The Top 10 Best Movies of 2019
So, the year of 2019 is soon coming to a close. Through all the re-makes and reboots that appeared this year, I was rather knocked out of my seat to see the number of pretty impressive, different, and unique films that played in cinema or streaming sites this year. It was an absolute pleasure to see a pretty solid number of great films from this year, especially considering how the previous year felt pretty disappointing in how lackluster the movie scene appeared to be, and I was impressed with how much talent was on display. Much happened in this year with films that made the movie lover in me quite happy, and it’s my delight to share which ones stood out in my heart and mind the most.
Some ground rules, first, must be presented:
1.) I didn’t have a chance to watch every single movie that came out this year, so don’t get too heartbroken if you don’t see anything on here that you were expecting to. It might possibly mean that I just didn’t get a chance to fully see it, and that doesn’t automatically mean that a certain film wasn’t something that I enjoyed.
2.) Similar to my regular reviews, this list simply discusses my personal opinion. Don’t take my word as cinematic Gospel, and don’t get bent out of shape if you see titles on here that you think should or shouldn’t be on my list.
3.) My opinion can change over time for certain movies. Never forget that movies, such as “Fight Club” and “2001: A Space Odyssey,” were once dismissed or despised by many before they became regarded as beloved films. So, keep that in mind, and remember that no opinion on any film, similar to any piece of art, is ever sealed for life.
Without further ado, let’s get to it.
10. “Dolemite Is My Name”
This film was sheer joy and hilarity to experience. Screenwriters Scott Alexander and Larry Karaszewski, who previously co-wrote the woefully underrated 1994 biographical film, “Ed Wood,” returned to write a biographical film with a similar message about following your creative passions and dreams against a society that only wants specific stories and refuses to acknowledge those who don’t have the same power or higher representation as the majority audience. In essence, “Dolemite Is My Name” is also similar to “Ed Wood” in that, when one breaks it down, both films are odes to going the extra distance and beyond to making movies the way that one wants and how far one can go to make that happen. With that said, director Craig Brewer still thrives to make one hilarious and even heartfelt film with a radiant style and bold sense of humor.
This film is filled from top to bottom with plenty of lovable, funny characters, including a pompous actor played by Wesley Snipes, a talented, delightfully raunchy singer played by Da’Vine Joy Randolph, and a witty playwright portrayed by Keegan-Michael Key. Seeing all of these people spout funny lines and go through a list of shenanigans and silly incidents to bring these movies into life is all types of hysterical and can be even seen as inspiring on a humorous level. If you had little funds and support from big studios for ideas that you’re dying to get out there (even if some of those ideas aren’t that well thought-out or put together), what would you do to get your story or piece of art made?
Everyone on the cast is great and brings their own spark and strong sense of character to this film, and the soundtrack has a slick, funky 70’s vibe that rarely lets up. However, of course, the one who truly dominates here is Eddie Murphy as the main character based on real-life actor, Rudy Ray Moore. Here, he absolutely owns every scene, giving the most lively, energetic, and devoted performance that I’ve seen him take on in quite some time. Every smile and line of his breathes with an enthusiasm and sincerity that only made the humor coming from him all the funnier. When there’s a serious moment, he also knows how to deliver the seriousness and heart necessary to tug at the audience’s attention. This biographical comedy film felt alive and rarely stumbled, and all of it was pretty awesome to see.
9. “Hustlers”
It’s no secret that, for one reason or another, stories centered around strong, remarkable relationships often find their way closest to my heart and leave me not only reflecting back on them the most often but also retracing back (with a grin on my face) to how each scene with the relationships played to near perfection. One of the best examples of that from this year came in the form of “Hustlers,” a unique film about strippers with a strong bond to each other having to pursue their particular career paths to help them and their beloved families survive before uniting together under a scheme that allows them to subtly fire back at the arrogant Wall Street jerks that take advantage of them too often.
