My Top Movies of 2019

If you had asked me what my top 10 favorite films of 2019 were back in September, I wouldn’t have been able to give you a top 5. The year was shaping up to be one of the worst in recent memory, and I was thinking that this post would be a lot shorter than I would have wanted it to be. Thankfully, October-December rolled around, and they ended up featuring a slew of incredible films that were equally diverse in their tone and content.

Before I get into my top 10, I’d like to give a shout-out to a couple of honorable mentions:

Honorable Mention #1: John Wick: Chapter 3 – Parabellum

It’s John Wick. He kills bad men and he loves animals. What else do you want? The third chapter in this series certainly reaches its most ridiculous heights in terms of action and story, but Keanu finds renewed life in Hollywood because of how perfect he is as the gunslinging hero. The knife throwing scene is worth the price of admission alone.

Honorable Mention #2: The Last Black Man in San Francisco

Who knew that someone could create such a touching and thematically rich story about gentrification? Joe Talbot’s debut film is certainly as beautifully made as it is personal to his own life. Jimmie Fails is great in what is essentially an autobiographical role, but it’s Jonathan Majors that truly steals the spotlight in one of the most overlooked performances of the year.

Honorable Mention #3: Ford v Ferrari

For what is truly a boring subject matter to me, James Mangold’s Ford v Ferrari created a remarkable edge-of-your-seat racing thriller that must be seen on the big screen. Aside from the fantastic editing and sound design, the film is bolstered by two great performances from the consistent chameleon Christian Bale, and Matt Damon’s first memorable role since The Martian. Josh Lucas also edges out Thanos for 2019’s greatest movie villain.

Honorable Mention #4: Parasite

I actually can’t believe this is an honorable mention—that’s how good 2019 has been for films. I generally hated the few Bong Joon-Ho films that I’ve seen, so it was quite a pleasant surprise after a few minutes in when I realized that this was going to be an epic film unlike anything I’ve seen from him before. Equal parts heist thriller, family dramedy and horror, this is truly a film worthy of the No Trailers brand name. The less you know about this film, the better. Seriously, don’t read anything about this and just go see it.

Okay, now for my actual top 10!

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 10) The Lighthouse

Picture yourself watching a play in a foreign language: the lead is giving a performance for the ages, but you have no idea what he/she is saying. Their words and expressions move you, even if you don’t understand any of it. That’s pretty much The Lighthouse. This movie might as well be considered a foreign film, since Willem Dafoe and Robert Pattinson’s sailor accents are so thick you couldn’t cut it with a Maine lobster claw. That however doesn’t take anything away from Robert Eggers’s sophomore effort, which is somehow amazingly unique and different from his first foray into horror in 2015’s The Witch. Eggers reinvents his style of directing with a more suspenseful and mysterious look into the eerie goings-on of lighthouse keeping. This fever dream of a film is not going to make sense to a lot of viewers, but once you’re able to let go of that and embrace Eggers’ vision for this film, it’s an unforgettable and wild ride. Dafoe reminds everyone why he is such a revered actor, but it’s Pattinson’s performance that should erase all doubts as to whether or not he’ll be a good Batman. He is for real, and he has arrived.

9) Knives Out

Rian Johnson may or may not ever direct another Star Wars film ever again, and that’s totally fine. He’s proven with his previous films that he’s able to create unique and creative tales all on his own, and Knives Out is no exception. Featuring one of the most stacked casts of the year, Daniel Craig is outstanding in this ensemble as the legendary detective that is essentially the love child of Sherlock Holmes and Foghorn Leghorn. This film was the definition of a good time at the movie theaters. It pulls a few subversive tricks à la The Last Jedi (except this time they’re actually good) that redefine the whodunit genre in a refreshing and meaningful way. Ana de Armas is fantastic as well, and hopefully a sign of more lead opportunities for her in the future.

8) Doctor Sleep

Out of all the films in my top 10 this year, Doctor Sleep is easily the most entertaining of them all. Director Mike Flanagan faced one of the most daunting tasks in movie history—making a sequel that no one asked for to what is arguably the most iconic horror in movie history, The Shining. Not only did it have to stand on its own, it had to honor both the legacies of Stanley Kubrick and Stephen King, with the latter famously hating The Shining. How do you make a film that appeases both sides of such an iconic subject matter? By turning the world of The Shining into a freakin’ superhero movie, is how! This movie captures the creative genius and morbid insanity of Stephen King so perfectly, while still being an accessible film for people who are not familiar with the first film. Rebecca Ferguson plays one of the most memorable villains of ALL TIME, and is sure to be an inspiration for many Halloween costumes this year.

