As it’s January 10th, what better date to post my top 10 from last year’s viewing? (Yes, I know: “an earlier one.”)
As well as my favourite films I saw during 2019, this final review-of-the-year post also includes my least favourite films, as well as a list of 2019’s most noteworthy releases that I missed.
Before we begin, a quick reminder that these lists are not selected from films released in 2019, but from all 151 movies I saw for the first time during 2019.
The Five Worst Films I Saw For the First Time in 2019
“Worst of” lists are very unpopular on Twitter nowadays (there was a whole to-do about them when the pro ones started popping up last month). I do kind of agree that they’re of dubious value, but it remains an unavoidable fact that some films are poor or disappointing and therefore, as part of an overall review of the year, it seems only fair to remember the weaker side of it too. (Especially as I’ve been so tardy with reviews this year, and therefore haven’t shared my negative opinion of all of these elsewise.)
So, in alphabetical order…
With Robert Pattinson being cast as Batman, there was a lot of commentary about how he’d done so much good work since Twilight — and I realised I hadn’t seen any of it. Someone described this David Cronenberg film as basically being a Bruce Wayne movie, so that seemed as good a place to start. Sadly, it proved nothing about Pattinson’s acting ability, nor Cronenberg’s enduring ability to make good movies. I found it confusing, cheap-looking, and boring.
Happy New Year, Colin Burstead
Talking of boring, here’s the most recent work from director Ben Wheatley. I’ve had mixed feelings about his previous films, but they were all at least interesting in some way. Colin Burstead is not. In the review I’ve written but never got round to posting, I describe it as “like an art house EastEnders” and say “it’s really slow and frequently abstruse.” Over a year after it first aired it’s still available on iPlayer, but I wouldn’t recommend you seek it out. [Full review]
Holmes & Watson
I don’t rank these, but if I did Holmes & Watson would come last. A movie so shockingly inept it’s a wonder that it’s a studio movie made by seasoned professionals — I’m no fan of Will Ferrell, but you’d think at this point he’d be in movies that are at least competently produced. Weak filmmaking wouldn’t really matter if it was funny, because that’s the sole and defining purpose of a comedy, but there are no laughs here either. A total disaster. [Full review]
Made as a pilot for a TV series, then retrofitted into being a movie after that failed to get picked up, it might seem like I’m kicking this when it’s down to name it a “bad movie”. The thing is, it would’ve been a bad TV show too. Its biggest problem is that, stylistically, it feels 25 years older than it is — like mid-’90s syndication filler, rather than the slick, contemporary, spy-actioner I think it wanted to be. The Saint is an IP with potential, but this does not utilise it. [Full review]
Star Wars: The Rise of Skywalker
Okay, Episode IX probably isn’t one of the five worst films I saw in 2019 (I gave it 3 stars after all, though I was being generous), but it was certainly the most disappointing. Maybe I shouldn’t’ve had hope, but I enjoyed both Episodes VII and VIII, so I thought there was a reasonable chance they could stick the landing. I was wrong. And it makes the preceding Sequel Trilogy films lesser with it, because it exposes the lack of overarching point to any of it. [Full review]
The 15 Best Films I Saw For the First Time in 2019
Where others may do a top ten, or twenty, or fifty, nowadays I do a top 10%. This year I watched 151 films, so my ‘top ten’ has 15 films.
Although this list is selected from all the movies I watched for the first time in 2019, I did watch 34 films that had their UK release in 2019… plus four that will have their UK release in 2020, which is a first. So I’ve lumped those in with the 2019 lot and noted their ‘2019 rank’ in case you’re interested.
Moviemakers like to make movies about people who set out by themselves to make movies — think Son of Rambow, Be Kind Rewind, or Me and Earl and the Dying Girl. Brigsby Bear follows in their tonal vein, as a quirky story about a young man freed from a lifetime of imprisonment who’s determined to complete the story of the TV show his captors used to make just for him. Think Room written by Charlie Kaufman and directed by Michel Gondry. [Full review.]
A very much overlooked, nigh-on forgotten minor Western, which I’m sure I never would’ve seen were it not for Quentin Tarantino including it in his pre-Once Upon a Time in Hollywood movie marathon (as an example of the kind of Western programmers that film’s actor hero would’ve starred in). But I’m glad he brought it to my attention, because I found it be a well-told, well-performed study of toxic masculinity and parental influence, with a splash of gun control rhetoric to boot. This may’ve been made in 1958, but it has a heckuva lot of accurate stuff to say about our society six decades later. [Full review.]