The premise is already a fascinating one based on a stunningly true story that is filmed with complete confidence by Lorene Scafaria and and brims with slickness and raw sincerity in every frame. Yet, what elevates it even further is that, when you break it down, “Hustlers” is an honest, humorous, and downright energetic sisterhood story. As entertaining as it is to see these bold, pretty women sneakily take step after step in their scheme and see what their lives are like, the greater reward comes from seeing them simply bond with each other. It’s a treat to see them swap stories and talk about their relationships on the side before their next gig or hear them talk about how much their job means to them in the hopes of providing for their beloved grandmothers or daughters. That scene with Jennifer Lopez holding Constance Wu close in her snug fur coat as they talk about learning from each other to provide more has all of the odd familiarity to a big sister casually listening to her younger sibling’s problems and doing what she can to show support and love by helping her out.
Throughout the entire time, we’re additionally rewarded with terrific chemistry from all of the actresses involved, particularly between Wu and Lopez, who are both excellent in the movie. Lopez, who I’ve admired ever since I first saw her in the criminally underappreciated 1997 biopic, “Selena,” both wowed and surprised the crap out of me with one of the best performances that I’ve seen from her in a long time. We always knew that she can dance like it was nobody else’s business, and she definitely demonstrates that in this flick. Yet, Lopez went even further here with some truly amazing work, balancing charisma and occasional arrogance with compassion and a loving devotion to the family in her life from her work world and at home. Maintaining sweetness, humor, and a harsh sense of reality that underlies everything throughout its entire runtime is not an easy task for a movie to pull off, but “Hustlers” pulls all of it off with undeniable style and impressive rhythm.
8. “Us”
The latter 2010’s were special for helping me re-evaluate horror as a genre with effectively and unsettling tales to tell if they’re placed in the right hands. One such director who earns the title as such a filmmaker is director Jordan Peele, and he only further solidified as those people in the film industry who knows the narrative potential of horror and its ability to leave us rattling in our seats but also making us question what makes the monsters (psychological or physical) tick. Once again, with “Us,” Peele further demonstrates his talents with a vastly smart screenplay about a family of four going on a beach getaway trip but soon fighting for their lives from menacing doppelgangers who have a hideous nature that, without giving anything away, serves as a grim reminder of how humans have pretty monstrous capabilities of their own and have a harder time taking greater control of them, whether we want to admit it aloud or not.
“Us” is a mesmerizing 2-hour-long “Twilight Zone”-style story brought to haunting life, thanks to a heavy use of effective scares, smart writing, and a terrific cast. The actors playing the family of four do great work playing a likable family that we want to see survive but also manages to make our laughter halt with how they capture the disturbing staring and cold movements of their evil doppelgangers. Lupita Nyong’o is easily the best of the bunch, selling that startled quiver and stare as she glimpses into the eyes of her evil “other” figure and listens to her chilling rasp that longs for others to endure the pain that she has. The bigger treat to this horrifying tale is taking in what this movie has to say as well, and, without spoiling anything, it leaves enough for someone to interpret with its message and what we find out, later on, through practically any level of race, class, gender, or such. That dance scene still stays in my mind with how viciously one can fight over the other in the scenario that comes in it and how the audience can lose themselves to the main character, on-screen, and find themselves fighting with knowing who is more complex and something to be afraid of: us humans, or the villainous creatures that we inadvertently or intentionally bring to reality. Following his heavily acclaimed and beloved thriller, “Get Out,” Peele once more directs this chilling tale like a champ, showcasing chilling atmosphere, effective humor, and unflinching wit that forces the audience to follow along and ask ourselves deeper questions than many horror films usually ask while also making us want to see what comes of Lupita’s interesting dilemma and character. The eerie spell and haunting truth and intelligence of this movie are the types that I won’t forget any time soon.