7) Marriage Story

2018’s Roma was no fluke; Netflix is officially a cinematic force to be reckoned with. While it may not have completely shed its image of being the platform where B-movies go to die, Marriage Story is the first of two powerhouse films that are sure to shake up the awards race this year. Adam Driver turns in what is easily his best performance ever, and Scarlett Johansson hasn’t been this good since Lost in Translation. I’ve had a love-hate relation with director Noah Baumbach’s films, but this is easily his most refined piece yet. The brilliant script and direction make this film seem more like an intimate theatrical play than movie. It’s a tastefully honest take about the complexities of the separation process. The sharp and relatable dialogue is both heartbreaking and hilarious at the same time. If Baumbach is intent on making us laugh and cry until the end of time, then my body is ready for more.

6) Joker

 

2019’s most polarizing film was nothing short of entrancing for me. While some may fault Todd Phillips for an overly nihilistic view of the world through the eyes of Arthur Fleck, there was no other way that this film could be done to have its momentous impact. Joker explores the darkness of one of the most iconic comic book villains of all time in an equally sensational and subdued manner. The visual language in this film is absolute perfection, along with the costume and production design to make this one of the best looking period pieces of the year. Joaquin Phoenix literally transforms into his role to bring another iconic portrayal of the Clown Prince of Crime to the big screen, evoking similarities from his role in The Master. While the film’s one-off nature may not be a stepping stone for the future of DC Comic’s movie slate, it was an absolutely memorable look at how dramatic comic book movies can be when you take away the blockbuster elements away from it. Scorsese might changes his tune about comic book movies not being cinema if he saw this film, since it was completely inspired by his own works.

5) Once Upon a Time…in Hollywood

Quentin Tarantino’s propensity for revisionist history is just one of the many reasons that make him such a revered director/writer. His ability to depict white knuckled tension or heartwarming friendship from scenes where people just talk for 15 minutes straight is a testament to his ever-growing talent. OUATIH is probably Tarantino’s most personal film and also his most unique. The film transports you into his world, his interpretation of historical events, and most importantly the characters that he wants you to believe in and root for. Greta Gerwig recently said in her speech honoring QT himself, “Quentin Tarantino makes movies as if movies could save the world.” That could not be more evident in this film. Both DiCaprio and Pitt turn in two of their best performances ever, and Margot Robbie delivers a silent but essential role as Sharon Tate. We may be nearing the end of Tarantino’s career, but there was no better film to encapsulate everything we love about Tarantino than what he did with this movie.

4) Little Women

If Doctor Sleep was the most entertaining movie of 2019 for me, then Little Women is the most heartwarming and feel-good movie of the year for me. Easily rewatchable and star-studded to the max, this film features most of the best female performances of the year. Who has had a better year than Florence Pugh? This actress came out of nowhere and dazzled audiences with her overlooked underdog role in Fighting with my Family, her absolutely iconic performance in Midsommar, and again with her charming and complex portrayal of Amy March in this film. Who could forget the indomitable pairing of Saoirse Ronan and Timothée Chalamet? Oh yeah, and Meryl Streep is in this movie! There’s so much to say about this film, but there’s only one thing that needs to be stated—this film is absolutely lovely. Whether it’s Greta Gerwig’s masterful direction and creative retelling of the 150+ year old novel, her terrific dialogue that practically has the characters leaping out of the screen, or Alexandre Desplat’s utterly delightful musical score, this film hits its emotional beats in all the right ways. It may become my go-to movie to watch on Christmas day. I’m so glad that the world has been introduced to Greta Gerwig. She’s quickly become one of my favorite directors, and I’m going to watch pretty much anything she makes at this point.

3) A Hidden Life

Terrence Malick films feel more like a meditation than a movie. His love for visually striking imagery and storytelling through the lens of the camera rather than spoken dialogue may be rewarding for only the most patient of movie goers. However, A Hidden Life gave me a feeling of conviction that I’ve never felt in a movie, ever. This faith-based film is easily the greatest portrayal of the Christian faith I’ve ever seen, exceeding that of his previous work in The Tree of Life. It doesn’t scream its preachings in your ear, but rather it bares it soul through the struggles of its characters, and the awe-inspiring visuals courtesy of no one else but our Creator above. The artistry behind this film makes it feel like a visual representation of a chapter from the book of Psalms, as it ruminates on the struggles of doubt, obedience, and faith. It’s an incredibly powerful piece of cinema that is almost required viewing for anyone who is Christian and enjoys watching film, but it has something for everyone with its moving story about standing up for what you believe in.

