Stephanie Chuang’s Top Ten Films of 2019

What a year! 2019 was the first year where I actively sought out new releases to watch. While I still didn’t get to everything on my watchlist, (namely Ad Astra, A Portrait of a Lady on Fire, Hustlers, The Lighthouse, and A Hidden Life) I still got to join in on the fun and see several critically acclaimed films. Personally, I thought this year was a great year for female directors. Though many got snubbed for Oscar nominations (namely Greta Gerwig), I feel like there were more female-directed films than I had seen in previous years. Though only 3 of my top ten films are female directed, I hope that number grows and those ladies get the recognition they deserve. Honorable mentions include: A Beautiful Day in the Neighborhood, Toy Story 4, and 1917.

Continue reading “Stephanie Chuang’s Top Ten Films of 2019” →

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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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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.

Maddie McDougall’s Top Ten Films of 2019

2019 was perhaps the first year where I was very cognizant of recent releases and the films that were most likely going to be up for the big awards; The Oscars, the Globes, etc. I have always been a huge proprietor of watching these award shows every year, but now I have actually seen enough of them to feel as if I can truly understand the struggles that go into narrowing down such competitive categories. 2019 proved to be a fantastic year for me to begin my journey into the world of film as it was filled to the brim with top of the line films and performances to populate the lineup for the 2020 award season. My full list of 2019 films ranked can be found here. Without further ado, in honor of the upcoming 92nd Academy Awards ceremony, here is my list of the top 10 films of 2019. Enjoy.

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Review: ‘Waves’ Packs A Punch of Emotions in an Original Vision

A wave is the perfect metaphor for the feeling with which Waves leaves you. It feels like a sudden crash of emotions; the highs and lows of life are all experienced through the lens of an African-American family living in South Florida. Primarily, we are taken inside the lives of the son, Tyler, and daughter, Emily. Throughout the film, they experience hardships that send ripple effects through their communities. Ultimately, the story explores ideas about how to love and forgive in the face of hate.

Continue reading “Review: ‘Waves’ Packs A Punch of Emotions in an Original Vision” →