Ladies and gentlemen, sound the alarms. Start “Thunderstruck.” Get excited, because it’s time for my yearly reviews of Oscar-worthy movies. Your friends at Random Rankings HQ (from The Hangover, a fantastic football column if you haven’t read it) and I have watched hundreds of hours of film in preparation for this day, and we still didn’t get to every option (sorry, Judy, Jojo Rabbit, Harriet, A Beautiful Day in the Neighborhood, and, sadly, Little Women…blame the shortened awards schedule).
How did we decide what movies made the cut? Here were the qualifications: Any film that’s a contender for best picture, best director, best actor/actress, best supporting actor/actress, and best original/adapted screenplay makes The List; Nomination in any of the categories results in an automatic addition to The List.
With those rules in mind, naturally, this ranking is long. We go into great detail about each movie. Every review is well thought out, and they aren’t changing (you surely know my usual disclaimer by now). In my opinion, this was the best movie year since I started doing this. There were some extremely hard choices. So, without further explanation, here we go! Spoiler Alert: Some clips shown may contain spoilers for the films. Watch at your own peril.
1. Uncut Gems
It took an hour. I was sitting in my house sipping on a water bottle, and it took an hour after this movie to bring my heart rate back down. Let me start by saying that this film is tailored to me. It’s about sports gambling, centers around the NBA playoffs, and stars Kevin Garnett, The Weeknd, Idina Menzel, and Mike Francesa. It’s as if somebody went into my brain, picked out some ideas, threw in famous people I like or recognize, and then formed that into 135-minutes of pure anxiety-enduing cinema. Oh, and then add Adam Sandler in what has to be the best performance I’ve ever seen from him. Yes, Uncut Gems is for me on paper, which means I had extremely high expectations rolling into the theater. What’s somehow crazier than the film itself is that directors Josh and Benny Safdie not only delivered my favorite film of the year, but the best film of the year.
The stress begins immediately, with a miner somewhere in Africa dealing with a bone-revealing injury. It’s a squeamish start to what will be a squeamish film that only moments later shows a colonoscopy. Uncut Gems centers around Howard Ratner (Sandler), a jeweler who is addicted to sports gambling. Ratner comes across an Ethiopian uncut opal right around the time Boston Celtics post player Kevin Garnett is visiting the store alongside Ratner’s assistant Demany (a solid Lakeith Stanfield). Ratner lets Garnett take the opal for a day before an impending auction, a decision that comes back to haunt the jeweler. While all of this is going down, Ratner is being chased by loan sharks led by Arno (Eric Bogosian) and is trying to balance life with a wife (Menzel) and kids as well as a very attractive co-worker/mistress (an absolutely stunning Julia Fox in her first movie appearance ever). When you write out the plot, it seems pretty cut and dry, but the Safdie Brothers turn multiple plot lines on their heads with reveals and quick-paced dialogue. It’s clear that Ratner is in over his head, and the chaos that surrounds his life continues to build until the climactic final thirty minutes that’ll leave you with your jaw on the floor.
Sandler’s performance is remarkable. I’ve never been a huge fan of his comedy films, but Adam Sandler can really freaking act when he believes in a project. His manic turn as Ratner is wildly entertaining; he’s able to simultaneously convey a character being swallowed by chaos that also has the gravitas to make it seem like he’s in complete control. Sandler gets incredibly chewy scenes and has crazy-good chemistry with every member of the cast, something surely helped by the slow zoom-ins and zoom-outs of the Safdie Brothers’ direction. In a less-crowded year, Sandler might win Best Actor at the Oscars; instead, it’s just one of the best leading male performances of the year that isn’t guaranteed any awards buzz. Behind Sandler, the two revelations of the movie are film newbies in Kevin Garnett and Julia Fox. KG, who plays a fictionalized version of himself, can really act, folks. The 15-time NBA All-Star and 2004 MVP has chops, and he holds his own in scenes with Stanfield and Sandler. One particular moment between Garnett and Ratner in the jewelry store offices is well-done on both sides, but Garnett just seems so natural during the entire sequence. If Kevin Garnett wants to go into acting, I think he’d have a real shot at becoming a star. On the flipside, Julia Fox as Julia, Ratner’s employee and mistress, is so dang good and really luminous in the role. She gets plenty of big scenes in the film (an argument outside of a club and sitting alone in a hotel room watching Game 7 of the Celtics-Sixers series with a big bet on the line really stand out), and Fox is able to match Sandler when the two share the screen. Julia Fox is a star on the rise, and Uncut Gems is just the first example of what should be many memorable performances coming from the young actress.
From a technical standpoint, Uncut Gems has lots going for it. The script from Ronald Bronstein and the Safdie Brothers is hectic—there are characters constantly talking or yelling over each other although, and a credit to the sound mixing, never to the extent where things are confusing. The editing, done by Bronstein and Benny Safdie, is quick too, with plenty of well-timed cuts to close-up shots on characters. Daniel Lopatin’s score is wonderful too, providing a techno-esque tone that gets busier and more frantic as the intensity ramps up. Everyone is operating at a high level, and the work behind the camera is just as strong as the acting in front.
Uncut Gems will stick with you for weeks after viewing. Maybe it’s Sandler’s performance or the revelatory turn from Fox. Maybe it’s the score or the direction, or maybe the break-neck script will be swimming in your head. Either way, this movie will plant a flag in your brain and hang around for a while. Josh and Benny Safdie have created a classic here, and the brothers have used an unexpectedly strong group of actors to bring it home. It’s a genuine shame this film was blanked by the Academy, because there’s so much that’s deserving of recognition. Uncut Gems is the best movie of the year, and I highly recommend it to anyone who hasn’t seen it yet. Just bring some Tylenol.
2. Waves
There’s a moment in Waves when everything falls apart. As an audience member, you’ve been watching the slow downfall of the central character Tyler Williams (Kelvin Harrison Jr.) for the first half of the film, and the sensible moviegoer can feel that the “big” moment will hit soon. Still, you’re not sure the nature of that moment until you watch a stunning ten- or fifteen-minute sequence at the midpoint, filled with top-notch acting and crisp, slap-your-hand-over-your-mouth writing. That’s when the movie rolls in and hits you (like a…wave) and keeps you entranced until the final credits roll.
Writer and director Trey Edward Shults has put together a movie experience that grabs you by the shoulders and lifts you into the stratosphere from the jump. Shults uses so many different camera movements and colors throughout that Waves turns into a sensory occurrence unlike anything I’ve ever felt in my life. As noted, the film focuses on the Williamses, an African-American family in Miami. There’s Tyler, who’s a high school wrestler struggling with a shoulder injury, his stepmother Catherine (Renée Elise Goldsberry in a very moving role), his younger sister Emily (breakout star Taylor Russell, more on her below), and domineering father Ronald (Sterling K. Brown in what may be the best performance by a male this year), who pushes Tyler in more ways than one. The family dynamic is an interesting one and subtle clues about each character are dropped slowly, and the script creates tension between the four as they try to find a place. As noted, the first half spends more time on Tyler until the explosive conversation with his parents and a stunning, heart-breaking back-and-forth with ex-girlfriend Alexis (Alexa Demie, who’s superb). Then, the second half focuses on Emily as she, Ronald, and Catherine try to pick up the pieces and get things back to normal.
