’ Top Ten Films of 2019

The 2010’s were an exceptionally strong decade for cinema – a statement I stand by despite my inherent bias of only being 19 years old. Nevertheless, 2019 in particular was a notably mature and forbearing bookend to this madcap 10 years. We witnessed the solidification of Netflix and other streaming services as legitimate entertainment enterprises for original content that bridged the gap between the arthouse and barn-burning event cinema. Furthermore, blockbusters became more introspective, A24 dominated the independent film scene, rising filmmakers blessed us with their unique vision, and even the most legendary directors of our generation released their best works to date. With all that praise behind me, let’s give a shoutout to some films I adored that didn’t quite make the prestigiously difficult cut this year. Those include The Farewell, The Lighthouse, Waves, The Last Black Man in San Francisco, Jojo Rabbit, High Life, Midsommar, Avengers: Endgame and Rocketman. I highly recommend all of the aforementioned films, and without further ado, here are my top 10 favorites of 2019 🙂

10. Hustlers (Lorene Scafaria, 2019)

Inspired by the New York magazine article “The Hustlers at Scores”, Hustlers is a cautionary tale of a group of strip club employees who sought to swindle their Wall Street clients during the backdrop of the 2008 financial crisis; it demonstrates the hazardous yet seemingly necessary trek towards economic freedom, and how easy it is to lose one’s sense of reality once you’re at the top. But it’s also incredibly liberating, sexy, and exuberant, giving the control back to the women in a world where men decide the value of their work. Jennifer Lopez, in her undoubtably greatest performance yet, revels in the allure and danger of the hustle, gracing the screen with her raw power. Greatly influenced but not at all defined by the work of Scorsese, Hustlers is the most surprising grand slam of 2019.

You can read Cynthia Li’s full review of Hustlers here.

9. Ad Astra (James Gray, 2019)

What can so strongly compel someone to take the leap into the infinite void of space? Is it for the collective intelligence, heroism, and betterment of mankind? As the film’s Latin translation indicates, Ad Astra seeks to answer these questions and explore the psyche of a man on his journey “to the stars”, as Major Roy McBride (Brad Pitt) is plagued by the numbness that brings him geographically closer to his estranged father, while tragically becoming that same man he resents in the process of traveling perpetually deeper into the cosmos. Brad Pitt’s restrained performance perfectly encapsulates the irony of a man brave enough to blast himself through the dark unknown, yet is cowardly in the face of emotion and genuine connection. It’s through such a juxtaposition that not only is Ad Astra a brazen takedown of toxic masculinity, but one of the most unique, most reflexive sci-fi films of the decade. Though it contains brief flourishes of idiosyncratic genre-related embellishments (a low gravity speeder chase, Subway on the moon?), this is about as earnest and deeply human as contemporary science fiction gets.

You can read PJ Knapke’s full review of Ad Astra here.

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

2019 was the year I discovered how much I admire Quentin Tarantino. I love his frenetic action sequences, his genre film homages, and above all else, his unwavering passion for the medium. In Once Upon a Time in Hollywood, he seeks to revel in his revisionist history pastiche of late-60’s era Los Angeles, cruising down at a breezy 30 mph, soaking in the atmosphere of a seemingly simpler time. Tarantino’s nostalgic 9th film ultimately culminates in his typical explosion of violence, but it’s paralleled with the most sanguine of “what-ifs?” – one that among further inquiry rings true to be one of the most bittersweet and beautiful closing scenes of the year. Let your guard down, and this film becomes blissful escapism.

You can read my 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.

7. Marriage Story (Noah Baumbach, 2019)

To quote my Letterboxd review, “at its core, Marriage Story is a story of imperfection – imperfection that manifests itself through miscommunication, selfish tendencies, and, at its most harrowing, in the hurt we inflict on the ones we love the most. And it’s a damn near perfect film.”

It’s a film that starts an ends with love – a love that wavers yet never truly diminishes, just morphs into its own imperfect beast. Unflinchingly honest and emotionally wrecking, Marriage Story showcases Adam Driver and Scarlet Johannson at their most vehement. Drenched in verisimilitude to the point where, without even knowing about writer/director Noah Baumbach’s divorce, or having experienced divorce oneself, this feels about as real as it gets. Absolutely devastating, but you can’t help but watch from the sidelines.

You can read Maddie McDougall’s full review of Marriage Story here.

