Where the first half of 2019 was dominated by blockbusters, the second half of 2019 showcased deep, complex, intriguing filmmaking. With so much more attention being paid to women and people of color directing films, we’re seeing an expanding perspective on the world. Additionally, some of the best films of this year were international films, from established auteurs like Bong Joon-ho and Céline Sciamma to newcomers like Mati Diop. Some honorable mentions include Anima and I am Easy to Find, two short films that complemented their respective musician’s albums beautifully. On top of that, I said goodbye to a franchise that defined my childhood with Toy Story 4. While you can check out my full 2019 ranked list on my Letterboxd, here are my top ten films of 2019.
10. Honey Boy (Alma Har’el, 2019)
Honey Boy is an emotional, delicate, and impressive film about Shia LaBeouf’s childhood, a film with incredibly real performances from Noah Jupe and Shia LeBeouf. There are moments where I thought I was watching LeBeouf himself from Lucas Hedges’ performance. An incredible score, incredibly imaginative moments of cinematography, and strong direction from Alma Har’el. You can feel LeBeouf’s pain in his screenplay, and it’s impressive how this effort comes off ego-free. This film works so well, from our first introduction to Otis (Lucas Hedges) literally being pushed and pulled around by stunts on a movie set, to Otis’ (Noah Jupe) charm as a young actor. It’s so clear by the end of the film that Otis’ father didn’t only give him pain, but allowed Otis to accept himself.
You can read Maddie McDougall’s full review of Honey Boy here.
9. The Irishman (Martin Scorsese, 2019)
Martin Scorsese made headlines this year for his critique of the Marvel series, a series which “does not constitute real filmmaking” according to the famed director. It’s disappointing that this is why Scorsese made so many headlines in 2019, and not for his incredible work with The Irishman, a fun and extremely sad film that feels like a conclusion to so much of the previous work in the Scorsese canon. It builds and builds by expanding complex character interactions to the point where the film itself almost feels out of breath by the end. It’s an extremely sad movie, one about aging and legacy, but a fantastic end to an incredible director’s career. However, I hope it isn’t the end, as Martin Scorsese just has too much genius to share. If you can sit for 3 hours to watch Avengers: Endgame, you can watch 3 ½ hours of a director cementing his legacy of a 30+ year career.
You can read Ryan Circelli’s full review of The Irishman here.
8. The Last Black Man in San Francisco (Joe Talbot, 2019)
If you’re going to take anything from this list, please take this: watch the first five minutes of The Last Black Man in San Francisco. It feels cinematic without feeling cheesy or gimmicky; it’s truly expansive filmmaking. The Last Black Man in San Francisco is a story of mourning and hope; it is a film that feels real. It’s so important that the actor who portrays this film’s protagonist, Jimmie Fails of the same namesake, co-wrote this script. This is really Fails’ story, a story that is as powerful as the films’ main theme: “San Francisco (Be Sure to Wear Flowers in Your Hair).” The colors sing in this film, the score supports the story, and the characters are full of energy and life. This story is a love letter and an intervention to San Francisco itself. As Fails says: “You don’t get to hate San Francisco. You don’t get to hate it unless you love it.”
7. Us (Jordan Peele, 2019)
One of the strongest genres of the past few years has to be horror. It’s a completely overlooked genre, one that is ignored by the glitz and glamour of awards season. Despite Us’ thematic maturity, emotional resonance, and effective cinematography, it will most likely be ignored come awards season. Lupita Nyong’o stuns as Red/Adelaide and proves why she is one of our generations’ greatest acting gifts. Jordan Peele’s stories are complex and relevant, and Us lives up to his masterpiece Get Out. Us keeps you thinking after it ends, and that is a sign of great filmmaking.
You can read Jim Saunders’ full review of Us here.
6. Marriage Story (Noah Baumbach, 2019)
This is a balanced film evenly divided between the two perspectives. Noah Baumbach is really at his prime with this film, as it feels so real. It’s no surprise that this comes from his own experience. Marriage Story starts strong and ends strong. Powerhouse performances dominate this film. A particular fighting scene between Nicole (Scarlett Johansson) and Charlie (Adam Driver) has really been the most talked about scene in this film. Adam Driver’s performance is so strong because of how real it feels, not how loud he can dramatically yell or punch a wall. Adam Driver feels like a dad out of his element just trying to protect his relationship with his kid, which is why it’s one of the best performances of the year. All of the films I’ve mentioned in this list have very strong scores, but this film has one of the best of the year. Randy Newman knows how to craft a score that makes the audience feel this sense of love.
