In High Flying Bird, Soderbergh applies that same interest to the high-powered world of the NBA, where everyone is grasping for power and paper. Ash Is Purest White15. The 25 best films of 2019. The Souvenir8. The Nightingale13. Apologies to Captain Marvel, the Avengers, and the kids of Shazam, but the best superhero story of the year (on film at least) was Julia Hart’s intimate post-apocalyptic family drama. Transit4. That said, this list is made up of at least a dozen movies way worse than the lighthouse. I’m sort of the cheese that stands alone on this one, I know, but wow, I just didn’t connect with Once Upon A Time… In Hollywood. It’s been 15 years since the word “podcast” was first attached to downloadable audio files, but don’t worry; this is not any sort of retrospective on the medium. So I was delighted that Todd Strauss-Schulson’s Isn’t It Romantic strikes just the right balance between poking fun at rom-com tropes and wholeheartedly embracing the power of the genre, all while creating a zany comedic voice all its own. Mike Leigh’s sprawling dramatization of the events leading up to the 1819 Peterloo massacre features a colorful big band of working-class revolutionaries and government cronies. 1. 1. Transit6. Under her direction, Hustlers becomes a feminist counterpoint to typically all-male mob stories, taking the misogynist language of gaslighting and slut-shaming and turning it back onto men who underestimate and objectify women. The Irishman9. And yes, writer-director Lorene Scafaria tells this tale of vengeful strippers with energy and pizazz. Slut in a Good Way10. Gerwig’s masterstroke was scrambling the story’s chronology and reassembling it, a choice that allows us to see the growth and transformation of Louisa May Alcott’s famous characters through a new lens, and which even grants unexpected ambiguity to a narrative that will be familiar to many viewers. Parasite7. Ad Astra7. [A.A. Dowd]. Like a flat piece of paper folded upon itself and cut along the seams, the film unfurls to reveal a beautiful design; the uniformly excellent performances are the candle that sits behind it, sending lovely shadows dancing on the wall. In both cases, though, the conviction is missing, and crazed ambition leads only to hollow tedium. High Life9. Hulu has announced what new things (and new to Hulu things) it’ll have available for streaming in March, and while there aren’t any big MCU tie-in shows like on that other Disney-owned streaming platform, it does have some notable new movies and TV shows.In a matter of weeks, Hulu subscribers will be able to check out Charles & Diana: 1983, Boss Level (starring Frank Grillo and, ugh, … I wasn’t sure what to expect from a film made by a white British guy about Indian-Pakistani tensions, but The Wedding Guest is an exceptionally crafted neo-noir with thoughtful cultural spins on genre conventions, including stolen diamonds, brides smuggled over borders, and marks buried in the desert. In Hollywood to really appreciate it. They’re also provocatively sexual and strange, as Denis stares into the void and finds little to inspire hope. Norton does solid work as a gumshoe with Tourette’s, but can’t help falling into Rain Man-like schtick. Marriage Story14. Parasite5. Adam Driver and Scarlett Johansson—joined by an all-star cast of supporting players—are at their best, bringing such nuance to their characters that the audience can see both why this couple fell in love and why they have to split. In space. Nevertheless, anyone who loved the likes of Lucy and Nikita will likely enjoy this gonzo super-spy extravaganza, with its clever nesting-doll narrative structure. This new version does not diminish the earlier ones—it elevates them, and its source material, by eschewing reverence in favor of treating the March sisters like living, breathing, messy, contradictory people. But apart from that, I just don’t get what so many of my fellow critics saw in Toy Story 4, a thoroughly unnecessary sequel with a lame antagonist and a story that sidelines too many of its major players in favor of giving Woody all the focus. Sunset8. Her Smell12. 1. When the Mexican consulate mistakes him for the man in question, Georg assumes his identity and takes his boat ticket out of the country, but ends up wrestling with the deception after he falls in love with the writer’s wife (Paula Beer). [Ignatiy Vishnevetsky], Steven Soderbergh’s filmography is dotted with portraits of people who are very good at what they do professionally, from Brad Pitt’s constantly eating con artist in the Ocean’s franchise to Gina Carano’s thigh-smothering operative in Haywire. The Nightingale. Great Margot Robbie performance though. They’re ruled over by a mad scientist played by Juliette Binoche, whose perverse obsession with human reproduction makes her the warped creation goddess of the piece. High Life10. I believe every critic’s list must be allowed at least one indefensible pick. Asako I & II11. A Hidden Life5. Dolemite Is My Name. His modus operandi has always been to make nice with the folks in front of his camera and let them reveal themselves as they truly are, employing visual counterpoint when necessary. It’s a film that rewards multiple viewings: Knowing the shrieking bloodbath that’s to come in the explosive finale somehow takes the pressure off, allowing the viewer to put up their feet, mix a whiskey sour (or maybe a pitcher of margaritas), and just hang out with Cliff Booth (Brad Pitt) and Rick Dalton (Leonardo DiCaprio) for a couple of hours. Radhika Apte has a strong command of her character as a smartly scheming femme fatale, but the film is utterly