7. “Parasite”
In recent years, it feels that society has been dealing with more division than normal amidst its own people. Yet, for all of the great films that we’ve gotten that deal with themes about racial division and conflict, it’s hard for me to think of many great films that grapple with class divide and its ability to distance people from both types of backgrounds, rich and poor, while they’re already lost in their own ways to start out with. Then, along comes South Korean film director Bong Joon-ho who brings us “Parasite,” a magnificently constructed film that shows a dirt-poor family with vast intelligence, which essentially scams their way with a rather wealthy family to an extent that pretty impressive twists in insane yet intriguing paths that never lost my attention.
This film thrives on pointing out the strengths and deep weaknesses running from both the poor and rich families, and it never loses sight of its belief regarding how lost people tend to be in an unequal financial system, regardless of how little or vast their amount of money is. There are no downright heroes or villains in this movie, either. The people at the center of “Parasite” consist of a poor family with plenty of talent that acts a little too selfish and greedy in their pursuits and a rich family that has plenty to remain proud of but still seems too caught up in its own wealth and isn’t particularly wise. Uneven dynamics between them and the twisted situation boiling between both families stirs closer to how wildly the situation unwinds for all of them.
Joon-ho films “Parasite” with precise beauty and focus, and he masterfully sets up the suspenseful sequences with quiet and slow shots. He knows the audience’s investment with these people, especially of the poor family, and he takes full advantage of this with his and co-writer Han Jin-won’s screenplay and direction that lets you gradually appreciate the size and power of the wealthier family’s home while also shooting it in a way that makes you frantically guess how far the poor family can try to get away with their plan. All of the actors are superb, and it was a treat, by itself, to see the poor family work off of each other like expert thieves to pull off their scheme.
I sensed a strong connection of sorts within the poor family as they worked on trying to find more money for themselves through this plan, and I held an extra appreciation for the movie in that regard.
What they do is obviously wrong, but it only made me ask more: How far would you work with your family or loved ones to get out of your financial conflict? Furthermore, what does that say about us as people and what lengths we’ll go to get further up on the financial pyramid? “Parasite” challenged me with some great questions upon my first watch, and it only makes me ponder more with its brilliance and superb craft.
6. “Marriage Story”
One of the most heartbreaking yet human stories to come out from this year was “Marriage Story,” a film with a premise that isn’t unfamiliar but rings so raw and true from how it’s crafted that it feels like one-of-a-kind. Hearing Adam Driver and Scarlett Johansson talk about their spouses on its own makes this a fascinating but also emotionally challenging experience, and that’s part of what makes it relatable and powerful. In their voices, it’s clear that a part of both of them still loves the other very much but has a hard time connecting and making things work in the way that they used to or, at least, the way that they felt they could make it work at the time.
Director Noah Baumbach demonstrated his talent for telling compelling stories about families who are broken yet strongly connected with each other with his previous movie, “The Meyerowitz Stories.” He only further demonstrates this in this film, bringing a high sense of realism mixed with a quiet tone that can either signal reflective wistfulness from its main leads or bubbling tension towards the inevitable result near the end.
While I never came from a divorced or separated family, I’ve read and heard enough from friends and relatives to understand that the harsh process can affect those involved in ways that one will either not anticipate or have a longer time trying to recover from. And, the screenplay by Baumbach perfectly represents that. The script also works in making Driver and Johansson interesting characters who we both sympathize with and try to understand, even when we don’t agree with their choice of words and actions.
Speaking of which, both of these performers bring some of their best work to this movie. In one of my favorite moments in film from this year, Johansson’s long, tearful monologue to her therapist (played unabashedly proud and feisty by Laura Dern in one of her best roles) about why she and her soon-to-be ex-husband couldn’t get along is delivered with such passion and raw honesty. And, Driver has a moment involving singing that voices all of the heartache and complexity of his situation without feeling superficial. The inevitable argument between them is well-shot, real, and brings out a credibility and heart-wrenching look at two characters that was harder to find in several movies this year. Uneasy quietness fills me for a minute every time that I finish watching this scene.