6. Knives Out (Rian Johnson, 2019)

I will never not stand by my “hot take” that I believe Star Wars: The Last Jedi is one of the greatest, most audacious blockbusters of the decade, let alone the century. Needless of what one has to say about the borderline inconclusive sequel trilogy of Star Wars films, I’ll always thank Disney for the creative liberties allotted to Johnson, even at the risk of isolating a precariously divisive fanbase. Ironically enough, Knives Out, Johnson’s own Agatha Christie homage with a modern subversion, is his most safe film to date, but that’s not to discredit his phenomenal work here. Knives Out is meticulous and subtle, not because of its inherently political message, but more so due to how each character deals with the truth behind that message and how that plays into traditional “whodunnit” conventions (twists, turns, betrayals, etc.). Johnson has crafted an insanely smart script, and without divulging into spoilers, Knives Out features an absurdly effective cast, with Ana De Armas as the true shining star of the bunch. The knives are out!

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

5. Uncut Gems (Josh and Benny Safdie, 2019)

The stage is set in Uncut Gems onto a mine in Ethiopia, two men discover a black opal encased in a piece of rock. As the camera pans closer, the gem taunts the audience with its natural beauty. We witness the gem transform from a solid, to a vibrant gas cloud, to a tubular cavernous patch, to Howard Ratner’s (Adam Sandler’s) colon. Though they’re a series of seemingly incongruent images, it’s somehow a perfect thesis to Ratner as a character: what he chases is what becomes of him. (Without spoilers, it also sets up a genius piece of dramatic irony.) And thus begins the catastrophic, anxiety-riddled ride that is Uncut Gems, where Ratner’s dependence on the opal sends him on a spiral of poor choices that erodes his already dicey familial ties. I can’t imagine any other performance this year for an actor as fitting as Adam Sandler filling the shoes of a sleazy, charismatic gambling addict. An endlessly captivating tragedy of greed and punishment.

You can read Ryan Circelli’s full review of Uncut Gems here.

4. Little Women (Greta Gerwig, 2019)

Jo, Meg, Amy, and Beth. Four (little) women, each with their own goals, each with their own destinies, all attempting to forge their own names in the history books. And I adored watching their journeys unfold. Greta Gerwig infuses Louisa May Alcott’s text with incredible grace and beauty; if Lady Bird was her leaving her mark as a writer, Little Women is her leaving her mark as a true auteur. It’s like the cinematic equivalent of a warm embrace with an old friend after a long while – it’s sweet, comforting, and that innate emotional longing is ever present. In the same vein, the film brilliantly displays a non-linear narrative between the past and present, with the former representing the warmth and vivacity of nostalgia. There’s a palpable vitality and relevance to Little Women – its mellow heart will gently beat for generations to come.

You can read Stephanie Chuang’s full review of Little Women here.

3. Honey Boy (Alma Har’el, 2019)

Honey Boy pulled me through the wringer and hung me out to dry, leaving me with a sorrowful introspection I rarely experience in a film as short as this is. There’s something so poetic about Shia Labeouf playing his father in a film about the currents of generational trauma. Where Marriage Story explored the complex emotions intertwined within a spousal relationship, Honey Boy does the same with parental relationships. Despite all the hurt, you can’t help but love them, and you can’t help but need them. Its semi-autobiographical nature provides a meta-narrative that is somehow just as intensely cathartic for the audience as it is for Shia himself. A cinematic act of bravery that does so much with so little.

You can read Maddie McDougall’s full review of Honey Boy here.

2. Parasite (Bong Joon-Ho, 2019)

Despite it’s ranking at #2 here, Parasite is undeniably the best film of 2019. More so than any other foreign film this decade, it’s managed to amass a large American following, some of which are typically averse to the “one inch tall barrier”. Nonetheless, Parasite is an absolute blast. It’s a meticulous, operatic, and technically flawless film that manages to be more than the sum of its parts, even when each part that comprises it holistically is already perfect as is.

When thinking about Parasite, my mind always goes back to the scene where the Kim family is desperately attempting to grab their belongings from their flooded half basement home. Ki-Jung, climbing to the top of the bathroom, witnesses bursts of water rapidly sputtering out of their toilet, and the shot immediately following is a “Kuleshov effect” moment, with a toilet seat being closed in the Park family house. On my initial watch of the film, that was the exact moment when the themes of the film clicked for me. The Park’s, like many affluent families, are not overtly “evil”, but rather, are completely ignorant to how their actions are inadvertently affecting the Kim’s. It’s symbolic of a much larger class divide, and to me, that’s arguably just as frightening, and immensely more real. If two shots of a toilet are enough to make me think “that’s genius”, then the film must be pretty damn special.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