Patel’s, and his darkly efficient, alluringly sexy turn as a hired gun should only amplify those calls for Bond consideration. Best Movies of 2019. Lady Bird is close to perfection, but I can’t share my colleagues’ enthusiasm for Greta Gerwig’s follow-up, Little Women, which takes on Louisa May Alcott’s novel with a combination of clashing millennial acting styles and postcard cinematography. Little Women7. They Shall Not Grow Old13. Also think of it as an asterisk on that 2010s retrospective, celebrating the films we knew were great then and—in the case of our late-breaking #1 of the year—the ones we’ve rallied around since. Georg (Franz Rogowski) flees from Paris to Marseilles with the manuscript and identification papers of a dead writer. Regularly, they travel to the home in which Fails once lived, a gorgeous Victorian that Jimmie swears his grandfather built. Parasite2. What lingers with this one is envy that I didn’t have the experience so many others had. But that would be overlooking writer-director Alex Ross Perry’s structural savviness, which extends beyond dividing the film into five discrete segments spanning roughly a decade, each one of which plays out virtually in real time. [Noel Murray], Claire Denis’ meditative sci-fi drama High Life lives in the extremes of human experience. Uncut Gems9. Knives Out13. This to me will be in my top 10 films of the year no matter what genre. Ad Astra. Portrait Of A Lady On Fire. If this is a dad movie, then I guess I’m a dad. Sometimes the messiness is the point. But more impressively, he manages to stake out a moral position in a genre in which everyone is supposed to be a suspect. “They invented a game on top of a game,” says Bill Duke’s Coach Spencer of the capitalist structure of professional sports. Underneath the sprightly filmmaking and delightful performances, the movie touches upon the mixed messages that can define or derail a teenage girl’s romantic experiences. Us11. The year’s best animated film is partly about a luckless, lonely young man falling in love, and partly about a severed hand that’s slowly crawling across a city filled with small-scaled dangers. Club’s best-of-the-year list. Critics prefer presumably autobiographical depictions of broken relationships when they come across as fair-minded and mature (see: Marriage Story), but if can’t extend the right to be indulgent and undisciplined to artists, then what’s the point? In our look back at the best television of 2019, we’ll spare you the requisite references to “peak TV” and the 500-plus scripted series that aired or streamed this year, because nothing demonstrates that magnitude quite like lining up our mid-year findings with our year-end list. [Beatrice Loayza], Like the dashing, troubled Anthony (Tom Burke), The Souvenir is always hiding something. Together, the two women push past the boundaries of social propriety with their slow-burning romance. Portrait Of A Lady On Fire2. The Souvenir12. During a six-month lockout, agent Ray Burke (André Holland) plans to revolutionize how basketball is played. Call me a philistine, but I think the film would work better in chronological order; the back-and-forth flashback structure leaves it without emotional arcs. But shouldn’t the Atomic Blonde guy making the biggest-budget Statham vehicle ever come up with something a little more exciting than a movie that stops cold for multiple big-name comedy actors to vamp and threaten to turn up for the inevitable sequels? 1. Long Day’s Journey Into Night8. The plot and dialogue evokes WWII—occupied France, talks of camps and cleansing, refugees anxiously waiting for safe passage—but Petzold uses a modern setting, eschewing period signifiers entirely. [Caroline Siede], Elisabeth Moss hits such ferocious heights and depths as Becky Something, the self-destructive frontwoman of punk band Something She, that it’s easy to perceive Her Smell simply as a showcase for her intense performance. 0. If I’m a little more forgiving of Joker than some of my AVC colleagues, it’s because that self-serious bad-guy origin story at least plays different than the formulaic comic-book blockbusters now dropping off the assembly line every few weeks. Peterloo12. [Roxana Hadadi], A young woman is abandoned by her lover, only to fall for a man who looks just like him some years later, triggering a series of emotional dilemmas pestered by the memory of her first romance. Instead, the Aussie writer-director chased her debut with a much riskier kind of horror movie: a wilderness rape-revenge thriller of such extreme violence and despair that it screened with a trigger warning at some venues. What emerges is a cautionary tale about the terrifying power of propaganda, as well as a clarion call for the importance of reproductive rights. With no escape, no future, and no hope, a collection of interconnected locals fixate on the rumors they’ve heard about an elephant in the nearby city of Manzhouli that peacefully sits, indifferent to the suffering of the world. Which is a pity, becaue few films so successfully married fun and honesty. As Morris has pointed out multiple times, that’s not what he does. The Nightingale12. The Farewell11. Little Women12. (Wang was born under it and interviews many of her family members.) [A.A. Dowd]. What You Gonna Do When the World’s On Fire?13. He’s reckless, neurotic, self-deluding, an addict, equal parts sucker and scammer—and perhaps more like us than we’d care to admit. Over the years, Jennifer Lopez has been consistently underrated as an actor, which is part of why it’s satisfying to see her command the screen as the fierce den mother to a money-mad crew