Too many stories with this type of conflict fall into the trap of mostly showing more of the bitterness behind a divorce or separation and not much else, almost to a cartoonish or ineffectively comical extent. “Marriage Story” takes several steps further beyond that and tells a sincere story about two likable , relatable people who hate that their relationship has led them to this situation, but they can’t completely remove the other from their hearts. As frustrating as it is, they all have to face the situation to the best of their abilities, and they just have to make it work as much as they can, similar to any two people who had a strong connection in any relationship. All of that comes through these incredible actors and this tough yet beautiful movie.
5. “The Lighthouse”
Director Robert Eggers doesn’t have a vast filmography at this time, yet, with only two movies, he’s quickly proving why he’s one of those newer directors who deserves all the praise and attention that he’s getting, particularly in the horror genre. He established his incredible talents for simultaneously horrifying us and stirring our intellectual curiosity with 2016’s period horror film, “The Witch,” and he only amazes us once more on his second feature film, “The Lighthouse.” This 2019 horror film focuses solely on two lighthouse keepers who are fighting to maintain what’s left of their sanity while attempting to somehow keep from throttling each other, and the entire scenario is magnificent to watch. What is not a particularly unfamiliar set-up, consisting of two man trying to keep their wits alive on an isolated land together, is elevated to disturbing and fascinating levels.
Part of that credit goes to the brilliant screenplay written by Robert and his brother, Max Eggers. Instead of maintaining a stone-cold serious tone throughout the entire film, the script also adds plenty of dark humor and crafts two rugged men with clearly defined personalities and perspectives who couldn’t be more different from each other if they tried. The quiet whistle of the blistering winds and faint setting of lighting in the background only increases the chilling atmosphere of the film and brings out the reluctant relationship between the two alive in the most uncomfortable ways imaginable. The gorgeously shot black-and-white images and the 1:19:1 aspect ratio reminded me of a classic horror film that one might find in the 1930’s or so, and both of these actors easily give some of the best performances of their careers. Pattinson makes every emotion, whether it’s saddened, angry, or downright disturbed, viciously real, and the flicker in his eye and bellowing of his screams reached to my core in a way that haunted me a few months ago and still managed to stay with me to this time. Dafoe, who has always been a great actor, does incredible work here, playing a roughened, elderly sailor who holds his pipe and whispers about seaside superstitions so well that you will be begging to know why there are no other movies with him playing a bitter, old man from the sea before this one. At the center of it all is a battle between two people who enact their authority and power in different ways but still leave the audience wondering to what extent either of them is right or wrong.
I think of few movies from this year who could make me ponder its ideas, cause me to heartily laugh, and stun me to my core with its horrifying power in one sitting. “The Lighthouse” has all the makings of a modern horror classic with incredible performers and a sense of monstrous horror that comes not from scaly beasts but two bitter men slowly losing themselves to the terror of isolation and the battle between their own egos.
4. “Jojo Rabbit”
It’s no surprise that, in recent years, there’s been an unsettling amount of prejudice and tension between minorities and those who want to do harm or mockery upon them. In such times, an extra reminder of the importance of humor and especially love is important. This year, that reminder came in the form of an unexpected yet shockingly provocative and surprisingly heartfelt comedy-drama, “Jojo Rabbit.” The titular character, acted with complete emotional honesty, sincerity, and talent by Roman Griffin Davis, lets us know through his personal journey that, no matter how much wickedness and discrimination lives in the world, love will always be the stronger force that wins in the end.
Director Taiki Waititi excels at crafting a movie that can feel partly innocent, partly sad, partly hysterical, and completely human. There’s enough breathing room in the emotional scenes and the right timing and great line deliveries to accommodate the humorous scenes. For a movie with so many hilarious moments and such delightful mockery of its Nazis, what makes this movie still stand out in my mind is how this darkly comedic film with some tough moments managed to tell two of the best love stories that I’ve seen all year.