As noted last year, there are a few things for which I’m looking when I walk into a movie. First, does the cast overall deliver strong performances? Second, does the plot make sense both immediately and after I’ve had a chance to sit and ruminate? Third, what technical aspects from the director make this film stand out? Finally, there are extra bonus points if I cry. Waves checks every single one of these boxes about ten times. This film gives the strongest performance by a cast this year. Kelvin Harrison Jr. is stunning as Tyler, showcasing the precipitous fall from what feels like the top of the world with a realism rarely seen on screen. Taylor Russell’s extremely quiet during the first half of the film minus a few touching scenes with Harrison, but her talent really explodes in Emily’s arc in the film’s latter half. Russell sells the heartbreak of the family’s tragedy with each look and subtle facial expression, and she gives a believability to her relationship with Luke (Lucas Hedges, solid as always) that makes the climax of the film’s second half even more devastating. Finally, there’s Sterling K. Brown. Sterling K. Freakin’ Brown. Fans of various columns will note that I’m a big supporter of Brown in various other projects, particularly This Is Us. Well, this is the perfect performance. It doesn’t get much better than this. Brown sells the demanding father character with ease, but he also has some softer moments with Catherine that will hit just as hard. Then, there’s Ronald’s pond-side conversation with Emily, a scene of just unadulterated, pure emotion that will absolutely crush you and make you tear up. I want Sterling K. Brown to win an Oscar for this performance, because he deserves it. It’s that good. Unfortunately, the various awards bodies didn’t agree and Brown got very little recognition this awards season, which is almost criminal.
Waves is a bit of a risk from Trey Edward Shults, but it pays off. The direction is bold, with many shot types I’ve never seen before and a use of music, light, and color that seems more unique than any other film I’ve witnessed. The story is airtight, and it hits you in the gut about ten different times (I will admit to crying at five different points). As noted above, the cast is spectacular, special in a way rarely captured in one movie. The score is killer. The cinematography is crazy good. Just take my word for it, everything is good. This is a film joining tons of expert professional operating at the top of their game. Waves isn’t just one of the best movies of the year and one of my favorites on this list, it’s the experience of the year. It washes over you from the opening shots and takes you on a 135-minute journey that, by the end, will have you gasping for air and reaching for the tissues.
3. Parasite
How do you rate a movie that’s easily one of, if not the, most well-made film you’ve ever seen that simultaneously might also not be your favorite upon first viewing? Enter Parasite, the much-ballyhooed, quite exquisite piece of cinema from Korean director Bong Joon-ho. When I entered the tiny, independent theater in Athens to watch this movie, I was prepared to have my mind blown. After all, critics have been going crazy for Parasite since it hit the festival circuit. From a pure movie-making perspective, Parasite is damn near perfect. Bong directs this film to masterpiece level and has full control of his craft. There are zero false moves and no wrong steps made. Each piece of dialogue and each camera movement is carefully thought out. There are thousands of tiny little lived-in details that just make everything more cogent and real. Yet, the high-quality of film-making didn’t match my enjoyment. I liked Parasite quite a bit, more than almost any other movie this year, but I didn’t love it, and I’m not entirely sure why. Then, I saw Parasite a second time in a theater. It’d been stuck in my mind for weeks and, when a little spot in Tuscaloosa was showing it for one night, I knew I had to go watch this film again. The second viewing absolutely blew me away. In case you forgot, there’s pretty much nothing wrong with this film.
Bong Joon-ho’s screenplay is so narratively tight that it makes you wonder how any human can write a script like this. It’s suspenseful and builds ridiculous tension, but it’s also quite funny (something I noticed much more the second time around). Focusing on the Kims, a poor family in South Korea, Bong takes viewers on a con-like caper that sees son Ki-woo (a delightful Choi Woo-shik), daughter Ki-jeong (Park So-dam in a hilariously heart-breaking role), mother Chung-sook (Jang Hye-jin) and father Ki-taek (Song Kang-ho, in a performance that isn’t getting nearly the attention it deserves) infiltrate the Parks, a wealthy family living in a huge house in the rich part of town. The first hour or so focuses on the con itself, providing sleek dialogue littered with good one-liners. There’s also a lot of commentary on class in Korea and, in a very real way, the differential between socioeconomic groups in America (the movie may be in another language, but the writing is on the wall). As you’re watching, you see why the movie is named Parasite—the Kims are suckling off the teat of the Parks, gaining four salaries from a family who hasn’t connected the dots between the four characters. Then, the twist happens.
I want desperately to write about what ensues about halfway in, and I have many times when I’ve reviewed movies in this forum, but I won’t this instance. Instead, I’ll just encourage you to watch this film and report back with your thoughts. I’ll say two things—first, the twist really works. Bong builds suspense so well, and there’s a subtly oozing tone of dread from the first shots, despite the more light-hearted nature of the scenes. That ability to build suspense makes the shock value of the twist even more effective, and it really will blow you away. Second, there’s a shot that more or less involves that twist that has stuck with me since my viewing. I won’t spoil it, because this scene deserves to be watched rather than described, but let’s just say the moment has made it extremely hard to leave any doors open when it’s pitch-black. Amazingly, the show is just as effective when you watch Parasite again. I knew it was coming and it still rocked me to my core.
As noted previously, the acting is top-notch. Cho Yeo-jeong as Choi Yeon-gyo, the matriarch of the Park family, is spectacular, constantly delivering facial expressions of shock and awe. Lee Jung-eun as Gook Moon-gwang, the Parks’ former housekeeper, is spell-binding as well, and she gets some wildly fun scenes to chew on in the film. Still though, the emotional tether of the film is Song Kang-ho, whose performance as Ki-taek is really breathtaking. Song’s delivery, body language, expressions…I mean, everything about the acting job is stellar. I wish there was a way to honor him, but the Best Supporting Actor category is insanely crowded.
Overall, Parasite is a work of art. It’s a real masterpiece, and it’s simultaneously terrifying and thought-provoking. The cinematography is incredible, and the production design is beautiful in its simplicity. The score might be the best of any film on these rankings. It may not be my favorite movie of the year, but it’s right there and will be at the top of many 2019 lists. Bong Joon-ho may not be a household name now, but Parasite should make that process hurry-along. Go see this film and, once you do, don’t forget to close every door before you fall asleep.
4. Marriage Story
Sitting in Sidewalk Cinema in Birmingham, I expected my mind to be blown. Marriage Story had become a critical phenomenon since festival season, and the hype was crazy. Still, I’ve become wary of “the front-runners” in most Oscar years because, oddly, those movies have found themselves somewhere in the middle of the list. Not this one. No sir, definitely not this one.
Marriage Story is not my number one movie of this year, but it features a lot of “bests.” Written and directed by Noah Baumbach, this film tells the story of the collapsing marriage and subsequent divorce proceedings between Nicole and Charlie, played by Scarlett Johansson and Adam Driver in two of the best lead performances this year. It features Laura Dern as Nora, Nicole’s lawyer, and an excellent supporting cast as well (as usual, we’ll dive into the acting in a bit). What’s most tremendous about this cinematic feat is an original screenplay unlike anything I’ve ever experienced. Noah Baumbach, who’s written quality films like Frances Ha and The Squid and the Whale, is at the top of his game here, delivering a script that starts with Nicole and Charlie reading what they like about each other for a counseling exercise. It spirals from there, showing how divorce can drag two people who want to remain friends into the trenches. The little lived-in details make the movie come alive, and throwaway pieces of dialogue come back later to make scenes hit just a bit harder (one in particular makes a moment with a child observer that much more harrowing). Then, there’s the movie scene of the year. It’s a fight between Nicole and Charlie, when both say things you can only say when you know the marriage is over. It starts simple and nears contention before coming back to civility for a brief moment. Then, the top comes off, and both Driver and Johansson rip into each other with a ferocity and a realness rarely captured on screen. It’s heart-breaking, and it’s stunning.
