2019 saw the release of a few live-action Disney remakes (and a new streaming service in November), as well as animated sequels (Lego my eggo, while Disney couldn't let Frozen go that easily), Marvel hits ("We're in the endgame now") and misfires (we're looking at you, Dark Phoenix). It was also a year of several horror hits, genre films that subverted expectations on their heads (courtesy directors Bong Joon-ho, Rian Johnson, and Todd Phillips), and a few concluding or continuing installments in sci-fi and/or action franchises (e.g., the end of the Star Wars Skywalker saga, the return of Linda Hamilton as Sarah Conner in a sixth Terminator movie).
WRITER'S NOTE: The mission statement of my blog, "Film FreeQ," is partially inspired by the mission statement of Christianity Today, in terms of discussing films not necessarily as a means of recommendation nor as an endorsement for their respective worldviews. The films I discuss in general (including the following list of pics) are based on their artistic and thematic undertones, as well as their ability to challenge and/or to inspire. Not to mention films that spoke to me personally, for better or worse. If I'm being honest, this was a hard list to compile, because there were so many incredible films out this year, and I wanted this piece to be about diversity and variety as much as about what storytelling in/and film is capable of. You can also check out my piece on actors and performers who stood out in 2019. (In time, my selections and rankings may likely change. It's inevitable, as Thanos would say.)
I will say this: I've found that most of these films (if not all of them) deal with the ends of certain phases, whether in story, in life, or in characters, and the suggestions of starts to new respective chapters, for better or worse. In other words, many of these films emphasize or mirror who people are, where they come from, what they stand for, and where they're going.
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Before I get rolling, here are a few "Missed Opportunities" from the year.
One of the last two X-Men/Marvel films under Twentieth Century Fox's distribution before being purchased by Disney (the other being the yet-to-be-released The New Mutants), this directorial debut from producer and co-writer Simon Kinberg certainly had high hopes compared with the 2006 film X-Men: The Last Stand's mishandling of the popular Jean Grey/Phoenix story arc from the comics. While the final film did get the tone right (being very character-driven as opposed to saving the world from a giant skybeam, like 2016's mostly-unnecessary X-Men: Apocalypse) and had a good cast (Game of Throne's Sophie Turner does do a really good Jean Grey), almost everything else wasn't as strong, especially the writing and the cliche franchise tropes. Here's hoping the Marvel Cinematic Universe will do something fresh with our favorite mutant characters, as well as the Fantastic Four, in the near future.
M. Night Shaymalan's anticipated third chapter in his years-in-the-making "superhero" trilogy brings together characters from 2000's Unbreakable (arguably one of the best films of the 2000s) and 2017's Split (which proved a career comeback for Shaymalan). Fans of both films had every reason to be excited about Glass, which starts out promising but then stalls in its second and (most of its) third acts, in large part due to the mental institution setting, confining our characters and their potential. Personally, I think the film could've benefited from a team up of Bruce Willis's David Dunn and Anya Taylor-Joy's Casey Cooke against James McAvoy's Kevin Wendel Crumb--and his multiple personalities--and Samuel L. Jackson's Elijah Price. (The aforementioned New Mutants looks more promising and engrossing.)
This CGI monster movie mashup is the third movie in Warner Bros. "Monster-Verse" (after 2014's superb Godzilla and 2017's entertaining Kong: Skull Island), as well as a lead-in to next year's Godzilla vs. Kong crossover. From the trailers, it was uncertain if the film would just be a CGI destruction battle or actually have genuine character arcs against said mayhem. The result turns out to be more of the former, with some impressive visuals and creatures to boot, while the script and character depth is lacking and mediocre. We'll see if the Godzilla-Kong battle is worth it next summer.
One of three live-action remakes of classic Disney animated films (the other two being Tim Burton's dark and enchanting Dumbo and Guy Ritchie's festive and entertaining Aladdin), director Jon Favreau's take on 1994's The Lion King is an incredible technological achievement, no doubt. But a more original approach to the story could've saved this from being a middling experience. (Some of the casting choices were ideal, however, like Seth Rogen as Pumbaa and John Kani as Rafiki.) It's essentially a shot-for-shot remake of the beloved original, something that Favreau's 2016 adaptation of The Jungle Book wasn't.
Sylvester Stallone still has it for his fifth (and reportedly final) outing as the iconic Green Beret John Rambo (whom he first played on-screen in 1982's iconic First Blood and previously in 2008's superior-but-graphic Rambo). But a depressing and maddening worldview, and a violent, grisly streak, leave a lot to be questioned and less-desired. Maybe another Expendables movie will do?
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And here are some notable mentions that didn't make my final cut, but still worth mentioning.
A surprisingly effect (though quite bloody and graphic) creature feature of the year. Interesting fact: this movie wasn't screened in advanced for critics, which is generally a bad sign that the film is not going to do well. This Sam Raimi-produced creature feature, about a father and daughter (Barry Pepper and Kaya Scodelario) fighting against a group of killer alligators during a Category 5 hurricane in Florida, proved an exception to the rule. The dialogue is corny at times, but its setup, suspense, tension, and execution make up for it. Goes to show how such elements are done, rather than what is done, skillfully and cinematically.