One comes in the form of the Jewish girl that Scarlett Johansson as Rabbit’s mother hides and how she teaches the boy about being open to others who are different from him while also helping him develop a connection and platonic love that he’d sorely needed since the passing of his own sister. The other comes in the form of motherly love from Johansson who passionately fights for the minorities who are suffering and dying in the war and still shows her boy unflinching kindness and compassion when he disagrees and mocks her at the start. Any time that I want to smile, I reflect back on his mother teaching him how to dance and talking about the beauty of finding someone special to dance with and romantically connect with.
Her character is the essential definition of beauty in terms of appearance, bravery, unconditional compassion, and kindness towards the outcasts and overlooked, and I can’t think of a better teacher or mother for this boy than her.
If the greatest motherly love story from television this year came in the form of “Whatever Happened to Della Duck?” the best motherly love story that I saw this year from theaters happened in the form of “Jojo Rabbit.”
This movie provides a great breath of fresh air amidst an atmosphere surrounded by so much cynicism and refusals from others and the government to embrace others, and it reminds the world what it still needs to work on learning: in the midst of any war, personal or external, generosity and the seeking of beauty and strong relationships will often find their way through and should never be overlooked.
3. “The Irishman”
If there is one filmmaker who has remained consistently great from around the start of this past decade towards its end, it’s Martin Scorsese. After so many years behind the camera, he still amazes me with his phenomenal ability of taking that device and demonstrating to us that he knows how to reveal the rawest emotions and tales with it. “The Irishman” is the latest proof of this. Easily one of Scorsese’s best movies, this film takes a different approach to its genre, the gangster crime flick, and shows the all-too-rough reality of the mobster’s lifestyle. The wild stories and close business friendships may last for a certain amount of time, until there’s little left except for death and the emotional distance that comes from the lifestyle. Unlike past crime movies of this director’s filmography, such as “The Wolf of Wall Street” and “Casino,” the stories interlinking the main characters here don’t emphasize the power or glamour of the criminal’s life. There is little but isolation and a lack of stronger connections towards the end of the road.
A dream team of incredible actors, specifically Robert DeNiro, Joe Pesci, and Al Pacino, help bring this poignant tale of crime and brotherhood to life with some of the best performances of their careers here. DeNiro speaks and moves with the purpose, aggressiveness, and authority of someone who sees violence as a source for opportunity. Pesci takes a drastically different turn from his past hot-headed roles and instead plays a head gangster with such quiet nastiness that you would (rightfully) fear for your own life and everyone that you loved if you ever dreamed of double-crossing someone as powerful as him. And, Pacino brings the furiously power-maddened performance and absurdly loud spirit that I’ve missed from this actor for too long. Seeing him pound his desk and blame his employees for his troubles makes me grin with how darkly comic it is for us and how saddening it is for someone as much power as he holds.
Few teams of actors gave me as much joy and encouraged me to re-visit their scenes with each other as much as these fellows did. If you check out the episode of the documentary series, “The Conversation,” with these actors and Scorsese on Netflix, you feel the pitch-perfect chemistry between them and their work, and their enjoyment and professional approach to the project comes across as clear as day there and in the movie itself.
Scorsese shoots this film amazingly, showing off the grandeur, intensity, violence, and eventual weariness that comes from the times and work of DeNiro’s character, Frank Sheeran. In a year where so many remakes and unnecessary sequels flooded the theaters, it was such a breath of fresh relief to witness something as powerful, original, and timeless with this movie. People may choose to disagree with him and his opinions about the more recent blockbuster movies all that they want (I, too, beg to differ with Marty about a few of his comments regarding superhero films, although I’m admittedly starting to grow tired of them myself.), but, after decades in the business where other filmmakers from around his generation have struggled to maintain their grasp on their craft, Scorsese proves that he hasn’t lost his sense of what makes movies great. That introductory scene between Pesci and DeNiro eating bread and the scene near the end with DeNiro talking to a particular (possibly redemptive?) soul remains in my mind with what seriousness and respectful quietness they have for such moments and the art of cinematic storytelling in itself. When we listen to DeNiro tell his stories about how far his life in crime took him and how he wonders what happens now with that lifestyle and those past connections of his remaining pretty much behind him, you can’t help but wonder if he’s echoing Scorsese’s feelings about wishing farewell to the genre of gangster dramas that he helped bring into prominence. Whatever the future may hold for such stories and whatever types of tales Scorsese wishes to tell, I’m thankful that we, at least, got to experience one mighty, gripping powerhouse of a movie and a reminder why he and these men are some of the best at what they do.