While I have never been a huge fan of Adam Driver (he first really popped onto my radar in last year’s BlacKkKlansman), he is incredible here, delivering the finest lead actor performance of 2019. His vocal performance is stunning, but he has some physical bits that are just as good. He shows Charlie’s subtle temper in an effective way, and his line deliveries showcase just how flawed Charlie really is as a character. Two scenes, besides the fight, jump out. First, there’s a song sung at a bar from Stephen Sondheim’s Company that becomes a microcosm for the film as a whole, a realization that hits Charlie right about the moment it hits you. Then, there’s the second to last scene, when the notes come back, and Driver gets his quieter emotional moment. That one brings out the tears. Similarly, Scarlett Johansson delivers a career-best performance that rips your heart out. Her best scene, and the one that locks her up for a Best Actress nomination, is when she pours out her heart to Nora, expressing the positives and negatives of the marriage and how much it has worn her down. In the fight scene, Johansson is able to go toe-to-toe with Driver (I may not be a huge fan of him, but he’s widely considered one of the best actors of his generation for good reason), which is no small feat. Nicole is complicated; she struggles to get her words out, and Johansson is able to showcase that with such gravitas. As I’ve said many times already, it’s stunning. Elsewhere, Laura Dern as Nora is the Best Supporting Actress performance of the year (my apologies to Jennifer Lopez, who is second). She gets multiple big moments, but her delivery of lines and the tonal flip between lawyer trying to get the most for her client and nice person is occasionally jarring and always magical on screen. Also, Ray Liotta as Jay, Charlie’s lawyer for the proceedings, is the best work that actor has done in years. Alan Alda as Bert, Charlie’s first lawyer, gives a great, subtle performance that would’ve had him in awards talk had he gotten more screen time. As Nicole’s mother and sister, Julie Hagerty and Merritt Weaver are delightful, and they get to deliver the funniest scene of the film, when the three women in the family are trying to decide how best to serve Charlie his divorce papers. Really, the cast is top-notch all over the board, but their performances are made all the better by the material.
Baumbach’s film is messy. There are cuts here and there I didn’t like, and a few odd editing choices. But, maybe that’s the point. This isn’t a clean story; it’s dirty and ferocious with a small hint of sweet undertones that show how divorce affects families. Randy Newman’s score is perfect, coming in at the perfect times continuously. Again, though, this film is a masterwork because of the script, which is the best created this year and maybe in the top five this decade. It’s brutal, but it works, and it will make you tear up.
I’ve never dealt with divorce. My parents are happily married, and few of my living relatives have gone through this process (those that have I’m either not that close with or was too young to remember how things went down). That doesn’t matter. This movie is about relationships and how one can crumble, and that’s something to which we can all connect. Marriage Story is a body-blow with the best leads, the best script, and the best scene of the year. It’ll make you laugh, cry, and think about the relationships you’ve got in your life. As I think I’ve mentioned before, it’s stunning. It’s art in every sense of the word, and it’s something you can’t miss. Just bring tissues and, for the love of God, don’t watch it on a computer.
5. 1917
To say I was excited to see this movie is an understatement. One of the most-hyped movies of the 2019 Awards Season, 1917 started garnering attention with Golden Globes wins before a wide-release. The rumors came out that it was a one-shot deal, plus famed cinematographer Roger Deakins was in the mix. What’s not to love? Directed by Sam Mendes, 1917 is a beautiful film. This movie tells the story of two young British soldiers during World War I who are tasked with delivering a message calling off an attack doomed to fail soon after a planned German retreat. The camera follows those two soldiers, William Schofield (a superb George MacKay) and Tom Blake (a strong Dean-Charles Chapman), throughout the film, focusing on their journey to accomplish the mission. From a plot standpoint, it’s simple—these two are trying to get from point a to point b. Still, there was something missing in the execution.
Most war movies focus on spectacle, and 1917 is no different. The main character of this film is World War I itself, because so much of the scenery and the atmosphere overpowers the viewer. Because of this, the story goes by the wayside just a bit, and the screenplay doesn’t help matters. Penned by Mendes and Krysty Wilson-Cairns, there’s a lot of contrived and corny dialogue, with certain metaphors and motifs being thrown in for no reason before appearing randomly later (a scene early with some cherry blossoms just doesn’t land). There are war clichés that come into play, from a run-in with a hidden woman and baby to the coincidences of someone rolling up and helping out seemingly out of the blue. Luckily, the movie is so beautifully choreographed and stylized that the viewer probably doesn’t care much about the script’s shortcomings. Also, when the movie hits its marks, it hits. The climax is epic and will absolutely suck you in, especially because of how Deakins shoots that scene. Mendes himself directs it well, and a lot of his usual hallmarks are present (the man really knows how to position actors when their bodies are lit up by a distant fire). Elsewhere, Thomas Newman’s score is breath-taking. It’s perfect for all of the little moments of terror and dread, while going big when needed.
While Chapman does good work as Blake, this is George MacKay’s movie. He bears the brunt of carrying the emotions of 1917, and he does so beautifully. You can tell he’s exhausted by the end, and the psychological weight of the whole experience is visible on his face. Elsewhere, it’s good to see famed British actors like Andrew Scott, Richard Madden, Colin Firth, and Benedict Cumberbatch, although in your mind you might start playing the game of “which great English actor will Schofield find next?” It’s not a huge distraction, but the use of so many famous people for minute roles will be something you think about.
In the end, 1917 is world-class filmmaking inside a good movie. Mendes crushes it, and Deakins is absolutely at the top of his game, even in his seventies. There’s a reason this movie is looking to rack up quite a few awards, including Best Picture (currently it looks like the front-runner). Had the story been stronger and the trailer not given away so many of the more heart-pounding moments, 1917 could have been higher. It’s a war epic that’s just that, epic. Unfortunately, it’s not quite perfection.
6. Knives Out
In all of my years going to see movies, I can’t remember a time that I’ve had more fun than watching Knives Out. Directed by Rian Johnson and starring basically everybody, this film is the whodunnit that hopefully brings the genre back. Knives Out hits on all cylinders, starting with a screenplay that twists and turns and takes you places you never expected to go. The film feels like something from the 80s, yet oozes with current vibes as well, with everything from Instagram and Twitter references to vaping from a main character. It also takes whodunnit and action movies tropes and spins them on their head, dropping lines after chase sequences such as, “that was the dumbest car chase of all-time.” Plus, Johnson’s original screenplay is bursting at the seams with quick wit, one-liners, and hilarious quotes. One can only hope that the script is nominated for something at the Oscars. We won’t spoil the plot in case there’s anyone reading that hasn’t seen it yet. Elsewhere behind the camera, Bob Ducsay’s quick edits build up the tone of mystery set by Johnson’s direction, and the film is perfectly scored by Nathan Johnson. All of that being said, the best thing about Knives Out is a cast full of actors having the time of their lives.
I mean, where do we start? This movie has everybody (insert Stefan from SNL voice): James Bond, Captain America, Laurie Strode, Hannah Baker, the kid that stutters from It, the sister from The Righteous Gemstones, Toni Collette, and so much more. For the first time ever, let’s give each member of this stacked cast his or her due.
Daniel Craig as Benoit Blanc: Craig’s turn as the private detective with a southern accent for the ages is hilarious, and easily the most fun the actor has ever had on screen. As Blanc solves the case at the end, there is a monologue about donuts that is easily one of the funniest scenes of the year. Really, it’s a great performance, because Craig tricks you into thinking Benoit Blanc (WHAT A NAME) is an idiot before you sit back in your seat and realize he might just be a genius.