2) The Irishman

This three and a half hour epic was some of the fastest three and a half hours that I’ve ever experienced. I’m still baffled at how any producers were reluctant to give Scorsese money to make a movie that featured Robert De Niro, Al Pacino, and Joe Pesci. Netflix’s second powerhouse film of the year was met with high expectations, and delivered on the goods in spectacular fashion. Not only does this film serve as the perfect complement to what many consider Scorsese’s best work in GoodFellas, it’s also one of the deepest and most contemplative looks into the mafia/gangster genre. The film brilliantly captures the quieter and introspective moments of the consequences of living a life of crime, and tells a moving story of a man caught between the life of a gangster and family man. De Niro hasn’t been this good in over a decade, and Pesci’s return from retirement was well worth the wait. The last 30 minutes of The Irishman provide some of the most iconic movie moments ever. Scorsese continues to show his vitality as a prolific director by crafting one of his most affecting films of all time, while maintaining the signature style that we’ve come to know and love from Scorsese.

1) 1917

Every year, I see a handful of films that reaffirm my love for going to the movies. 2019 had more than usual this time around. However, 1917 is the film that made me realize that there are some things that you can’t do anywhere else except in this art form. Sam Mendes’s war epic continues the trend of making Time the most fearsome enemy in battle, akin to 2017’s Dunkirk (which was my favorite movie of that year). While the one-shot take aesthetic may be known to many moviegoers and critics as gimmicky, it’s never been more essential and effective than in this film. This movie is a technical masterpiece on all accounts. The direction is inspiring. The cinematography is at GOAT-level, because why wouldn’t it be when it’s from Roger Deakins. This film is the strongest reason for why the theatrical experience needs to be preserved, and why watching something at home on the TV is nowhere near the same as seeing it on the big screen. Beneath all of this lies an intimate story of two boys who face a test of courage of the highest order. There’s been a lot of debate this past year as to what is and what isn’t cinema, and 1917 had one of the loudest voices of what movies are capable of in 2019. You know what else is awesome about this movie? IT JUST CAME OUT. GO WATCH IT NOW.

“Little Women” Review

Yep. Freakin’ loved this movie.

Earlier this year, I said that there was a distinct lack of standout female performances. I should have known that it was because all of the best female performances were crammed into one movie. In what is arguably the most stacked cast of the year (I’m looking at you, Knives Out and Once Upon A Time…in Hollywood), new queens Saoirse Ronan and Florence Pugh coupled with old queens Meryl Streep and Laura Dern all share the very large spotlight in this film that is the equivalent of cinematic comfort food.

I never read the book Little Women, and I had never heard of anything about this film. Going into it completely blind, I was happy that I did. For a book that’s over a hundred  years old, it certainly told a very timeless and metatextual story. A very large part of that is due to the original author Louisa May Alcott, but also very much so through the vision and direction of Greta Gerwig. Gerwig is here, folks. She is a presence, and she is here to stay.

I absolutely loved Lady Bird, Gerwig’s freshman debut, and Little Women is no slouch. Filled to the brim with amazing performances, I didn’t want this film to end. I was invested in each of the March sisters’ story, and the chemistry that they shared with one another was just so enjoyable to watch. Even Emma Watson, who I am not the biggest fan of, does a pretty good job of keeping up with the rest of her castmates. Florence Pugh plays the youngest March sister, and certainly has the widest character arc that felt the most impactful. Saoirse Ronan is of course perfect in everything she does, so playing the main character was certainly a responsibility she could carry. After seeing Marriage Story, I was afraid that Laura Dern would be typecast into the character she plays in that film and the TV show Big Little Lies, but she was thoroughly wonderful in this film. As the mother of the four March daughters, she is an anchor to all the chaos, and the epitome of motherhood. In a film where Meryl Streep is almost an afterthought, that’s when you know the film is good.

The structure of the film totally worked for me. For those of you who may not know, this film is paced in parallel timelines: one in the present, and one in the past. Gerwig’s decision to do this was very gutsy, and for me it paid off. The subtle visual cues she uses to indicate when it’s the past made it very easy to understand what was going on, but I’d understand if some people got confused and mixed up in it all. I felt like it gave the film a lot of creative space to tell its story in a coherent manner, while feeling refreshing and new at the same time.

There are some romantic aspects of the film that felt like it could have been fleshed out more, with maybe a few character moments that would allow the payoffs to feel a bit more believable. The beginning also does take a bit to pick up steam, but once you are set off on this ride with the March sisters, it’s hard to not want it to end. There is no other word that can be used to describe this film other than lovely. I can’t wait to see it again.