A terrific, magnetic, and thrilling true story from director James Mangold (at the top of his game), about the Ford Motor Company going up against the Italian car company Ferrari at its own game, during the 24-hour La Mont race in France in the 1960s. Christian Bale and Matt Damon (as English driver Ken Miles and American car designer Carroll Shelby) give some of the year's best performances, with action and immersive spectacle and adrenaline that don't overshadow the heart and integrity of the story.
Director Terrence Malick doesn't make commercial-driven films to begin with. His divisive filmography since the 1970s, on the other hand, remains that of a truly poetic and meditative auteur. As he did with 1978's Days of Heaven, 1998's The Thin Red Line, and 2006's The New World, he returns to a more narrative story based on real-life letters between Franz and Fani Jägerstätter during the early years of the Third Reich in Austria, and Franz's personal pacifism and integrity against the Hitler regime. A film that reminds followers of Malick how he challenges conventional and aesthetic filmmaking and delivers a captivating (if long) experience.
A fully-compelling social justice drama based on the bestselling memoir and true story of attorney Bryan Stevenson and some of the many convicted felons on death row he fought for over the last thirty years. Deeper and more engrossing than you might expect, the film, directed by Destin Daniel Cretton, brilliantly allows us to understand and empathize with these characters (anchored by strong and committed performances from Michael B. Jordan, Jamie Foxx, and Brie Larson) and the harrowing circumstances of Alabama in the early 1990s, without (mostly) being preachy. A very worthwhile film.
I'll be honest, I feel a little hypocritical including this film on here, as I had never read the original novel by Louisa May Alcott. I will say this, however: the film itself is wonderful. From the cast (Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Meryl Streep, Timothee Chalamat, Laura Dern) to the costume and set design, to Alexandre Desplat's charming and heartfelt score, and Greta Gerwig's skilled direction and adapted screenplay, this film version is a prime example of the kinds of films that are hard to come by these days. (Ditto this year's A Beautiful Day in the Neighborhood and The Farewell, as well as the next film on this list.)
Alex & Stephen Kendrick have been making faith-based films over the course of the last two decades, always led to tackling various topics as overcoming obstacles--or, "giants"--in life (2006's Facing the Giants), marriage (2008's Fireproof), fatherhood (2011's Courageous), prayer (2015's War Room), and now identity. Their latest feature (with the collaboration and support of their community in Albany, Georgia) is an inspiring and challenging story of recognizing where hearts are tied and should be tied, offering a rare opportunity for discerning families and people who don't ordinarily attend movies.
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Now, here are my top ten pics from 2019.
A powerful, compelling, profane, and often ethereal drama about two Bay Area best friends and the house one claims was built by his late grandfather, challenging the theme of holding on to what one doesn't want to lose, all while their community seems to be deteriorating and succumbing to disenfranchisement. In one of the year's "Most Striking Film Images" (above), the lead characters skateboard through the streets of San Francisco, as various citizens go about their lives. The pace is in slow-motion, but everything we need to know about the social, economical, and ethical situations is summed up in these characters, especially since they look directly at the camera as these men pass them by. Leads Jimmie Fails (who co-wrote the film with first-time director and friend Joe Talbot) and Jonathan Majors hit home, along with collective elements of writing, homes, classic literature, original storytelling, and an engrossing score (classical, ethereal), including an evocative updated version of "San Francisco".
An adventurous, original, and infectious dramedy in the spirit of Mark Twain, about a young man with Down Syndrome who travels down Florida to become a professional wrestler. First time actor Zack Gottsagen (who has DS in real-life) is a smart choice than a typical actor portraying a disabled individual, adding more authenticity and genuine emotion, as well as changing our perspective of people with disabilities. Shia LaBeouf (as an on-the-run drifter) and Dakota Johnson (as Zack's caretaker) are quite good as well, and are joined by a terrific cast that includes Bruce Dern, John Hawkes, and Thomas Haden Church. Well-acted, well-written, and well-directed, with a striking film image of three central characters (who form a genuine bond) on the raft on water, against a translucent sunset.
What may seem like another pointless cash-grab sequel in an already-oversaturated-franchise industry instead proves just as entertaining, funny, adventurous, and genuinely heartfelt as the other three landmark Pixar films that preceded it. New toy characters like arts-and-crafts spork Forky, mysterious doll Gabby Gabby, and Canadian daredevil Duke Caboom, steal the show, while Bo Peep makes a worthy (unlikely) return. But really, this is Woody's story coming full-circle, with character and story arcs that take unexpected but worthwhile detours in creative and entertaining ways, with characters discovering new purposes and meaning. In a word, Toy Story 4 is terrific.