Chris Evans as Ransom Drysdale: Considering the seriousness of Avengers: Endgame, I’m sure Evans was thrilled that he got to cut loose for this role as Ransom, Harlan’s grandson and a spoiled playboy. Evans plays snide and cocky extremely well, and the role will remind you, after many years as the super-serious Captain America, that he’s actually got some great comedic timing. Plus, Evans wears a cable-knit sweater that I’m sure will be all the rage in the northeast part of the country.
Ana de Armas as Marta Cabrera: Are you unfamiliar with de Armas? Well, learn the name, because she’s about to get incredibly famous. As Harlan’s nurse, de Armas gives a pretty layered performance, filled with nuance that holds just enough mystery to make you question if the film’s central character actually committed the murder. If this movie doesn’t do it, Ana de Armas will be in the next James Bond film alongside Daniel Craig again.
Jamie Lee Curtis as Linda Drysdale: Curtis gets to do some fun things here as Harlan’s oldest daughter and Richard’s wife. It’s not totally different from what we usually see from her, but the performance is solid, and we get some great quotes like, “The party? Pre-my dad’s death? Oh, it was great.”
Michael Shannon as Walt Thrombey: Shannon gives a different turn as Harlan’s son and the head of his father’s publishing company. Typically, Shannon is an evil, foreboding, huge presence in his films. Here, he’s got a limp and is almost pathetic. Still, the first few times he speaks, you’ll want to put him at the top of your suspect list.
Don Johnson as Richard Drysdale: Johnson just kills it as Linda’s husband. Again, another character who gets plenty of juicy material to play with, and he gets a few chances to add to the great running gag of nobody knowing what country Marta’s family is actually from.
Toni Collette as Joni Thrombey: My favorite performance in the whole film. As the widow of Harlan’s deceased son Neil and a lifestyle guru and social media influencer, Collette is downright hilarious. Great quotes like, “I read a tweet about a New Yorker article about you. You’re famous,” and “DM me on Instagram!” are incredible in-context, and her facial expressions throughout will make you laugh. I wish there was a way to get her in the awards conversation for this, because Joni Thrombey might be my favorite comedic character of 2019.
Lakeith Stanfield as Detective Lieutenant Elliot: As one of the investigators, Stanfield is pretty much an audience stand-in, but that doesn’t mean he doesn’t get to drop some great lines. He has the “dumbest car chase” quotes, and he delivers a “damn,” when Blanc solves the case that is pure perfection.
Katherine Langford as Meg Thrombey: Langford may seem heartfelt as Joni’s daughter, but she lowkey is the most evil and bad of all of the characters. Few people are worse than those that act like they have your best interest at heart and then stab you in the back. Langford plays that fake earnestness very well.
Jaeden Martell as Jacob Thrombey: As Jacob, the alt-right teenager and Walt’s son, Martell doesn’t get a ton to do in the film. Still, I’m glad he’s in here, mainly because his attendance gives one character as chance to refer to Jacob as “the Nazi masturbating in the bathroom.”
Christopher Plummer as Harlan Thrombey: As the dead mystery novelist, Plummer is perfectly cast. There’s an air and whimsy and mystery in everything he says, and Johnson’s choice to make Harlan a perfectly pleasant guy who just so happens to be murdered by someone in the family is excellent. Plummer delivers the good-natured and trusting attitude of Harlan with great skill.
K Callan as Wanetta “Great Nana” Thrombey: GIVE K CALLAN ALL OF THE AWARDS! Great Nana is an icon. Here’s a preview of what I hope will be the most common 2020 Halloween costume and the top fashion trend of the next decade.
The best part of having a cast with so many big names? Nobody knows who did it! Typically, in films like this, the murderer is the famous person. Well, everybody is famous, which is awesome and just plays up the “anything can happen” nature of the film.
Knives Out is just a doggone blast. It’s razor-sharp and has a director operating at the top of his game with a hilarious and original script and a cast totally up for anything. It’s not the best movie of the year, but it’s easily the most fun.
7. Bombshell
Can I tell you a secret? I don’t watch Fox News. I also skip CNN, MSNBC, CNBC, CSPAN, and basically every other cable news network. I don’t watch the news at all really. Sure, I’ll tune in for a presidential debate here and there, and if there’s something big happening I’ll change the channel over, but I’m not exactly making Hannity or The Situation Room or The Rachel Maddow Show appointment viewing. That being said, I’m aware of these people and I know what’s happening. I remember when the Roger Ailes sexual harassment story came out and I recall all of the fallout from that situation for all of the folks involved, including Fox News.
The Roger Ailes sexual harassment lawsuit is the center of Bombshell. Directed by Jay Roach, this movie is…really great! Seriously, it’s one of the more entertaining movies I saw this year. The tone is light, and there’s plenty of humor circulating the script. Roach’s documentary-style works here, and he handles the more serious scenes with great care. While a few of the quick-zoom cuts aren’t my favorite thing in the world, Roach does a really good job behind the camera. The score as well, done by Theodore Shapiro, is haunting, using a chorus of women to provide the background music for the story. What makes Bombshell great, though, is the performances. As noted, this is a story about the Roger Ailes sexual harassment case. That case is brought on by Fox News anchor Gretchen Carlson, with the help of Megyn Kelly and multiple other women in television. All of these real-life people are portrayed in the movie, and every single depiction is spot on, whether by hair and makeup or by voice. Really, it’s quite incredible.
The film is told mostly through the eyes of Kelly, played by Charlize Theron. I’m not sure played is the right word though. Really, Charlize Theron is Megyn Kelly. Everything is spot on. The makeup is uncanny, and Theron nails Kelly’s voice. Seriously, it’s an incredible transformation, and I’d frankly put her performance as the top by a lead actress for 2019. Theron’s involvement in the project is worth researching, but it’s clear that this is a movie she really wanted to make, and she knocks her part out of the park. As Gretchen Carlson, Nicole Kidman delivers the goods as well. It’s not quite as flashy a performance as Theron’s, but Kidman still conveys Carlson’s determination to bring down Ailes with a sense of believability. Plus, they nailed the hair. The third main female character is the fictionalized Kayla Pospisil, played by Margot Robbie. Kayla is the new girl at Fox News, trying to get ahead in the business and position herself to be on the air. Her drive and determination lead to one of the more affecting and heart-breaking scenes of the year with Roger Ailes, who’s played to perfection by John Lithgow (Lithgow nails Ailes’ mannerisms and look with incredible accuracy). For a movie that had gotten plenty of laughs, the scene between Ailes and Kayla caused widespread silence. Nobody could move, nobody could breathe—the whole theater was stunned as a visual representation of what workplace harassment looks like played out on screen. Roach directs the scene well, and Robbie is particularly heart-breaking. She gets a few more scenes throughout the film where she really shines, particularly when working with Theron. Kayla may not be real, but Margot Robbie made her feel real. Elsewhere, the cast is loaded with great, “oh hey, it’s that person I love” actors crushing portrayals of those at Fox News. Allison Janney as Ailes’ lawyer Susan Estrich is weirdly accurate. Michael Buie is on the money as Bret Baier, and Kevin Dorff looks and sounds just like Bill O’Reilly. Spencer Garrett is Sean Hannity; if they were both in the same room, you’d be hard-pressed to tell the difference. My main man Marc Evan Jackson from The Good Place looks and sounds just like Chris Wallace in his one scene, and Richard Kind kills it as Rudy Giuliani. The best performance impersonation, though, is Alanna Ubach as Jeanine Pirro. I mean, it’s so spot-on that it’s almost unbelievable that it’s not actually Pirro in the film. Special shout-out also to D’Arcy Carden (also from The Good Place) who gets in some good quotes as Rebekah and Kate McKinnon as fictional producer Jess Carr. This cast goes crazy, and it’s a credit to the incredible Kazu Hiro for her prosthetic work on so many of the characters.