2. “Once Upon a Time in Hollywood”
If there was ever one film from this year that served as an awesome love letter to the movies as a whole, it came in the form of writer-director Quentin Tarantino’s flick, “Once Upon a Time in Hollywood.” It just shines with so much respect and passion for those who make movies (and shows) and shows its love in the funniest yet most sincere and unique ways. For such a deliberate pace, this movie sucks you in with its electric, gorgeously re-invented 1960’s version of Los Angeles brought incredibly to the big screen. That scene of Brad Pitt driving through the brightly lit neon streets, late at night, is one of those that I could watch again and again for how great it looks and with what composure it’s shot with.
Amidst a long time where others could sometimes over-indulge in nostalgia, particularly from the 1980’s, this film uses its nostalgic background to reflectively look back at a time when plenty of events were happening in the world that were causing a great amount of upheaval and discord. On top of that, situations were getting harder for people involved in the film industry, which is understandable given how the Golden Era of Hollywood was concluding around this time. The movie smartly utilized its retro background to talk about two different people who work in the film industry, specifically actor Rick Dalton played by Leonardo DiCaprio and stuntman Cliff Booth played by Brad Pitt, and their approaches to finding work, purpose, and ultimate satisfaction after unfortunate circumstances in their distinct lives and careers. We also use it to follow lovely Margot Robbie playing the lovely actress from real-life who met a tragic end in history, Sharon Tate, and what her life is like leading up to a big night that the movie inches closer towards. As we follow along with Tate, I worry a little more about her future ahead in this movie because Robbie, although not having as many scenes with her character, brings such a vigorous spirit and liveliness that you hold genuine concern for her, given what happened with her character in history. In essence, “Once Upon a Time” discusses two talented people from the film industry, Dalton and Booth, trying to maintain purpose and figure things out and one great actress from real-life who met unfortunate ends in a time when the rest of the world was also trying to make sense of the changes (not always positive) happening.
Yet, it also stands on its own as a great movie that explores how important artists take their craft and what they’re willing to do to follow what they’re so passionate about and talented at. Feeling that his best days in the business are over, Dalton deals with alcoholism and some insecurity as he tries to stay relevant while also remaining heavily proud of what he does as an actor. His reaction to how he does one scene on a show is funny but also moving. And, Robbie as Tate, watching a movie that she was a part in and witnessing others’ reactions, might hold the top spot for my favorite movie moment of this year. Scenes, such as this, really made me invested with these characters and resonated with the past creative writer and current film reviewer who takes pride in how others perceive my hard work and hoping that what I do can possibly impact others in a great way. The movie is a strange but wonderful ode to every artist or person involved with a career that they love who wants to do great things with what they’re passionate about but either found his highest point, earlier on, or questions what is ahead in his ongoing path and what that means for him.
DiCaprio and Pitt are terrific in their roles and play off each other wonderfully. Their friendship is laid-back yet also incredibly sincere. Simply watching them talk about a show that one of them made is a treat, and I could watch these two bantering back and forth for quite some time because their unusual yet likable chemistry is just that good. The other actors in minor roles, such as Kurt Russell and Al Pacino, do great here, too, and Tarantino welcomes tons of darkly humorous, uneasily quiet, and even serious moments, thanks to his incredible direction. People have labeled this as his most mature film, to date, and, after re-visiting, I have to agree. The rough violence gets scaled down, and there’s more seriousness in how Tarantino approaches his story and its themes here in a way that I absolutely loved. Everything comes together wonderfully and makes the movie-lover and inner artist/writer in me cheer for its main heroes, messages, and film, as a whole, that is easily one of Tarantino’s best movies.