Grade: A-/89

“A Hidden Life” Review

I decided to watch this film at on a Friday night at 9:40PM. This movie is not only a three hour long film, it’s also a Terrence Malick film. Now say what you will about the auteur, but I think we can all agree that he likes to take his time with his films. Not only that, but if you are not in the mood for one of his movies, then they’ll most likely put you to sleep. I’ll admit that I haven’t seen much of his filmography as much as I’ve seen video essays or clips about his films. The only film I’ve seen from him in its entirety is The Tree of Life, which I found to be very enjoyable. I’ve tried watching The Thin Red Line multiple times, but I have to say with shame that I’ve fallen asleep during each attempt.

Now that all that background is out of the way, you can imagine that I was a little hesitant to see this film so late at night. I was afraid that I’d knock out halfway through or something, but A Hidden Life is not only my favorite Malick film (not that that’s saying much), but also one of my favorite films of the year.

I think it’s fair to say that there aren’t a lot of good films out there that explore Christian themes. As a Christian myself, I think it’s a shame when films are either too on the nose about its message, but also derided for sharing anything related to religious beliefs. There is a delicate area in which both of these concepts can intersect, which results in a tastefully made film that explores what it means to be a Christian. I think A Hidden Life does just that. Malick’s intent with the film isn’t so much telling the viewer why they should be a Christian, but rather the spiritual struggles that come along with being a professing believer. There is something here for everyone, because it tackles common themes like wrestling with authorities that we do not want to submit to, leaving a legacy, and fighting for what you believe in.

As for the film itself, there’s so much to love here. The film is shot in classic Malick fashion, but the location is absolutely stunning. The Austrian mountains are completely breathtaking, and you won’t soon forget it. Almost every shot in this film could be framed in your home.

August Diehl and Valerie Pachner bear a large amount of the film’s focus. I wouldn’t say a lot of the scenes are completely necessary, but they help build your love for the family that they’ve created and you grow attached to them as they live their life as farmers in the mountains. As the film progresses, both characters go on separate journeys that are both very introspective and affecting towards everyone around them. It’s interesting to see the parallels between the two, and their performances hold the film steady.

A Hidden Life manages to provide a voice to a majority of America that is strangely marginalized in cinema, and it’s refreshing. It’s not a preachy film, but it beautifully details the spiritual struggles of a believer. Whether or not you believe in God, the film explores faith in a touching and powerful way that is affecting for everyone.

Grade: A-/90

“Marriage Story” Review

Noah Baumbach newest film gives us what Noah Baumbach does best: making us laugh and cry at the same time. Netflix has really brought it this year with some heavyweight contenders for Best Picture, and Marriage Story certainly deserves to be in that conversation.

Adam Driver is incredible in this film. I enjoyed his small but comedic role in Baumbach’s Frances Ha, and also his dramatic role in Silence. However, this is the best he’s ever been, easily. Driver pours out his soul and you can tell that he’s on another level in this movie. I haven’t enjoyed a Scarlett Johansson performance this much since Lost in Translation, one of my favorite movies of all time. Through Baumbach’s excellent direction of these two stellar actors, we are reminded that these high-profile blockbuster actors are way more than just that. The chemistry between the two of these stars felt so grounded, so relatable and so unforgettable from the start of the film.

Yes, this movie is about divorce and the legal process of going through it. At times, I felt like they spent too much time showing the legal process of it all, and it disrupted the pacing of the film at some moments. I wanted more scenes between Driver and Johansson, because they were just electric together. However, some of the legal proceedings are key in highlighting the difficulties of separation, and how it’s not so easy as we’d think.

Baumbach does a splendid job of juggling so many different tones in this film. It’s surprisingly funny when it deals with difficult subjects, and the transitions from laughter to sadness are so expertly done without feeling jarring or out of place. It’s a contemplative look at the separation process, highlighting both the good and the bad that can come out of it.

Again, this is one of the best films to come out this year, and it happened to come out at the end of the year. 2019 has had an uneven distribution of good movies, but there are certainly a high volume of them. Baumbach continues to prove that he is a director worth watching out for, and Johansson and Driver should seriously consider stepping away from the blockbuster movies in favor of more dramatic films, because they are fantastic in them.