Bombshell tells a serious story in a light, entertaining way, and that’s to be commended. The performances are top-notch, with Charlize Theron leading the way in one of the more remarkable transformations I’ve ever seen. The film has some issues and certainly isn’t perfect, but it’s an impressive showing from Jay Roach. The film wants the world to know that the days of women staying silent after being harassed is over, and that’s an important message for sure. Whatever your politics, you’ll understand and respect the story that Bombshell is trying to tell.
8. Hustlers
“Everybody’s hustling. This city, this whole country, is a strip club. You got people tossing the money, and people doing the dance.” That last line, delivered by Jennifer Lopez’s Ramona, left me stunned in my seat in the theater. Around me, some people audibly said, “wow,” but I couldn’t say anything—I was speechless.
Going into Hustlers, directed by Lorene Scafaria, I felt a wide-range of emotion. Heavily-hyped out of the Toronto International Film Festival, this movie was one that needed to be seen for these reviews. Still, I questioned whether this movie would be for me; the well-made trailer made it look like a simpler “Girl’s Night Out” movie about strippers that featured a strong cast, and I don’t typically see movies like that and immediately think awards are on the horizon.
Let me tell y’all, this is one of the best films of the year. It’s a joyful experience, and I’m sure there was a stupid smile plastered across my face from the moment J Lo strode up to the pole and performed an opening dance until the credits rolled. This movie is so, so much deeper than your typical female-led comedy; it’s a brilliant story about the 2008 financial crisis that shows just how far a group of working-class women will go to gain the life and independence they crave. Sure, there are strippers drugging, conning, and robbing Well Street men, but you rarely feel poorly for the victims—you almost say to yourself that you get it because of the financial desperation felt by these women. It’s more or less a Robin Hood effect.
I’m admittedly unfamiliar with Scafaria’s work, but her direction in this film is exquisite. Her close-up shots of Ramona and Destiny (a perfect Constance Wu, but more on her later) detail the confidence in their facial expressions while also simultaneously showing the slight hints of doubt in Destiny’s mind as Ramona lays out the plan. The editing in this movie is just amazing, from the choices with sound used in an interview from Julia Stiles’ journalist Elizabeth to the various cuts through time. The soundtrack is a blast too, playing songs you’d think you’d hear in a strip club in each year shown. The script is smart and hilarious, with tons of quotable moments filled with humor that are bolstered by strong sequences of humanity.
When you talk about the cast, you have to start with J Lo. Her performance as Ramona is just stunning—easily career-best work—from the very first shot when she shows up in the aforementioned pole dance sequence. Ramona doesn’t have a lot of big moments (there aren’t any huge monologues), but when there are important portions of characterization, Lopez shines. She plays Ramona as confident, smart, and tough because Ramona is the unquestioned ring-leader of this game, and she does so in a stunning fashion. Even more stunning is the snub of Lopez by the Academy in the Best Supporting Actress category. Despite lots of hype and plenty of precursor nominations, J Lo was ignored, which is a riot-worthy decision. Constance Wu’s performance as Destiny, the “new girl” to the club and the narrator of the story, is fantastic as well, showing the immense talent that the actress holds. She sends basic monologues to deeper emotional levels, and her subtle facial expressions constantly sell just how unsure Destiny is about this whole scheme, even when she doesn’t realize that she has her doubts. Keke Palmer is hilarious, and her star should continue to rise with this impressive performance, and Lili Reinhart of Riverdale fame has the funniest bit in the entire film. Lizzo has a great line too, and even Cardi B has a few nice moments. Still, this movie belongs to Jenny from the Block. Lopez’s acting will leave you speechless throughout, and then she shuts things down with a roundhouse quote to finish things off.
In the end, Ramona is right. America is like a strip club and, if that’s true, Hustlers is the one doing the dance while me and so many others throw money at it. Scafaria has done something really special here. There is no hustle—this is easily one of the best movies of the year.
9. Once Upon a Time…in Hollywood
Let me start by saying this—I’m not a Quentin Tarantino “fan.” I respect his talent as a director and like, even love, some of his movies, but I’m not going to a film blindly just because it’s written and directed by Tarantino. That being said, Once Upon a Time…in Hollywood has perplexed me in the best way. Simply put, I’m not sure how to put into words my feelings for this film since I saw it (and I’m writing this review a few days after watching). The way I see it, this is two movies—the first, which takes place over two days, provides all of the character work. There isn’t much action and we don’t have typical Tarantino-esque dialogue, but the late-1960s world building is superb. Everything feels real and lived in, from the actual Los Angeles locations to the neon signs, shoes, and cars. It’s refreshing to see a major portion of a Tarantino movie not be about the shock factor or the gore, but about the characters themselves and how they fit into this landscape the director has created. The second movie, which happens sixth months later, is balls-to-the-wall awesome, punctuated by a final sequence that will have you laughing and watching with a sense of awe and wonder. I loved the use of narration (Kurt Russell’s calming, slightly gruff voice is perfect for this) in the second portion, and I kind of wish that device was used more throughout the film. Combine those pieces, and you get what I think is a really great film. The cinematography is superb, the soundtrack is stellar, and the set pieces are grand.
The performances deserve an entire paragraph themselves. Let’s start with Leonardo DiCaprio, who plays Rick Dalton, an actor struggling with a career that he feels is on the downturn. In my opinion, this is my favorite Leo performance ever—he’s completely committed, selling the distress of his character and the semi-bipolar beats in the script. There’s a scene in a trailer where Leo is at his best, yelling at himself in the mirror and providing some superb simultaneous drama and comedy (the line, “Eight f***ing whiskey sours. I couldn’t stop at f***ing three or four, I have eight?! Why? You’re a f***ing alcoholic, I drink too much!” is one of the best in the entire movie). I won’t label it the lead actor performance of the year because there are too many movies still on the horizon, but if Leo isn’t nominated for Best Lead Actor at the Oscars, something is wrong (his reading of, “Believe it or not, I got a flamethrower in my tool shed” should be enough if the aforementioned trailer scene doesn’t snag him a bid). Ditto for Brad Pitt for Best Supporting Actor. This is a top three Pitt performance for me, and it’s interesting because his character, Cliff Booth, is just kind of there. Booth has funny lines, some good moments of subtle acting, but there isn’t really a story arc for him. Pitt is just kind of hanging out in the film, and that really works. Pitt is able to deliver some excellent quips (“Anybody accidentally kills anybody in a fight, they go to jail. It’s called manslaughter”), and he really gives off the look of an every-man in the 1960s. Margot Robbie’s subtle performance as Sharon Tate was nice, although I’m not sure she’ll get awards love considering the powerful Supporting Actress turns scheduled for the rest of the year. I don’t have an issue with the lack of dialogue because I enjoyed just following the angelic Tate around as she moved through her life. Extra points to Margaret Qualley as Pussycat, Timothy Olyphant as James Stacy, Emile Hirsch as Jay Sebring, and Al Pacino as Marvin Schwarz for solid little turns as well.