This is the kind of movie I’m not sure I’ll ever watch again, because living through its terror once was enough. I watched it back in February but there are images that still pop into my head to chill me. A masterful work of horror. [Full review.]
2019 #4 This is a movie not to everyone’s taste, as some middle-of-the-road reviews, and Amazon’s lack of backing for it in awards season, attest. It’s easy to dismiss it as a filmed Wikipedia article, because it’s obsessively accurate and methodical in the way it lays out the facts of its case — about the CIA’s ineffective use of torture post-9/11 — but, in fact, that fits both the style of its lead character-cum-hero, and the purpose of its existence, which I think is to help expose the truth more widely. After all, we know what went on, but who’s actually had to face any consequences for it? In apportioning blame, writer-director Scott Z. Burns is strikingly nonpartisan, refusing to let the Obama administration off the hook for their part. So it’s a shame it hasn’t connected more widely, because its message is important; and even besides that, it’s an absorbing thriller… about someone doing paperwork.
I probably saw better films than Mandy during 2019, but I saw few that were as aesthetically striking — and certainly none with a header pic that could equal this shot of star Nic Cage. It’s a nightmarishly surreal journey of revenge, with plot points and visuals that can’t be described, they just have to be experienced. And oh my, what an experience. [Full review.]
Miss Pettigrew Lives for a Day
This overlooked ’30s-set rom-com boasts a starry cast and a likeable bounce, and I guess that’s where many people’s assessment of it stops — if they’ve even bothered to assess it at all. But what really worked for me was the way it feels like an actual movie from its era, with the quick-talking wit of screwball comedies, the slight earnestness of a simpler age, and the confidence to throw in some more serious undercurrents without the fear it will ruin the fun. Instead, they elevate it. As a throwback to classic cinema, it’s delightful.
2019 #3 On Letterboxd I simply stated this was “the most truthful movie about what it’s actually like to be a teenager I think I’ve ever seen,” and that just about sums up why its here. The milieu of its story is very Now — teenagers locked to their phones, living their lives through Instagram and YouTube — but look past the ultra-current specificity and there’s a universality in the experience of shy, insecure thirteen-year-old Kayla. Most of us have been there, and Eighth Grade captures just what it was like. (Before anyone asks/complains: this counts as a 2019 film because its UK release wasn’t until April ’19.) [Full review.]
The premise of Spike Lee’s detective movie sounds like a joke — “what if a black man joined the KKK?” — but it’s a true story. With that in mind, you may expect a deadly serious, heavy-going movie. Instead, Lee mixes in a lively humour that keeps the movie entertaining even as it hits you with serious points. And very timely ones, as the controversial (but, in my opinion, merited) closing moments make clear. [Full review.]
La Belle Époque
2019 #2 Reading reviews, I didn’t have particularly high hopes for this French romantic comedy-drama — it looked like it might be nice, and that’s about all. A pleasant surprise, then, to find there’s so much more to it than just a pleasantly diverting couple of hours. The story of a man who attempts to relive the day he met the wife who no longer loves him, it’s sharply witty, surprisingly beautiful in places, and genuinely emotional by the end. Surely it’s destined for an inferior American remake.
There are several true-story crime thrillers close-by on this top ten — if you watched them back-to-back with Searching, they might show it up a little bit, because it does get a little Movie Logic in its final act. But that’s worth letting slide because of the very particular way it tells its engrossing story. The entire movie takes place from the POV of a computer screen, as a desperate father tries to work out what’s happened to his missing teenage daughter. Pleasingly, the film doesn’t break its own rules, but uses the limitations to its advantage to create a new, timely way of viewing a narrative. And while the final act may be a bit grandiose compared to real life, its array of twists are satisfying. [Full review.]
Director Bong Joon Ho is attracting a lot of attention this awards season (heck, this year) for his latest, Parasite, and made my top ten last year with his long-delayed-in-the-UK sci-fi parable Snowpiercer. This surprisingly-hard-to-come-by (someone do a good Western Blu-ray release, please!) film wasn’t his first, but was what initially garnered him some attention outside Korea. A true-story-inspired crime thriller, it invites comparisons to David Fincher’s Zodiac in the way it follows obsessed investigators as they try to uncover the truth behind an unsolved wave of murders. Zodiac is one of my favourite films, but Memories of Murder is strong enough to withstand the comparison. (Also, yes, it predates Fincher’s film. I’m not claiming one copied the other, they just approach the same genre from a similar headspace.) [Full review.]