1. A Hidden Life (Terrence Malick, 2019)

As of the time I’m drafting this feature, I have seen no other films from acclaimed director Terrence Malick, and I realize now how much I’ve been doing myself a disservice. A Hidden Life is a revelation – it’s yet another WW2 drama on paper, but in grand scope, it not only recognizes the horrors of war as being both the inherent violence and loss of life, but also the overwhelming sense of isolation associated with being on the right side of history at the wrong time. There’s a constant battle of faith; faith in God, faith in one’s moral compass, and faith that at the end of this life, their efforts would all have been worth it. A Hidden Life is a superbly poignant love letter to those who, in the face of adversity and evil didn’t just stand idly by, yet still disappeared from the earth without a trace. Unsung heroes, this one’s for you.

You can read PJ Knapke’s full review of A Hidden Life here.

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Luccas Pryor’s Top Ten Films of 2019

As the final year in a decade notable for simultaneously expanding indie distribution through A24, introducing the great streaming wars between Netflix, Amazon and more, as well as suffocating general audiences with an onslaught of sequels, reboots, and of course Marvel films, 2019 was an exceptional year in cinema. It was a complex and ultimately satisfying year, pushing towards more ethnic representation and gender diversity than ever before. It also, at its best (and hopefully represented in the list below), bridged the gap and subsequently solved the cinema and amusement park ride debate, proving a film can be both. 2019 expressed intimate emotions and ideas spread elegantly across an entertaining canvas, featuring four little women, three gangster icons, 2 sparring New York/LA socialites, and of course, one angry jew. In other words, it had it all. As all active years go, this could have easily been a detailed list of 20 films or more, but a top 10 dilutes the best of the year into a truly diverse and memorable collection. Honorable mentions (in no particular order): Transit, Pain and Glory, Little Women, High Flying Bird, Ash is the Purest White, Her Smell, Toy Story 4, The Farewell, and Marriage Story. See my full 2019 ranked list here.

10. A Hidden Life (Terrence Malick, 2019)

“…the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.” -George Eliot

He’s back! After decades with work as prolific as a world war, Terrence Malick has seemed to lose a step in recent years, diving headfirst into expressionistic dance art pieces with no narrative focus. However, Malick’s A Hidden Life is a grandiose return to form, combining a wrenching tale of martyrdom in the Second World War with his usual trademarks, including sensitive diegetic sound design and lush imagery. Among my Mount Rushmore of favorite directors, Malick stands apart at the top, and it more of a reflection of his quality as a director than of the year itself that the weakest film I have seen from him is a top 10 film of the year. It moves swiftly from Sirk melodrama to haunting wartime thriller, wide shots of the Swiss fields juxtaposed with lonely close-ups of men in chains. It is long, exhausting, and even frustrating, yet in the end, it is one of the most pivotal films of the year by an artist who rarely makes anything but. Malick’s penchant for lengthy montages with straightforward Oscar-bait may seem curious, but here it is swoon-worthy.

You can read PJ Knapke’s full review of A Hidden Life here.

9. Dragged Across Concrete (S. Craig Zahler, 2019)

“In this world, every man wants to become a lion.”

Usually, I am a reasonably even-keeled reviewer. If a film has universal raves, I like it! If a movie has poor reviews, I dislike it! Pretty simple, right? Dragged Across Concrete opened with a modicum of mixed-to positive review, most of which were concerned with the film’s tumultuous right-wing politics. Zahler, a known Republican, famous for his gritty dialogue and pulpy grind-house films, continues to elevate his prose and low-art style. The first time, I found this to be a highly watchable hang-out masterpiece, with expansive plotting and original characters, the type of slow-burn that in the ’70s would be on a double bill only to later become a cult classic. On a second watch, I found this to be rife with melancholy, Zahler writing his heros not as indestructible right-wing soldiers, yet rather filled with pity and regret. In the end, the two protagonists perish in a fire-fight with the soulful antagonist, revealing himself to be the protagonist all along. Dragged Across Concrete is brave filmmaking filled with the type of grand storytelling that can only happen on a shoe-string budget.

8. Portrait of a Lady on Fire (Céline Sciamma, 2019)

“In solitude, I felt the liberty you spoke of. But I also felt your absence.”

The power of film can come from anticipating a new film from an acclaimed director, but equally to discover a brand new filmmaker and instantly fall in love. Céline Sciamma, known for Indies such as Girlhood and Tomboy, curates her masterpiece, a slow burn of picturesque desire and lust. I’ve always been interested in a raw portrait about the start of a relationship, one not befallen with cliches and didactic writing. In Portrait of Lady on Fire, Sciamma writes her characters with such specificity that you believe you are watching two real people fall in love over time, culminating in one of the most romantic and heartbreaking films of the year.