In the end, Once Upon a Time…in Hollywood is an interesting self-reflection for Tarantino. It seems like the esteemed director is taking a look at his career in the mirror and what it means in the grand scheme of Hollywood, and he’s doing so in a film that’s more restrained that any of his in the last two decades. It’s also an homage to what life was like in Los Angeles in the 1960s, a time when the idea of the “Movie Star Dream” was alive and well. The references in the film are endless, which adds even more to the real feel of this film. The ending will stick with you and remind you who’s in charge of this project, but that’s a good thing—it’s the perfect culmination to the previous 140 minutes or so. Overall, Once Upon a Time…in Hollywood is a great film and should be a contender for Best Picture and the favorite for Best Original Screenplay. In what’s supposed to be Tarantino’s penultimate film (this is his ninth, and he’s said over the years he will make ten), we as an audience get to see a genuine look inside the mind of the famed writer and director and, just the like whimsical title suggests, the result is magical.
10. Ford v Ferrari
I’m a big fan of Ford v Ferrari. I thought it was good. It also annoyed me to no end and was probably the most frustrating movie experience of the year. Telling the story of the ’66 Les Mans race in France and the rivalry between the Ford and Ferrari racing teams, Ford v Ferrari uses the points of view of racecar designer Carroll Shelby (a solid Matt Damon) and British driver Ken Miles (a stupendous Christian Bale). Director James Mangold delivers some fantastic scenes, and the actual race itself is riveting. So are the other driving scenes, which make this film a strong contender for best editing. The story itself, though, written by Jez Butterworth, John-Henry Butterworth, and Jason Keller, is maddening. Ford v Ferrari has a very “Disney movie” quality, similar to Miracle or Remember the Titans. It gives off the illusion that what you’re watching is going to go a certain way, and then it flips the script in a way that makes you want to pull your hair out. How? Well, let’s just say I wanted to punch every single major character in the face at least once.
Let’s dive into the performances, shall we? Damon delivers some really good work as Carroll Shelby. His facial expressions show how conflicted he is by all of the different directions in which he is being pulled, and his accent work is pretty solid. That said, Shelby as a character makes you want to pull your hair out. He never sticks with his convictions, instead wavering and, usually, siding with the Ford Motor corporate machine. I kept wanting him to get his knuckles bloody, but Shelby just wouldn’t do it. As Ken Miles, Christian Bale is being Christian Bale. I’m not sure I’ve ever seen this actor have as much fun on-screen as he is here, and it’s clear that Bale is loving every second of this character. For most of the movie, Miles is the one most set in his ways, but even he gives in to the corporate machine. The fallout of the Les Mans race made me angry, because Miles seemed to be totally fine getting railroaded. Sorry, that didn’t work for me. Elsewhere, congrats to Josh Lucas for creating my least favorite character of 2019. As Leo Beebe, the senior executive vice president of Ford, Lucas gives a villainous performance that will make you incredibly mad. There were many times when Beebe would speak that I’d just throw my hands up and look at my friend and say, “Seriously? What’s his problem?” The performance is fine, but I hated that character so much that it blinded me from really analyzing Lucas’ work (what sucks most is *spoiler alert* the villain wins). As Lee Iacocca, Jon Bernthal doesn’t have much to do except nod and silently celebrate when it appears that Shelby and Miles are defying Ford executives. In no way does Iacocca actually help Shelby and Miles, but he seems to think he’s doing something. Caitriona Balfe is solid as Miles’s wife Mollie, but she isn’t given much to do (some late actions could’ve given her a real opportunity to shine, but the script doesn’t give her that chance). In terms of pure performances, Tracy Letts steals the show as Henry Ford II. Any time Letts is on the screen, he commands your eyes. It’s a complete 180-degree turn from his appearance in Lady Bird, which I also enjoyed. Noah Jupe as Miles’s son Peter is served as a plot device, and he really only delivers obvious “Look at Dad!” dialogue throughout. As I said, the performances are good, but the material they’re given doesn’t do any of the characters justice.
You probably read that last paragraph and are now thinking, “How in the world is this movie ranked so highly?” Well, the window-dressing works. The racing scenes are enthralling and incredibly engaging. You won’t be able to look away from the entire third act, and that’s a credit to Mangold’s deft direction. Plus, there’s plenty of humor. I found myself laughing quite a bit at certain bits of dialogue and sequences (a fight between Bale and Damon outside of a house is done quite well and played for humor). Still, peel away the sparkles and shiny objects and look at the movie in front of you. It’s a tonal jumble with poor-writing, in my opinion, that’s saved by well-executed set pieces. In a way, Ford v Ferrari is exactly like the subject it’s covering—pure adrenaline that, once the checkered flag is waved, will leave you disappointed once you realize what actually happened.
11. Richard Jewell
I have a complicated relationship with the movies of Clint Eastwood. His films typically put out trailers that build incredible hype, although they’ve struggled to follow through on occasion (as readers know, I hated The Mule from last year). Richard Jewell goes by the same formula, except I really quite liked it. There’s a ton of good stuff about this movie. There are also flaws, as I’ve come to expect from Eastwood’s movies. Richard Jewell tells the story of, well, Richard Jewell, a Georgia security guard obsessed with law enforcement who’s blamed by the FBI and media for the 1996 Centennial Park bombing in Atlanta during the Olympics. It’s a true story, and one that I honestly had zero clue about until the day before the trailer for this film dropped when our Media Law class discussed the case. If, as Eastwood has said through many teasers, the point of this movie is to “know his name,” then Richard Jewell is a success. The film shows how the investigation turned Jewell’s life upside down, and it’s very effective and quite upsetting to watch. There are really good performances all across the board, even in some of the weaker characters (more on that below). It’s also a star vehicle for a character actor who’d shown plenty of talent before but hadn’t been given a chance to shine.
Let’s dive into what works in Richard Jewell. First of all, and this isn’t a spoiler, the entire bombing sequence itself is insanely well-done. From the moment the backpack is set down until it explodes, Eastwood’s camera movements are precise and help build a sense of tension. It’s a surreal and visceral scene and is one of the most well-crafted set pieces of the year. The cast puts together really great overall work. It starts with Paul Walter Hauser as the titular Richard Jewell. Hauser is a revelation, embodying the characteristics and mannerisms of Jewell with an uncanny accuracy. Hauser also gets some big things to do (one speech at the end should be getting him Best Actor buzz, but awards voters are dumb sometimes) and he takes those scenes and completely owns them. Sam Rockwell as Watson Bryant, Jewell’s lawyer, is perfectly good and quite funny. Rockwell just has that natural talent where he can steal any scene, and he turns in another solid performance here. Kathy Bates as Bobi Jewell gives the more emotional performance of the film, but she sells the heck out of it. Just like Hauser, Bates gets a big scene that could propel her to the Academy Awards. She sells the desperation and the emotional distress of watching your son’s life get destroyed quite well, and that’s probably why she snuck in a Best Supporting Actress nomination for the Oscars. Finally, you’ve got Olivia Wilde and Jon Hamm. Wilde, who plays Atlanta Journal-Constitution reporter Kathy Scruggs, is good, but her character is horribly written. She serves as a plot device and didn’t feel believable from the moment she appeared on screen. Hamm plays FBI agent Tom Shaw, and that character is sketched just as poorly. The fact that Shaw and Scruggs spend much of their screen time together doesn’t help matters. As for the well-known controversy surrounding the two characters, I think it was all a little overblown. In the movie, there is a clear groundwork for some sort of relationship. That being said, did it need to be in the film? Not at all.
The biggest takeaway from Richard Jewell is Paul Walter Hauser, in my opinion. He deserves more movies, and I hope the box office performance of this film doesn’t deter directors in the future from giving him opportunities. Elsewhere, Richard Jewell is entertaining enough and gets the message across. The world should know his name, and a better movie would’ve made that a certainty. Instead, we get a classic Clint Eastwood good-not-great shot at crafting a film around an average American who turns out to be a hero.