Grade: A-/88

“1917” Review

Earlier this week, I had the privilege of attending an early screening of Sam Mendes’s new film, 1917. Afterwards, there was a Q&A with director Sam Mendes (Skyfall), editor Lee Smith (Dark Knight Trilogy, Inception, Dunkirk, Prestige, Interstellar, Christopher Nolan’s films basically), and legendary cinematographer Roger Deakins (A lot of good movies). I sat in the front row. Afterwards I got to take pictures with them and shake their hands. Deakins signed my blu ray copy of Blade Runner 2049. I called Deakins the GOAT and told him it meant Greatest Of All Time. It was a magical experience.

I say all of this not to brag, but to establish that you are free to take what I say about this movie with a grain of salt. I 100% believe that people who see films early are always on an extra level of hype, which is why it’s hard to trust “early reactions” of films because they’re always amazing, even when the movie turns out to be pretty trash. With that being said, 1917 is my favorite movie of the year so far.

Generally when a film is done in the style of a one-shot take, there is a certain amount of buzz that comes with it. It’s generally earned, because it’s such an incredibly difficult feat to pull off in terms of rehearsal, blocking, pacing, directing, and of course cinematography. Films like Birdman got an insane amount of praise and recognition because the entire film was shot to look like it was done in one take. Does anyone remember that film? It won Best Picture? Anyway, I hated that movie. I felt like it was overly pretentious, and that the beautiful cinematography did nothing to enhance the message it was trying to say. Pulling off the one-shot take requires a damned good reason to do it, and it wasn’t until 2019 that someone finally tried and attempted to do it with a war movie.

I won’t say much about the film other than it’s made to look like it was shot in one take. That should honestly be enough to get you excited, if this film is your kind of thing. This movie is like the love child of Dunkirk and The Revenant. I had expectations that it would be an insane, all-out balls to the walls action film, but it ended up being more of an immersive and meditative war film that featured a lot of quiet and personal moments. Some might be put off by that, but it’s truly difficult to ignore just the tremendous amount of talent behind the makers of this film. It is one of the most technically impressive films I’ve ever seen, and it deserves to be seen on the biggest screen possible.

This is easily Mendes’s best film to date, and certainly one of Deakins’s best. Hearing what they had to say about the movie at the Q&A afterwards just grew my respect for them all the more. There is a purpose to the way that the film is shot, and the story that they tell is not only personal to Mendes himself, but surprisingly intimate considering its WWI setting. While I do wish that there was a bit more of an emotional impact, it’s hard to do because it is shot in the style of the one-shot take. Characters don’t get as much dialogue, and you don’t have those touching character moments over long periods of time that you normally would with other movies. The greatest strength of this film was also the cause for my most minor of complaints.

Shout out to George MacKay. I don’t think I’ve seen him in anything else, but he was really great in this film. He had to do a lot of acting with just his eyes a la Tom Hardy, and he really knocked it out of the park. Dean-Charles Chapman was pretty solid too, but the spotlight is really on MacKay.

This movie could be renamed How Did They Film This: The Movie. There were so many jaw-dropping scenes that really astounded me, and I just could not figure out for the life of me how they managed to put it all together. This will inevitably be compared to the all time great war films, and with good reason. 1917 is one of the most marvelous films of 2019, and you know what the craziest thing is? It actually might not be my favorite of the year when it’s all said and done! I still have to watch Marriage Story and Little Women! I love 2019! Correction: I love the last 3 months of 2019!

Grade: A/92

“Uncut Gems” Review

A24, why you do this to me?

They know that I’ll watch almost anything that they make at this point, and they had to do this to me?

OK, to be fair, I understand the buzz behind this film. Adam Sandler is terrific. He gives what is arguably his best performance ever. I have to give it to the Safdie brothers for letting the world know that Sandler isn’t actually a bad actor. He’s never been a bad actor, he just chooses to be in bad movies so he can have fun with his friends!

My first Safdie brothers movie was Good Time. It was a Bad Time. It was a fever dream, but with like 50% more fever. Coincidentally, that movie showed me that Robert Pattinson can freaking act, but I felt uncomfortable the whole time I was watching it. Uncut Gems is the exact same. Sandler plays the most convincing degenerate I’ve seen all year. He’s basically like Leo Beebe from Ford v. Ferrari, except this time he’s the main character.