You can read Armon Mahdavi’s full review of Portrait of a Lady on Fire here.

7. The Souvenir (Joanna Hogg, 2019)

“You would be a terrible landlord. I am a terrible landlord.”

I could easily cut and paste my review for Portrait of a Lady on Fire, and my impressions would largely remain the same. The only distinction is that while both are romantic two-handers with a specific combination between character and setting, The Souvenir is more about the natural destruction of a relationship while also building a foundation to form an elegant and woeful coming-of-age picture. It is the combination of these two elements that ultimately make this among the best of the year. As the protagonist Julie, played by Tilda Swinton’s daughter, moves from the pleasure and pains of growing up, her significant other Anthony, played by a scene-stealing Tom Burke, portrays an ethereal presence on screen and off. When he is on screen, its a relationship filled with frustration and off-kilter love. When he is off, it is a relationship filled with emptiness and a tragic, inevitable decline into the difficulties of young love and finding your own identity. The Souvenir is a dry British masterwork.

6. High Life (Claire Denis, 2019)

“Shall we? Yes.”

The film that was my number one for the majority of the year, High Life was my introduction to the unique and distinct work of French filmmaker Claire Denis. What I got was unlike any other film I saw this year: a horror movie set upon a prison space ship about the decline of the moral individual on a global scale, synthesizing euro artistic influences with a study on humanity’s cyclical self-destruction. Denis specially chooses her inmates as portraits of the world, from obsessive women to violent men. Even the protagonist Monte, of whom Denis flirts with the moral background frequently throughout the film, is revealed to be guilty of the crime he committed. Denis emphasizes sex, violence, but above all else, rebirth – a fitting image a film filled with dread and despair. And yet, that’s precisely what makes High Life so special. I’ll always remember the tender moments between Andre 3000’s Tcherny in the garden or even the film’s final image – a father and a daughter caressing each other as they wait for oblivion, synthesizing time and space into a final image so powerful that it somehow makes all the craziness worth it.

5. Parasite (Bong Joon-Ho, 2019)

“Dad, today I made a plan – a fundamental plan. I’m going to earn money, a lot of it. University, a career, marriage, those are all fine, but first I’ll earn money. When I have money, I’ll buy the house. On the day we move in, Mom and I will be in the yard. Because the sunshine is so nice there. All you’ll need to do is walk up the stairs. Take care until then. So long.”

Probably the film of the year. As I said in the introduction, I believe the best films of the year bridge the gap between high art and high entertainment, and no other movie perfectly represents that than Parasite. It moves between genres with ease, unfolding upon a first watch one of the scariest and timeliest films of the year, whether as a heist film or domestic comedy or even a horror extravaganza with class warfare and rife symbolism sprinkled in. It’s the type of film that is so meticulous and slick with perfectionism that it might even be considered off-putting. Yet Bong’s filmmaking worked on me, his love of movies clearly present whether through Hitchcock’s plotting or even Spielberg’s earnest storytelling, all in service of telling a timely picture filled with comfort, humor, and blood. And just like the many films on this list, the ending is a knockout, with a sequence so shocking, tender, and hopeful that it left me bowled over by the time I left the theater.

You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.

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

“Don’t cry in front of the Mexicans.”

One of two major late-career films in my top 5 the year, Once Upon a Time in Hollywood is a borderline triumph from one of cinema’s most famous auteurs over the past 30 years. As we end the decade, it is only fitting that Tarantino finally makes a nostalgic passion-project about his childhood, filled with melancholy reverence and loud applause. The ending fight may be classic Quentin, but what comes 2 hours before is a patient, rewarding picture about the decline of old Hollywood and a person’s role left to play in it. It is his most borderline avant-garde film, with lengthy sequences trimmed in most studio films. Pitt’s nighttime drive to Deep Purple’s Hush remains one of the most splendid moments of the year, a nighttime driving scene that fully envelops the audience in the world of the late ’60s, showing off the year’s best production design. Later in the film, Tarantino films an extended take of two best friends watching an episode of FBI, voiceover playing in full as the whole scene plays out uncut, recreating an entire episode opening. But what comes near the end of the film is one of the best pieces of cinema I have ever seen, a short yet powerful sequence in which famous LA restaurants and establishments open for business, neon lights beaming across downtown LA’s hazy purple skies. It is such a distinct, soulful piece of nostalgiac cinema. I will never forget it. As Al Pacino says early on in the film, “What a picture.”