12. The Irishman
Remember the concern I had about Parasite after I saw it the first time, when I commented that I thought it was insanely well-made, but I wasn’t sure how much I actually enjoyed the film? Well, ditto for The Irishman, Martin Scorsese’s latest masterwork. My opinions of this movie are mixed, because there’s a lot I like about it and a couple things that didn’t work for me. Overall, from just a pure movie-making standpoint, Scorsese’s direction is spot-on. As usual when you’re seeing a film crafted by a legend, there are few missteps in terms of camera movements, shot selections, and the like. The score is fine; it fits the mood of the movie, although I found it occasionally grating. The cast is great, and we’ll touch more on some of the performances in just a bit. Before we dive into a few of the themes that didn’t work in my opinion, we have to address the 209-minute elephant in the room. Yes, The Irishman is long. And yes, I will admit there was a point when I almost fell asleep (the room was cozy, but I can honestly say this is the closest I’ve come to dozing off in a theater in probably a decade). However, I don’t think the length is a problem. For the story Scorsese is trying to tell, every minute counts, and the run-time works. If you’re complaining about the length, just turn it off. You’re probably watching it on your computer anyway. End of rant.
Now, this story is all about mortality. It’s long because it needs to be in order for the viewer to get a sense of the life lived by Frank Sheeran (Robert De Niro), and it uses every ounce of runtime to build relationships with Russell Bufalino (an incredible Joe Pesci) and Jimmy Hoffa (a loud, wild Al Pacino). For me, that didn’t connect. For older audiences, it will. To put it bluntly, I’m 22-years-old. I’ll turn 23 by the time the Oscars roll around. I’m working and trying to graduate, so my mortality isn’t something I’m thinking about constantly. I’m not worried about aging and getting older, and the thought of dying isn’t something comes up when I’m studying for exams or talking about college softball on the radio. I’m not saying the theme doesn’t work, because it does—there are plenty of emotional scenes, and the ending does hit you like a brick. I’m just saying it didn’t work for me.
The movie itself is a little slow in the first hour and forty-five or so, but you’ll be entertained from a lunch meeting-turned-fight in Miami all the way until Robert De Niro asks to keep the door open a little at the end. The cast is great. De Niro plays Frank’s do-what-you-gotta-do attitude well, while also showing the inner distress he feels when he realizes how his actions have negatively affected his family. Pacino is crazy (he literally calls everyone a “c***sucker” at least once), and it’s over-acting in the best possible way. It’s not a top five supporting performance for me this year, but it works. Ray Romano and Harvey Keitel are also really good. Really, though, the best part of the movie is Pesci, who gets to be much subtler than you’re used to seeing him (we’ve come a long way from Home Alone). Pesci’s Russell is always in control, and the actor does some of his best work when he isn’t even speaking. A glare in a celebration scene in a banquet hall is all he needs for his Oscar reel. Still, what crushes you is his delivery of “We did all we could for the man” near the end of the film. That’s a gut-punch, but it’s said in almost a whisper, which makes it hit even harder.
The Irishman is a really well-made movie with great performances. It’s Scorsese working with all of his tools and talent, and he brings together a cast that does a great job overall. Heck, it’s certainly in the conversation to win Best Picture at the Oscars. Still, this movie isn’t for me. That doesn’t mean it’s bad and, upon re-watch years down the road, I may come to appreciate it for what it’s trying to say much more. Unfortunately, right now, it can’t be higher on the list. My apologies to all of the legends doing great work in The Irishman, but these are my rankings. It’s what it is.
13. Joker
I have no idea where, or even how, to rank this film. Joker may be the darkest movie I’ve ever seen, and it’s somehow shallow and complicated. Let’s start with what works in the film. As a character study of a comic book villain, Joker is magnificent. The narrative, while predictable, hits all of the right beats from that standpoint, showing a down-on-his-luck man named Arthur Fleck (a superb Joaquin Phoenix, more on him below) who is just trying to figure things out in a world that is seemingly rooting against him. Director Todd Phillips uses some effective tools here, constantly zooming in on Fleck’s facial expressions as he navigates this world and his own mind. The mood of the film is eerie and sets up well with the story, and there are some genuine twists that will shock you in the audience. The score, done by Hildur Guðnadóttir who hasn’t really made a name for himself in that category yet, is absolutely stupendous, playing up the dark tone of the film. There is a certain kind of strained panic with each musical note, and it does nothing but raise the tension in the movie even more.
Now, as a film that apparently is trying to say something about mental health in this country, it’s a little flat. I left the theater confused by the messaging, because Joker seems to want the audience rooting for Fleck despite the multiple murders he either directly commits or initiates through his actions. In that way, I get why so many critics are flummoxed by this movie, because the apparent attempt to get involved in 2019 current events is muddled at best. The movie tries to say something about mental health and, to a lesser extent, the economic divide in America, but whether or not those thoughts are deep enough or even correct are up in the air. Also, the soundtrack is…very on-the-nose and honestly not great, mainly because of the inclusion of “Rock N’ Roll (Part 2)” by Gary Glitter. It’s such a weird moment that seems like something out of a completely different movie, and I honestly hated the scene because of the music played in the background.
That being said, there’s nothing I can write about Joaquin Phoenix’s performance other than that it’s transfixing, tragic, and pure perfection. Phoenix sells the pain of Arthur Fleck in a way rarely seen on film, and it’s spectacular. Phoenix also nails the Joker laugh, which is one of the first signs that will determine whether a performance of the Clown Prince of Crime will be any good. There’s a subtlety to Phoenix’s facial expressions that show Fleck as a man who’s trying to figure out his psyche, and the physical transformation is remarkable as well. It’s clear Phoenix went all in for this role, and the result is a tour-de-force performance that will surely roll in plenty of accolades. In fact, a Best Actor nod seems like a lock. Elsewhere in the cast, Robert De Niro as Murray Franklin is pretty good, playing up the fake niceness and showmanship of a late-night talk show host. Frances Conroy as Fleck’s mother and Zazie Beetz as a potential love interest also provide good turns in the film as well, which is overall pretty well-acted.
In the end, what is Joker? Depending on how you answer that question, your opinion of this film can be on two different ends of the spectrum. If you left the theater seeing that as an in-depth look into the background of one of the best villains ever created, you probably enjoyed it. If you departed thinking you just saw a vehicle for a great actor, you’re probably even more in love with Joaquin Phoenix and already revving up the Twitter engine to provide Best Actor support this Oscar season. If you left thinking this film was a commentary on mental health and the class divide in this country, you probably left a little confused and maybe a touch disturbed. Simply put, Joker was made to be debated. There are so many layers of this movie that it’s hard to rank it against so many of the other awards contenders this season. I liked Joker, and director Todd Phillips takes lots of risks here, but I’m not sure this movie holds up as well as all of the others on this list.
14. The Two Popes
For months, there’s been buzz surrounding The Two Popes, Netflix’s dramedy about the relationship between Pope Benedict XVI and Pope Francis. Back at Telluride, word was circulating that this film could win Best Picture at the Oscars, which obviously caught my attention. With two great actors at the forefront and reviews coming in that this is a “papal buddy comedy,” I figured we’d get some laughs while also diving into the major issues and controversies surrounding the Catholic church. The Two Popes and director Fernando Meirelles attempt to give the audience both but come up short on both fronts.