You can read Maddie McDougall’s full review of Marriage Story here.
5. Jojo Rabbit (Taika Waititi, 2019)
This is a film I had been waiting for about two years, from the director, Taika Waititi, who I love. Taika Waititi is known for mixing tragedy and comedy in an expert fashion, a thread one can see from his earliest work Boy. This film is Waititi at his best, someone who truly knows how to tell an entertaining story. The twist hits you emotionally, as Waititi slowly crafts an engaging story. Jojo Rabbit is an extremely relevant perspective in our current world, a child’s, and is now one of the best films about World War II.
You can read Ajay Rawat’s full review of Jojo Rabbit here and listen to UW Film Club’s podcast on Jojo Rabbit here.
4. Booksmart (Olivia Wilde, 2019)
A truly funny film, this relatable story felt like it was made for me. Being a more recent high school graduate, those feelings of senior year are still fresh in my mind. Feeling like I was intensely obsessed with studying, and that I pushed myself while missing out on the more fun parts of life, this film is the definition of relatable, which is a compliment to Olivia Wilde, the director. This is a fantastic subject to parody as a comedy. All the jokes landed, the characters were memorable, and the soundtrack was fantastic. Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) make this movie shine, and their intense love for each other will make you cry.
You can read Megan Bernovich’s full review of Booksmart here and listen to UW Film Club’s podcast on Booksmart here.
3. Rocketman (Dexter Fletcher, 2019)
This is my favorite film of the year. Personally, 2019 for me was the year of Rocketman. I saw this film in theaters four times, and met the lead, Taron Egerton, at a convention. While it would not be honest to place this as my number one just out of pure emotional resonance, I think how films make us feel are still an incredibly important part of filmmaking and critical analysis. I think it’s often overlooked as it’s not seen as an objective mode of analysis, but what’s the point of art if not to make us feel something? I felt something watching this film. A sense of joy from the music, bright colors, and sparkle in Elton’s eye as he learns to accept himself. This is miles better than another recent biopic about a 70’s rockstar, Bohemian Rhapsody. Specifically, for the care it takes in showing Elton’s sexuality, and the struggles he endured because of it. This film deserves more praise than it’s gotten, stuck in the dust after an early year May release. It’s a wonderfully musical, fantastically performed, impeccably styled, and a thoroughly emotional piece of filmmaking. And yes, I cried while watching this in the theater– twice.
2. Little Women (Greta Gerwig, 2019)
I am personally very biased when it comes to Greta Gerwig’s work. Lady Bird is my favorite movie, Little Women (1994) is very nostalgic for me, and both of the mentioned films remind me of my mother. But, despite my bias, no one can deny that no other filmmaker is creating like Greta Gerwig. Greta Gerwig’s work can only be described as warm and comforting. Gerwig is a complex storyteller and has a beautiful way of presenting images, but something magical happens when she gets behind a camera and tells this story of four sisters who love each other more than anything. You don’t need me to tell you that the performances are amazing, but Saoirse Ronan as Jo and Florence Pugh as Amy are stand-outs. Everyone is perfectly casted. This remake is justified in Gerwig’s reinterpretation of Louisa May Alcott’s plot and honors the original storytelling in such a caring way. Greta Gerwig corrects a past injustice in this film, and she does it beautifully.
You can read Stephanie Chuang’s full review of Little Women here.
1. Parasite (Bong Joon-Ho, 2019)
An international sensation from the already acclaimed director Bong Joon-ho, Parasite was the best film of 2019. Not only was it the best film of 2019, but this film also described the state of the world in 2019, and arguably the 2010s, through a class satire articulating the anxieties many of us feel. A haunting score, a delicately crafted plot, and incredible performances (specifically from Kang-Ho Song), this film legendary. Bong Joon-ho jokingly described the Oscars as a local film festival, and if Parasite is not at least acknowledged come awards season, his tongue in cheek comment will be even more validated. No one is capturing our present moment like Bong Joon-ho, and Parasite is his best film yet.
You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.