If you have high blood pressure, do not watch this movie. This film is so stress-inducing, so chaotic and so insane that it made me want to tear my face off. Usually films that generate this kind of feeling is good, but with this film, I almost couldn’t stand it. It’s this exact reason that people are praising the film, and I get it. But for me, the source of this chaos comes from a place that I felt was incredibly cheap. Generally, tension is built up in a film when the characters you become invested in are in peril, and you’re dying to see how everything concludes. In this film, it’s just degenerate people making degenerate decisions. With the exception of The Big Ticket Kevin Garnett (who is fantastic by the way), EVERY SINGLE PERSON IN THIS FILM IS A DEGENERATE. EVERYONE. The moment I caught on and knew that this was going to be the rest of the film, I instantly lost interest in every character. It was torture. But man, Sandler was good.

I can’t ignore the talented performances and the quality of some aspects of this film. The Safdie brothers are good at what they do. However this time, I felt like a lot of the tension and the anxiety wasn’t earned. All of the bad things that happen in this film are purely self-inflicted, and it just didn’t feel earned. I’m waiting for that one Safdie film to finally nail it, because they’re so talented at what they do, but they just keep missing the mark ever so slightly. Fool me once, shame on you. Fool me twice, shame on me. Fool me thrice, well…we’ll burn that bridge when we get to it.

I need to pound a bottle of NyQuil after this.

Grade: C+/66

“Knives Out” Review

Q4 of 2019 has really been knocking it out of the park with these movies. Rian Johnson’s Knives Out is another fantastic film in a recent slew of really great movies, and I couldn’t be any happier.

It’s hard to talk about this movie without spoiling anything, so I’ll keep it brief. Remember when a lot of people complained about how Rian Johnson drove the Star Wars franchise into the ground by subverting too many expectations with Episode VIII? Well, he kind of does that again here with the whodunnit genre of mystery movies. Except this time, it worked out to the delight of everyone.

Johnson takes the twisty genre and adds a couple more twists to it. That’s about all I’ll say regarding the film. It’s a really refreshing movie to watch, especially in 2019 when we’re still very much in the thick of reboot/comic book adaptation/sequel-to-something-no-one-asked-for season. As far as I know, Knives Out isn’t based on anything…so it’s great to see some original characters.

Speaking of characters, Daniel Craig is quite the character indeed. I absolutely loved his performance. Now that the awards season has picked up, I’m expecting to see a very tight race for the best actor category. Craig shows everyone that he has a life outside of the Bond franchise, and you can tell he’s eager to shed that role just based on how much fun he has in this film. Ana De Armas is also great in this film as well. I actually had no idea that she was in this movie, so I was pleasantly surprised by how much screen time she’s given throughout. While the cast is indeed star-studded, most of them do not get a whole lot of time to really get fleshed out, but I supposed that’s the nature of a really notable ensemble. Some characters are always going to be left in the dust, so it’s not necessarily a big gripe I had.

This film is pretty much the definition of having a good time at the movie theaters. It gives you enough intrigue to be invested in the story, and the characters are great that it allows you to overlook the sillier aspects of how things conveniently line up in the whodunnit genre. I’d say that this film is worth seeing just for Daniel Craig alone. As great as he is, it’s just funny seeing someone who we’ve become so familiar with seeing as James Bond giving an incredibly hammed up performance.

Grade: A-/86

“The Irishman” Review

I think it’s important to note that I have an incredibly small bladder. Whenever I go to the movie theaters, I make it a point to not drink anything like 2-3 hours before showtime, because I know it’s gonna be incredibly uncomfortable if I do. Even a small glass of water will kick in after 20 minutes or so. I watched The Irishman at home because of Netflix/movie theater distribution shenanigans, which meant I had the option to get up and take a bathroom break if I ever needed one. I even drank stuff beforehand because again, the pause button was at the palm of my hand.

I didn’t get up once. Through the 3 and a half hour runtime, I did not get up once to pee.

I feel like I could just end the review here.

But seriously, this movie is good, y’all.

Martin Scorsese has been directing movies for a long, long time. I think among his peers who have been in the industry for decades, Marty stands near the top of the pyramid as one of the most consistently good directors. After all these years, he hasn’t had that film that might indicate he’s fallen off. The Irishman is no exception to that. This film not only makes me retroactively enjoy the classic GoodFellas more, it also serves as the perfect companion piece to what is often considered his magnum opus.

The first thing everyone is going to be cautious about before diving into the film is the long 3.5 hour run time. I get it, it’s a really long film. It’s also a slow burn. It’s not a quaalude-fueled romp like The Wolf of Wall Street or a white-knuckle thriller like The Departed. However, every moment of the film felt necessary to building up the three core characters. The powerhouse performances from Pacino, De Niro, and Pesci are so good that I very rarely felt any dip in the pacing of the film. Can we talk about how good Joe Pesci is? I felt like he stole the show for me, but De Niro is a close second. Gone are the hot-head days of Pesci, as we welcome the glorious, smoky-cool, and cunning era of Pesci. I’d understand if he wants to go retire again after this film, but it was really special seeing him come back for this role. And De Niro! I mean, is it too much of a hot take to say that he basically hasn’t had a terrific performance since Pesci retired in the late 90s? I think it’s also very easy to take Pacino for granted, as he’s been consistently fantastic for most of his career as well. The only thing I desperately wished for more of was Harvey Keitel. He has one fantastic scene, and then he’s pretty much gone.