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.

3. Uncut Gems (Josh and Benny Safdie, 2019)

“This is how I win.”

It’s rare for your most anticipated film of the year to meet expectations, let alone exceed them, and yet Uncut Gems delivers. More than that, after Good Time, the Safdie Brothers follow up their 2017 hit with an expansive character actor opera and the best performance of the year standing right in the middle. Sandler, in his second noticeable dramatic role in his career, is nothing short of outstanding. Rather than lose his typical comedic timing, Sandler uses it to extrapolate pathos for a seedy gambler who continually chases the next big hit. It’s in irrational character only made likable by Sandler’s god-tier performance. However, what makes Uncut Gems so extraordinary isn’t the central character but the detail in which the Safdie brothers and Ronald Bronstein write the supporting characters. Each tells a specific mini subplot in Ratner’s hectic and tragic life, whether it’s through Julia Fox’s earnest mistress or Eric Bogosian’s uneasy debtor. The whole film is a thrilling escalation of bad choices, broken bets and failed amends. It is all both gratifying and heartbreaking, resulting in one of the best 3rd acts of the modern millennium – a 2012 playoff Celtics game. Once the climax hits and Uncut Gems closes the thematic loop on its version of a modern-day Shakespearean tragedy, I realized this movie was made just for me.

You can read Ryan Circelli’s full review of Uncut Gems here.

2. The Irishman (Martin Scorsese, 2019)

“It’s what it is.”

Similar to Tarantino’s masterpiece, The Irishman is a distant late-career film, deconstructing the famous works of the greatest American filmmaker of all time. It is, of course, a riot of gangster entertainment, yet like any great piece of self-reflexive cinema, also somber, culminating in a desolate funeral tale of regret and aging. The three famous actors that set the stage have never been better, yet it is Pesci’s quiet work that stands out. After a career filled with testy little men with short tempers, here he plays his scariest character, directly affecting the morals of the men that surround him without ever lifting a finger. And of course, the declining morals of the three aging men is what Scorsese chooses to focus on. However, rather than their actions, he focuses on the aftermath, whether through DeNiro’s heartbreaking phone call with Hoffa’s wife or Peggy Sheeran’s wordless look of disdain towards her father’s hidden actions. But it is in the film’s final shot that ultimately relays all of Scorsese’s 3 and half hour epic intentions into a quick dagger of the heart – an image of a man staring at the door, waiting for someone to enter, and no one coming. The Irishman isn’t just one of the years best. It’s one of Scorsese’s best, full stop.

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

1. Ad Astra (James Gray, 2019)

“We’re all we’ve got.”

Ad Astra is the closest I’ve come to see a true masterpiece all year. It is a film that is more flawed than all of the previous four movies combined with all the subtext of a Stephen King novel, and yet rather acting as on the nose, Ad Astra IS the nose. Brad Pitt delivers one of his most essential performances in a career full of them, finally going full circle into an austere character actor. Hoyte Van Hoytema lenses the prettiest film of the year, shooting a stark contrast between the beauty of space and the desolate interiors that befall it. But above all else, in a decade that is known for the rampant destruction of integrity by the Hollywood studio system, James Gray directs a 90 million dollar art house film that channels Malick and Tarkovsky more than it does Feige. It’s filled with the best damn set pieces this year hands down, a Mad-Max lunar set piece, and a zero-gravity knife fight included. The emotional undercurrents and blatant earnestness gut me straight to the heart. On a night in which America is most likely going to war with Iran, General Roy’s earnest one-liner to his father is my line of the year. “We’re all we’ve got.” The infernal rage of hereditary toxic masculinity burns bright, but Ad Astra is ultimately about the absence of God in a universe without a moral compass. Without God, space is nothing but silence. And in a world filled with silence, someone has to speak up.

You can read PJ Knapke’s full review of Ad Astra here.

Review: The Safdie Brothers Master the Nonstop Thriller with ‘Uncut Gems’

Before going to see this film, I revisited Josh and Benny Safdie’s previous directorial effort, Good Time, and it reminded me why I was so excited to see Uncut Gems. From that film alone, it’s easy to see all the potential for the Safdie brothers both as writers and directors. Uncut Gems is the embodiment of that potential; they have found a type of narrative that they can tell extraordinarily well and a style that perfectly coincides with that narrative.

Continue reading “Review: The Safdie Brothers Master the Nonstop Thriller with ‘Uncut Gems’” →