Let me reiterate, this is not an endorsement! The year's most riveting and controversial film is one of the heaviest I've ever reviewed for Film FreeQ, and it's one of 2019's most divisive and talk-about films. Director Todd Phillips and star Joaquin Phoenix put an original take on the origins (or so it seems) of the iconic Batman nemesis, not so much influenced by the DC comic book source material as by gritty cinema of the 1970s a la Martin Scorcese's Taxi Driver and Stanley Kubrick's A Clockwork Orange, resulting in one of the most atypical films based on a comic book. Phoenix is phenomenal, chilling and disturbing as the film itself, which opens the doors to multiple interpretations and theories about its portrayal of mental illness, society's lack of affection, and violence, which Phillips and co-writer Scott Silver intended and claimed to be a "mirror to our [current] society." (I applaud theater chains that posted disclaimers about the film's mature subject matter.) Many will find this to be a bold and original piece of cinema, while everyone else will find it far too unsettling. Either way, they're right. And that's no joke.
Jordan Peele's chilling follow-up to his 2017 breakout Get Out is thoroughly brilliant, challenging, and provocative, as a family vacationing at their lake house is soon terrorized by a group of scissor-welding doppelgangers in red jumpsuits. Recalling elements of equally-esoteric horror features as Hitchcock's The Birds and Stanley Kubrick's The Shining (with a little bit of Steven Spielberg's Jaws and the 1980s "Hand Across America" campaign thrown in), this film will either be seen as a social commentary on the fear of facing a reflection of the darkest natures of humanity, or as a nihilistic frightfest. Nevertheless, Peele cements his status as an thought-provoking auteur of the horror genre (he also narrated and produced the latest version of The Twilight Zone on streaming service CBS All Access this year.) And, you'll never think of actress Lupita Nyong'o (who joins horror scream queens Jamie Lee Curtis and Heather Langenkamp, while playing both heroine and villain here) the same way again.
Based on the true story of the real-life friendship between journalist Tom Junro (named Lloyd Vogel in the film) and childrens' television host Fred Rogers, Tom Hanks takes up the cartigan sweater-wearing mantel in a wonderful and introspective experience. The story follows a cynical journalist who is assigned to write a profile on Rogers, at first refusing to believe the T.V. host isn't who he claims he is to millions of viewers. But Rogers eventually gets to the writer, reminds him (and us) how difficult life is and how we can understand it, process it, and grow in it with kindness, warmth, forgiveness, honesty and humility (something we could all us, especially in this day and age). Equal kudos to a terrific cast (including Matthew Rhys, Chris Cooper, and Susan Kelechi Watson), and wonderful direction from Marianne Heller.
In a year where some films paid tribute to or thoroughly referenced legendary music artists (from the Beatles in Yesterday to Elton John in Rocketman), this inspiring true story of a British-Pakistani teenager inspired by the music of Bruce Springsteen in was a cut above the rest. A reverent look at 80s culture internationally, via politics, ethics, races, and tastes in music, not to mention MTV vibes (a la the way the network should be). A great example of the power and inspiration of music. If there's one feel-good movie this year, this is it. "I can't think of a better reason to visit the United States than to see the home of the Boss!"
Standing alongside Christopher Nolan's 2017 masterpiece Dunkirk as a transcending film in the war genre, director Sam Mendes' equally-masterful 1917 is a towering achievement. The film chronicles, in reel time (and one nearly long, continuous take), the journey of two young British soldiers (George MacKay and Dean-Charles Chapman) in WWI who are tasked with delivering a message to call off the attack of 1,600 soldiers on the German army. Mendes' brilliant direction, Roger Deakins' striking cinematography, Thomas Newman's heart-pounding and emotionally-encompassing score (one of the best I've heard in a long time), and first-rate performances form a thoroughly immersive and intense experience that reminds us of the power of cinema (and maybe even reinvents it in the process).
As the end of an eleven year journey--or, at least, the first three phases (22 movies, from 2008's Iron Man to now)--for the undisputed Marvel Cinematic Universe, the now-officially titled "Infinity Saga" goes out on a rousing, bittersweet, spectacular, and roller-coaster note, never sacrificing character dilemmas and emphasis over mere spectacle. (And to think Martin Scorsese called these movies mere "theme parks".) Arguably the biggest and most satisfying finale since 2003's The Lord of the Rings: The Return of the King, directors Anthony and Joe Russo helped anchor a successful marketing campaign ("#DontSpoilThe Endgame"), resulting in, perhaps, the cinematic blockbuster to, well, end all cinematic blockbusters, as well as proof that there will never be anything like the moviegoing experience. "We love you 3000!"
An incredible, beautiful film about a family matriarch whose recent cancer diagnosis is kept hidden from her. Featuring comedian-rapper Awkwafina in a radical dramatic turn and especially Zhao Shuzhen (so full of life and warmth) as her Nai Nai, portraying a complex yet genuine and loving relationship. The film is melancholy at times, but is peppered with moments of grounded and quirky humor, helping to make the story universal and relatable, as well as complex and challenging. The roles of family dynamics, cultural legacies, and the differences between the East and the West, also come into play here. (What a rarity in film!) Speaks to the theme of who people are, where they come from, what they stand for, and an uncertain yet determined future.