There’s something about the direction in this film that really separates itself from the rest of Scorsese’s movies. It’s not flashy like his previous works, but more contemplative and introspective. It doesn’t pull you in with the allure of wanting to live the gangster’s life like in GoodFellas, but it instead it shows you the repercussions of power and pride. It’s a sobering wake-up call from the fantasies of criminal underworld grandeur, and it reveals this message in such a deeply moving way. The last 40 minutes of the film is already so iconic, and after finishing the film I immediately felt like rewatching the last bit again. The Irishman is thematically rich, but doesn’t skimp on the style either. It may not focus on the sexier aspects of mafia movies, but instead it is intentional with its characters and the world that surrounds them.

The de-aging aspects of the film worked really well for me too. I oftentimes couldn’t tell which scenes were the ones where they looked like their normal selves in real life. The film covers so many different stages of each character’s life, specifically De Niro’s. I’m glad that we finally have the technology where we’re able to make films using this technique. Who knows what else we could do with this in the future.

Netflix is truly a double-edged sword. They really made a name for themselves last year with Roma, and have stepped it up even further this year with critically acclaimed giants like this film and Marriage Story (which I will eventually get to). However, as I was watching this on my couch at home, I couldn’t help but wonder how much more I would have liked it if I saw it on the big screen. It really does make a difference seeing something in the movie theaters for the first time, and watching the Irishman was a stark reminder of that. However, I really appreciate the fact that they were the only distributors who gave Scorsese the money to make this film. You’d think that with the trio of De Niro, Pacino, and freaking Joe coming-out-of-retirement-Pesci, studios would be throwing their money at Scorsese, but alas, here we are.

Scorsese still has a lot left in the tank. If this film is any indication, it shows that he’s grown even wiser in his filmmaking skills. Not too long ago the world was upset with him for declaring Marvel movies as “not cinema.” As far as I’m concerned, Scorsese can say whatever the heck he wants about what he thinks is or isn’t cinema. He’s earned that right.

Grade: A/91

“Ford v Ferrari” Review

So for some reason I totally thought that I already wrote this review. Woops!

James Mangold’s newest film surprised me in ways that I did not expect. Ford v Ferrari is a compelling drama and thrilling piece on what I consider to be one of the most boring sports of all time, racing. Whether or not you agree with my statement does not detract from the fact that this film was well directed and well paced. For a movie that’s two and a half hours long, it certainly sped by about as fast as the cars did. However, the biggest surprise for me was that it had one of the most hateable characters in a loooooong time for me. I’m talking every scene of Joffrey in Game of Thrones condensed into one movie level of hate.

Before we get to that, I want to highlight some of the best parts of the film. Christian Bale has once again given a very memorable performance, especially because this time he actually gets to speak in an accent not too far from his own! Sometimes I forget how much of a chameleon he is, and the diversity in the roles that he takes on; it’s very easy to take for granted his versatility as an actor. Matt Damon is great too! Remember that guy? I feel like I haven’t seen him in anything since The Martian. Seeing the chemistry between the two of them was heartwarming and satisfying, and it was actually something that I wished they spent more time on because the characters they play already have an established rapport at the start of the film.

The editing and score for this film was great. The frenetic style really complemented the pacing of the film, and each of the races were thrilling and really well filmed. You could see everything that was going on without being confused, which is difficult since you’re filming a ton of different cars going really fast. I imagine filming these scenes must have been a nightmare to get everything right, but their hard work paid off. The mechanical hums and repetitious beats of the score really bolstered the rest of the film as well.

Now to the part that really surprised me. Josh Lucas’s performance as Leo Beebe is the stuff of evil legend. I could not believe how much I hated this guy. His character purely serves to be the person that you want to root against, and he does a fantastic job of making you do just that. While his performance is unquestionably effective, I found myself wondering why he had to be such a villain in the film. Did this movie need an antagonist? I don’t think so. I think there was plenty of drama without it. Based on the real life accounts, Beebe is also not that awful of a person, but maaan does the film really make you think otherwise. Boycott Leo Beebe.