of exotic dancers. ), The King drags through a familiar formula. Though it caught fair comparisons to everything from Apocalypse Now to Lord Of The Flies to Dogtooth, this intense action-drama casts its own hallucinatory spell. Film Twitter has long championed Dev Patel as a potential choice for the next choice for James Bond, and there is no stronger audition tape than the Michael Winterbottom thriller The Wedding Guest. But there’s a kind of blissful transcendence in watching this diverse dance troupe’s ecstatic movements, accompanied by the director’s aggressive yet elegant orchestrations of light and sensation. ... Oscars Best Picture Winners Best Picture Winners Golden Globes Emmys Women's History Month STARmeter Awards San Diego Comic-Con New York Comic-Con Sundance Film Festival Toronto Int'l Film Festival Awards Central ... X-Men: Dark Phoenix (2019) PG-13 | 113 min | Action, Adventure, Sci-Fi . A Beautiful Day In The Neighborhood7. Available for rent and purchase on Amazon Prime, Google Play, YouTube, and Vudu. Maybe the future of studio horror movies is brighter than I thought. But then, I didn’t like Southland Tales, either. [Vikram Murthi], When life seems difficult or incomprehensible, it can be comforting to believe that everYthing is secretly cOntrolled by some sinister cabal, and energizing to find “clUes” hidden everywhere in plAin sight. Despite the movie’s eclecticism, Bong’s hairpin turns are executed with sleek precision, never dropping focus from how this family will do what they can to spend some time above ground, heads above water, inside the wealthy host home where they’ve insinuated themselves. Scott Z. Burns’ look at an Obama-era investigation into the Bush-era CIA torture program captures a sentiment that feels more timely now than ever: the stunned disbelief that somehow even detailed documentation of incompetent, illegal government action isn’t enough to get anyone to do anything about it. Appropriate to Peele’s expertly navigated horror-to-comedy-to-domestic-drama tonal shifts, there’s a virtuosic range to the performances—especially that of Lupita Nyong’o, playing predator and prey, sometimes within the same seamless split-diopter shot. Uncut Gems7. Little Women5. Knives Out12. Club counted down its favorite movies of the 2010s. But I was still unprepared for the film’s clarity and force of vision, not to mention its sheer emotional impact. The first is to be expected from Quentin Tarantino, who’s made a career out of witty, reference-laden banter. The overzealous FBI agents, eager to imprison terrorist cells (rule of law be damned) are the object of Morris’ ire, while Moses (Marchánt Davis, giving a stellar debut performance) and his four-person “army” are the underdogs. 1. By Dana Stevens. That’s the centRal idea of David RobErt Mitchell’s wonderfully Weird pseudo-noir, Under The Silver LAke, in which a bliSsfully unemployed, perpeTually lascivious, morally dubIous L.A. goofball (ANdrew Garfield, hilariously self-deprecatinG) starts inVestigating the mysterious disappearance of A new neighbor (RiLey Keough) and finds himself sUcked deeper and deeper into what Appears to be an elaBorate citywide cipher. The same can’t be said for the sequel, which struggles with the pacing and structure of Stephen King’s novel in a way its predecessor didn’t. Suffice to say, he gets more than he bargained for, setting the stage for a long, bizarre night during which fetishes and phobias commingle as reality gradually crumbles. Portrait Of A Lady On Fire joins the canon of our most lushly realized period romances, all while defiantly carving out a space of its own. Captain Marvel is no exception, but given that this is the first MCU film with a woman as the primary protagonist—and given what a fascinating character Carol Danvers has always been—it’s a drag that it presents her as someone fairly bland and square, with few of the quirks and vulnerabilities that make the comic-book version such a great Marvel hero. Following a trio of close female friends navigating the turbulent singles market of a big-box toy store where they all work, Lorain moves her camera and choreographs her talented actors with musical grace. These perspectives become even more sharply defined when you look at the individual ballots, which reveal both our consensus picks for the year’s best and our personal favorites. The Last Black Man In San Francisco8. [Allison Shoemaker]. [Ignatiy Vishnevetsky], In Noah Baumbach’s most complete picture to date, the stalwart indie filmmaker combines the vivid slice-of-life vignettes of Frances Ha with the unflinching self-examination of The Squid And The Whale. Johnson, who made his name with geeky delights like Brick and Looper before hitting it big with Star Wars: The Last Jedi, finds ingenious solutions to the rules of the murder-mystery movie formula. The Farewell7. Little Women3. Mangold stages the 24 Hours of Le Mans race with an action director’s command of suspense, but he pays plenty of attention to his characters, too. The massive Marvel machine routinely turns out entertaining movies, liberally sprinkled with fun character moments. It’s politics rendered poetic. Luce12. Paddleton15. But owing to Veiroj’s dynamic direction, distinctive compositions, and tender view of his characters, the result is a character study that’s as memorable as it is modest. Granted, hardly anyone was able to see Gemini Man as director Ang Lee intended, in the full glory of discomfitingly vivid 120fps projection—and even the sickest tech demo doesn’t bypass the clunky dialogue or sci-fi clichés.
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