Plot-wise, this film is basically all conversation. Focusing on the election of Pope Benedict (Anthony Hopkins) and then fast-forwarding to his impending resigning of the papacy, The Two Popes allows the narrative to play out through discussions between Benedict and Francis, then named Cardinal Jorge Mario Bergoglio (Jonathan Pryce). In this way, the movie works. Letting two legends of the screen like Hopkins and Pryce weigh heavy matters while also quipping about ABBA and the World Cup makes for enthralling cinema. The chemistry between the actors is palpable, and the two go all in during the various intense conversations. Still, that’s the majority of the movie—talking. There are a few flashbacks about Cardinal Bergoglio’s life, but those are occasionally difficult to understand and vary in structure (some are black and white while others are in color for no apparent reason). As someone unfamiliar with the politics of Catholicism, the voting process and many of the terms used confused me. Listening to the two characters dive into some of the scandals in the church was interesting, but the script never goes deep enough to the point where anything ground-breaking is shared. As a character study, the film doesn’t go deep enough either. It’s as if writer Anthony McCarten (who wrote last year’s horrendous Bohemian Rhapsody) can’t decide if he wants to dig into the dramatic or comedic aspects more. There are some laughs, mainly because of the delivery from Hopkins, but overall the script just isn’t willing to take the risks warranted by the subject matter.
There isn’t much in the cast behind Hopkins and Pryce, both Oscar-nominated and who both turn in great performances. Hopkins is earnest and funny, and his character undergoes a bit of a transformation that is only believable because of the acting (again, the script does this part of the film no favors). Pryce is just as good, selling the friendly, strong-willed nature of Pope Francis. He sells some of the inner-confusion about his role in the papacy considering his past. The two are impossible to ignore when on-screen together, but it’s not enough to make this movie an entertaining watch.
The Two Popes is just fine. It’s got some funny elements and there are good dramatic pieces as well as some incredible set designs, but overall it just doesn’t do enough. I’m not sure it deserves the three Oscar nominations it got based on the strength of this season, but that’s just my opinion. When the movies are as good as the crop this year, there’s no room for “just fine” at the top of the list.
15. Us
Following up a well-received debut is extremely difficult, but that was the task for director Jordan Peele with Us. Another horror movie that is more about the scares than the political commentary, I actually think Peele’s sophomore film was better than Get Out. The suspense is genuine throughout, starting with the opening scene on the boardwalk at the Santa Cruz Beach. The shocks continue throughout, finishing up with a twist that you don’t consider until it happens. That being said, this film is a bit more of a risk. The plot is complicated, and deep thinking about it can cause some lines to unravel. The mystery is a little convoluted, but the ride of this movie doesn’t make you care very much. It really is an engrossing film that sucks you in right off the bat and doesn’t loosen its grip until the credits roll.
From a performance standpoint, I mean…come on, folks. Lupita Freakin’ Nyong’o. She’s excellent as Adelaide Wilson and her doppelgänger, selling the differences between the two characters. She does some great expression acting in this movie, constantly displaying the fear, confusion, and determination that Adelaide feels. It’s hard not to be impressed by the heavy lifting she does throughout, especially considering the entire emotional beat of the film rests on her shoulders. It’ll easily go down as one of the top lead actress performances of the year, although I’m not sure the Academy will provide much love. Elsewhere in the cast, Winston Duke is great as Adelaide’s husband Gabe. Duke does a great job being the comedic effect in the movie and sells all of the eyeroll-inducing Dad jokes. Shahadi Wright Joseph, who plays the Wilson’s daughter Zora, does some good work as well, handling the moments of horror with a nice compilation of terror and the desire to protect her little brother, Jason (Evan Alex). Elisabeth Moss and Tim Heidecker also turn in delightful little parts in this movie. Their characters are awful, but they had me laughing the whole way though.
Overall, is Us great? I’m not sure, because there’s a lot to think about. I’m not sure that there’s a straight-up way to review this film. I can say it’s really, really entertaining, and Peele does a great job holding a tone of mystery throughout the film. Nothing about this sophomore picture suggests that Jordan Peele is slowing down, and I’m excited to see what else he has coming down the pike.
16. Pain and Glory
As I turned on Pain and Glory, I was excited by all of the hype for Antonio Banderas’ lead performance. Oscar-nominated, Banderas had been in the mix for critical recognition since the film from Pedro Almodovar premiered.
Telling the story of declining film director Salvador Mallo (Banderas), Pain and Glory uses flashback to narrate a series of reunions for the character. When focusing on each element, the script is solid, poetically written and clever with crisp, realistic dialogue. Unfortunately, with the flashbacks thrown in and a new character of interesting showing up every twenty minutes, this is a much more unfocused effort than most of the character study movies that you see. Banderas is indeed quite good in the role and worthy of his Best Actor nomination, but frankly even he can’t do enough to lift this film past “just fine” status. It’s a bit difficult to follow, although quite beautifully shot.
This was the last movie I watched for these reviews, and I’m disappointed it didn’t provide more intrigue. Pain and Glory had potential to be something good, with great pieces of screenwriting mixed in with solid acting from an international cast. Unfortunately, the structure of the film made things plod along a little too much, leading to maybe the only film on this list that left a bad taste in my mouth once the credits rolled.
16. The Farewell
For most of The Farewell’s 98-minute run-time, my prevailing thought was, “Wow, this movie is really pretty and really sweet.” Written and directed by Lulu Wang, The Farewell follows Chinese-American writer Billi (played by Awkwafina) as she and the rest of her family travel back to Changchun, China for a wedding that’s really a smokescreen for the entire clan to see family matriarch Nai Nai, who has been diagnosed with terminal lung cancer. The kicker is that Nai Nai has no idea the seriousness of her illness, but the rest of the family does. Wang’s script does a great job showing Billi’s struggle to keep the secret from her beloved Nai Nai (played by a special Zhao Shuzhen), emphasizing the intense inner struggle encompassing not just Billi but the entire family as they withhold the news. Wang’s direction is deft as well, impressively sweeping across Chinese landscapes and zooming in many times on characters as they wrestle internally with the situation. There are comedic elements as well, and the movie as a whole provides a thoughtful showcase of a family dealing with the sorrow of the moment while also struggling a bit within themselves with life in China vs. life in the Western world. Still, as I watched this film, I kept wondering what made this an Oscar movie.
Perhaps the two best chances for nominations rest in the previously mentioned actresses, Awkwafina and Shuzhen. Awkwafina’s first legitimate foray into dramatic film is a winner, and she does a great job portraying the subtle distress swirling around inside Billi. The screen lights up every time Awkwafina and Shuzhen share the screen, as the relationship between Billi and Nai Nai is the most fully-realized part of the story. Shuzhen herself gives a whale of a performance that puts her squarely in the running for a Best Supporting Actress nomination. Nai Nai’s obviously weakened physically, but her sweetly dominating presence is visible in every scene as she tries to manage a family with so many viewpoints.
The Farewell is a fine movie. It’s got some sweet moments of humor, but nothing I’d label as “laugh out loud.” There’s plenty of emotion, although there aren’t many tears until literally the last five minutes. It’s a solid movie, but nowhere near the Best Picture contender that it’s being lauded as by so many pundits. The Farewell will make you want to call your family and it’ll tell you that the name Lulu Wang is one to watch in the future but, in a year with so many enjoyable, high-quality films, I’m not sure it stacks up quite as well as many had hoped.
That’s it! Those are my reviews of all of the Awards-worthy movies in 2019. Remember, at some point this spring I’ll be posting a full review and re-rank of every movie I’ve watched for these rankings during my time in college. It’ll be HUGE!
