Little Woods
I was very impressed with what writer/director, Nia DaCosta, pulled off here. It’s a strong directorial debut about living in poverty that digs into all the nuances and systematic problems that are often face people like the leads played by Tessa Thompson and Lily James. These two are among the very best actors working today, and this film gives them so much to work with while making it all seem effortless because the writing is so sharp and subtle and compelling. I’ve seen many movies that try and fail to get across a lot of the themes of this film, but this one managed to do it so well, and coming from a first time director is really great. DaCosta is one to look out for.
Long Day’s Journey Into Night
This film is the first I’ve seen from Chinese filmmaker, Bi Gan, and I was stunned by what I saw. It’s among the most beautifully made films I’ve seen all year, and I would describe the film that way even before we get to the nearly hour long unbroken take that takes us to the end of the film. I wish I saw it in a theater for the whole 3D effect of that tracking shot, but even if you watch it at home, it’s still a dreamy and mesmerizing experience, though, certainly not for everyone.
Native Son
People weren’t so crazy about this one when it premiered at Sundance before getting unceremoniously dropped on HBO, and I’m honestly not entirely sure why. It might be because I haven’t read the book it’s based on, so I might be missing something crucial. However, as a movie, I thought this was really engrossing. Writer, Suzan-Lori Parks, and director, Rashid Johnson, do an incredible job here, and with this film, Ashton Sanders delivered what is easily one of my favorite performances of the year. It’s striking, provocative, moody, challenging. Easily one of the year’s most underrated.
Peterloo
Mike Leigh is one of the best filmmakers out there, and his ability to make masterpiece after masterpiece is so damn intimidating and astonishing to watch. He channels his inner Ken Loach here, bringing a passionate and furious examination of class, power, and politics in a way that is able to take a story set 200 years ago, and make it resonant to the world we live in today. Wow, what a movie this is! It definitely is a very talky movie, one that I can understand not working for some, but once it gets to the titular Peterloo masacre, it’s some bravura filmmaking.
Shazam!
Only one superhero movie to make this list, and given the other comic book movies coming out this year, I’m sure this is the only one to have a shot making it at the end-of-the-year list. This movie is just delightful, it’s so much fun, and it’s fun in a way I haven’t seen in a superhero movie in a while. It feels like a throwback to something from the mid-2000s where it has barely any concerns with setting up sequels, forming a universe, or having a world ending climax. It’s simple, efficient, and it has a bit of edge that feels earned and totally distinct in some of its stylistic choices. It just loves being itself so wholeheartedly, and I wish more superhero movies could be like that.
The Beach Bum
What can I even say about the latest Harmony Korine film? It gave me some of the biggest laughs I’ve had all year, and I was surprised that it ended up being so light and enjoyable all throughout while still being totally in his wheelhouse. I remember waiting for the moment when Korine would pull the rug out from under me, and it never happened. It’s just a trashy zen masterwork from start to finish, beautifully shot, and featuring Matthew McConaughey in his most purest form. I had such a great time hanging out with these colorful characters, and I can’t wait to do it again.
The Man Who Killed Hitler And Then The Bigfoot
Boy, this movie was not what I thought it was going to be, and I’m so happy that it wasn’t. It could’ve easily went full parody grindhouse if it wanted to, and instead they went for something more complex, more thoughtful, and more interesting. For a film with such a laughable over-the-top title, it’s really a meditation on death, regret, and aging. I was shocked by how accomplished some of the filmmaking was, evoking classic styles, a strong orchestral score, and patient plotting. And at the center of it all is Sam Elliot bringing 100% to such a weird, little movie. I love this, and I don’t care if no one else does.
The Wandering Earth
Up until Disney released Captain Marvel, Avengers: Endgame, and Aladdin, this was still topping the highest grossing films of 2019. It’s still at number four, and it’s easy to see why – it’s a stunning picture. I was glad I got to see this on the big screen before it made its Netflix debut. It’s a bold, weird sci-fi blockbuster that would feel totally at home in the late 90s. It takes some of the biggest narrative swings I’ve seen any movie do this year, and it makes them pay off in ways that were surprisingly emotional. It’s a hell of a ride, and absolutely worth seeking out.
Toy Story 4
Yeah, I still can’t believe Pixar did it again, but sure enough, here it is. My hot take is that this is better than Toy Story 3. It largely avoids some of the typical tropes you see in Pixar movies, it’s funny, and it earns all of its emotional beats without having the need to throw something superficially shocking at you (*cough* furnace *cough*). The filmmakers smartly bring an end to an arc with Woody’s character that I hadn’t previously considered, and made for a fantastic and necessary conclusion to the story. I hope they stop here, but hey, if they got something else up their sleeves, I’m willing to give it a chance.
Transit
My first exposure to German filmmaker, Christian Petzold, was with his excellent 2015 film, Phoenix. And with his new film, Transit, I am equally impressed. Of course, telling a story about escaping fascism brings a timely element that I’m sure the filmmakers were somewhat aware of as they were making this. It’s simultaneously calm, yet anxious, beautiful, yet horrific, cruel, yet empathetic. I don’t think I would go as far as to say I love this film as some of the other critics, but it’s one I appreciate so much on many levels, and it’s one worth putting out there, and encouraging others to see.
Under The Silver Lake
A weird and confusing movie about a weird guy being confused by the world around him, and desperately trying to make some sense out of it. Perfect. Again, like with Transit, I’m not entirely sure that I love this necessarily, but man, it is one hell of an experience, and it’s a shame that A24 buried it like they also did with Native Son. I feel like the layers presented are pretty clearly laid out, and mostly easy to comprehend, it’s just that it’s surrounded by a lot of weird details that I’m sure writer/director, David Robert Mitchell, threw in for good reason. Though, I wouldn’t have enjoyed it as much if it wasn’t so lovingly made, and so consistently funny and odd, featuring my favorite Andrew Garfield performance. I can’t really tell you if it all totally works, but I sure as hell respect it.
Us
Jordan Peele has so much going on here, I’m still not entirely sure what he’s trying to get across, however, the film is so intense, so visceral, so brutal, so darkly funny, and memorable in its oddities and idiosyncrasies that I can’t help but be mesmerized by Peele’s filmmaking. It’s so different from the efficient thrills of Get Out that I can’t imagine what other direction he might swing next. I love that in a filmmaker, and I can’t wait to see what he does next.
Wild Rose
Wild Rose is such a wonderful film from start to finish; a beautiful ode to country music that explores the feeling of pursuing your dreams in a way that is raw and emotionally honest. It’s fun, but not without acknowledging the flaws and complexity of the central character and her situation, it’s rousing, but it’s not overly saccharine about it. It’s a great example of using a classic formula, and breathing new life into it. The music is great, the film is appropriately gritty, it’s got a ton of personality, and Jessie Buckley delivers one of the finest performances you’ll see all year. I sincerely hope she isn’t forgotten about come awards season.
And that’s it. Those are my favorites of 2019 so far. I’m curious to see how many of these stick around for the end-of-the-year list, especially once I catch up on the ones that I’ve missed. What are some of your favorites and why? Feel free to discuss in the comments!