While this film did go by real fast, I think it could have been restructured a bit. The ending kinda whizzes by a bit too fast without giving you ample time to process what happens, and the evil Leo Beebe parts could have been replaced with more scenes of Damon and Bale together and providing some background history between the two characters. While these criticisms may be slightly more than minor, the film was so well made that it’s hard to fault it. Ford v Ferrari is yet another late-year hit that helps bring 2019’s slate of movies from mediocre to great.

Grade: B+/82

 

“Doctor Sleep” Review

Director Mike Flanagan, last of the Big 3 of the New Generation of Horror (see my review on The Lighthouse), closes out 2019 with his incredibly bold take on the follow-up to The Shining. I cannot even fathom how intimidating it must have been for Flanagan to approach this film. How do you reconcile a universally renowned director who created what is arguably the greatest horror/thriller of all time, with the universally renowned author of the source material who hated said film?

Stephen King’s well-known distaste of Stanley Kubrick’s The Shining makes sense. It was much more so a Kubrick film than it was an adaptation of his work. The two iterations clashed with each other in terms of its tone and narrative. And then you have the fans of the classic film. The Shining has been given decades to grow its legacy as being one of the most iconic films of its genre, so obviously a follow-up to it would be heavily scrutinized. As usual, I had no idea what to expect going into this movie because I didn’t see any of the trailers, and I’ve never read the book. What I found was a movie that honors both the original film and book in what is easily the most ambitious film of 2019.

Set many years after the events of The Shining, an adult Danny Torrance (Ewan McGregor) is still battling his inner demons as he continues to wrestle with alcoholism, much like his father. Over the course of its very lengthy 2.5 hour runtime, events in Danny’s life causes him to cross paths with a young girl named Abra (Kyliegh Curran) and a sinister cult called the True Knot, led by Rose the Hat (Rebecca Ferguson).

While the film takes a bit of time to pick up, it must be stated that most of this movie is almost completely it’s own thing, and references The Shining very sparingly. Throughout the film, I sort of forgot that it was a sequel to one of the biggest movies ever, because it was wholly original and completely owned that. One of the ways it draws you in is how it spends a surprisingly large amount of time with the new characters that we are not familiar with. I don’t think I’ve seen a movie in recent memory that has given this much screen time to the villain of the film, and maaan was it worth every second. Rebecca Ferguson continues to prove that she is an incredibly versatile actor with the way that she carries herself as the sly, sexy, and cunning harbinger of evil.  There have not been many standout female performances in the films I’ve seen this year, but Ferguson is easily one of the best. Kyliegh Curran is also great as Abra. She has a lot of screen time and has to tackle a wide range of emotions as a young kid who also has the gift of the Shine. There are times where I felt like she didn’t completely nail it, but I can’t really fault her because she had a herculean task of doing so much for the film.

When it comes to fan service in this film, I think it was done very tastefully for the most part. The Overlook Hotel definitely plays a part in the film, and some of these nostalgic moments are incredibly well done. At other times, it can be just a little bit too much, as I felt that some scenes were inserted without a good reason for it to be there other than to let fans know that it’s a sequel of The Shining. For reasons I won’t get into, there’s also a bit of an uncanny valley feel to some of the references, but it makes sense given the circumstances of the film. It’s fascinating because one of the biggest strengths of Doctor Sleep is also its biggest weakness and reason for criticism. The film itself is so vastly different from its predecessor, and yet it is dependent on drawing from the mythos of the first film. The Shining is a cerebral, bone-chilling thriller while Doctor Sleep is basically like a superhero movie. Fans of The Shining may not be able to let go of how tonally different this film is compared to the original, but I think Doctor Sleep is viewed much better off if you consider it to be more of its own film than a sequel. After all, Flanagan did say that he was basing this film more off of the novel, and it definitely comes across as such. I think this has been one of the best adaptations of King’s work, which totally redeemed it for me after seeing the train wreck that was It Chapter Two.

I did not expect to like Doctor Sleep nearly as much as I did. It’s so hard to tackle a film like this due to the expectations that it has to live up to. Based on its box office numbers, it looks like it’s having difficulty generating any sort of buzz. Doctor Sleep is very much the Blade Runner 2049 of 2019; it had the impossible task of doing a follow-up to a critically acclaimed film, it proved that it was a great film that could stand on its own, and it’s barely made any money. It’s a shame because I think Flanagan pulled off something miraculous and made a film that acknowledges both its film and book roots, and turns it into something truly entertaining and memorable.

Grade: A-/87