Between Scorsese in “The Irishman” and Tarantino with this flick, I’ve found it an absolute delight to witness two of my favorites in filmmakers and directors who are creative legends in their own right bring serious originality and love for what they do to the big screen at a time when the cinemas seriously needed it, and it’s been glorious to witness.
- “Little Women”
Amidst a wealth of good movies that came out this year, I debated hard over which one I loved the most. I won’t lie. Choosing between this and “Once Upon a Time in Hollywood” was a tough call because both films spoke heavily to me for different reasons.
Yet, the more that I reflected upon it, the more that I realized which movie I was the most thankful for and was the most proud for having watched. As great as the other movies that I saw from this list and outside of it were, no other film made my spirit soar with its own and gave me hope and soul with what movies can accomplish more than director Greta Gerwig’s “Little Women.” Such a beautiful life and optimistic soul flows through this story and how it’s envisioned by everyone who was involved. All of the main actresses turn their characters into lovable, relatable heroines who we root for in every triumph and sympathize with in every unfortunate event. These ladies face plenty of doubtful moments, harsh circumstances, and expectations from society that restrict them further to what they should do and how they should react in specific ways. Through it all, they follow their paths and dreams with passionate hearts and heads held high.
Emma Watson, Florence Pugh, Eliza Scanlen, and Saoirse Ronan share a loving and generous chemistry with each other as sisters and make us believe that they’re always there for each other. In particular, Pugh and Ronan speak and act with such conviction and strength with what they love and what they believe that it makes my heart swell with joy at being able to witness such passion and spirit in these interesting characters. Any time that these two held a heavy moment or experienced something significant, I sat right up in my seat with complete attention in a way that few other movies caused me to do.
Through one of the best performances that I’ve seen all year, Ronan wonderfully portrayed Jo, the character that I probably related to the most out of any other from the big screen this year. Her determination to look different and move to her own beat, coupled with her never-ending passion for writing stories, spoke deeply to the writer and dreamer in me. A completely steady strength and love for how seriously she took her writing and those that she loved came through Ronan’s performance, and witnessing her journey to share her stories with others and those of her sisters, despite the wave of restrictions that faced her, was one of the most rewarding experiences at the movies for me.
With other movies, it was easier for me to pinpoint moments where I got a little weary or bored, but each moment had me completely wrapped up in what went on. Each moment felt special in some sense, whether it was Watson’s reaction to a new boy that she meets at charm school or an argument that Pugh has with a boy about figuring out her future and where her true love lies or how Laura Dern’s mother character holds all of her girls close as she reads aloud their father’s letter from the war. Part of this probably comes from Gerwig directing this movie with absolute grace, love, and a keen vision for what makes a tale, such as this, timeless and powerful. This movie is her second solo directorial effort, but, if this film is any indication, I believe that we’re looking at someone who’s slowly distinguishing herself as one of the truly great filmmakers right now. Anyone who has a grand dream about accomplishing something or wants to maintain hope for what lies ahead in their own hard journey of life or simply wants to see something that will simply make them feel good without talking down to them needs to instantly see this film.
I’ve gone on and on in the past year or so about how disenchanted I am with so many remakes, particularly the Disney ones, perhaps to the point that some may feel that I dislike them altogether. Here’s living proof that, with the right talents and vision of someone who wants to do something different with what’s being remade, something not just good but great can come from a remake. Setting that aside, this film is a clear example of dedicated, powerful film-making, a sheer masterpiece that nearly brought me to tears in a few places and had me happily applauding once the credits rolled. I saw it once in the theater, but I feel determined to see it one more time or so again.
In a year with a number of films that caught my eye, no other film represented the power and magic of movies at its highest, most distinct level than Gerwig’s masterpiece here.
Did you enjoy my list? Do you disagree? What are your favorite movies of 2019? Please feel free to share in the comments below. If you do disagree and want to share, please do it in a respectful and well-thought fashion.
Thanks for being a great reader, and I wish you a Happy New Year!