Scott Pilgrim vs. the World
If I’m honest, I was prepared to dislike Scott Pilgrim — I mean, there’s a reason it took me almost a decade to get round to it. It always looked Too Cool; kind of too hipster-ish, though I guess in a geeky way. (Well, “hipster” and “geek” have been more closely linked than ever this decade, haven’t they?) I remember distinctly when it went down a storm at Comic-Con and so everyone believed it was The Next Big Thing, only for it to flop hard at the box office (providing a much-needed course correction on everyone’s view of the power of Comic-Con). But here’s the thing: it’s directed by Edgar Wright, and I should have trusted that. And so the film is everything you’d expect from the director of Shaun of the Dead and Hot Fuzz and Baby Driver — deep-cut references (this time to video games), piles of humour, but also a dose of genuine emotion. Best of all is how it’s ceaselessly, fearlessly, creatively inventive with its cinematic tricks. No other film on this list is so overtly Directed, but in a good way.
Sherlock Jr. is almost 100 years old now, but it still plays as fresh as a daisy. That’s the wonder of Buster Keaton, who mixes daredevil antics with genuine movie magic to produce an unforgettable farce with more laughs per minute than [insert your comedian of choice here] and more I-can’t-believe-he-just-did-that stunts than one of Tom Cruise’s impossible missions. They don’t make ’em like this anymore. Heck, they probably wouldn’t let ’em.
This methodical French crime thriller is famed for its centrepiece — a half-hour heist that takes place in virtual silence — and that is indeed an unforgettably effective, edge-of-your-seat piece of cinema. But the film around it is so good, too: the events and plans that lead up to the heist; and the fallout of what occurs after. If you want to be a pedant then film noir “can’t be made outside America” — but even if that’s true, well, tough, because this is noir at its absolute best.
2019 #1 If my end-of-year #1s had a reputation, it would probably be for choosing recent movies. Every year I theoretically have the entirety of film history to choose from, but only once have I given my #1 slot to a film that was more than 18 months old. But this year takes that to extremes: I’ve given #1 to a film that isn’t even out yet (in the UK). Never mind Skyfall or Blade Runner 2049 only being 2 months old when I picked them — here, Portrait of Lady on Fire is currently -2 months old (its UK release is scheduled for 28th February). Still, it’s screened at plenty of festivals and had a few international releases, and received plenty of acclaim — well deserved, I think (obviously). It’s the kind of film that casts a spell, with its remote setting that isolates us with its characters, absorbing us into this vital moment in their lives; its thoroughly gorgeous photography, which is appropriately painterly; and a very particular pace, which some would dismiss as “slow” but I thought was just right. It also has a healthy, perhaps surprising dash of Gothic in how its narrative plays out, which particularly appealed to me. Basically, it’s an all-round stunning work. [Full review.]
As usual, I’d just like to highlight a few other films.
I’m always loathe to mention “films that almost made my list”, because that feels like cheating (I may as well just make the list longer and include them). However, because I only included four films released in 2019, I thought I’d flag up a few more of my favourites from the year itself. These aren’t #16–19, then, but they are 2019’s #5–8, because they’re the four 2019 releases that came closest to getting in. But I’ll leave their exact ranking to your imagination and just list them alphabetically: Deadwood: The Movie, Jojo Rabbit, Once Upon a Time in Hollywood, and The Personal History of David Copperfield. Of course, there were dozens of acclaimed and/or popular 2019 films that I didn’t see, so take this ranking with a large pinch of salt — if I revisited yearly rankings after I’d caught up on more movies, they’d change entirely.
Another honorary mention I want to make is more for a person than a film: Thomasin McKenzie, who almost single handedly earnt Leave No Trace a place in my top 15. I mean that as no disservice to everyone else involved — their combined work put it in contention, but it was McKenzie’s superb performance that almost tipped it in. (So, I guess that is #16.) And the other reason I’m mentioning her rather rather than just the film is because she was also excellent in Jojo Rabbit — easy to overlook among that film’s showy cast, but a pivotal and well-played part nonetheless. She’s definitely one to watch.
Now, let’s recap the 12 films that won Favourite Film of the Month at the Arbies, some of which have already been mentioned in this post and some of which haven’t. In chronological order (with links to the relevant monthly update), they were The Player, Memories of Murder, Isle of Dogs, Searching, The Meg, Deadwood: The Movie, Sherlock Jr., Rififi, The Red Shoes, For Sama, La Belle Époque, and Eighth Grade.
Finally, I never end this without mentioning all the films that earned themselves 5-star ratings throughout the year — especially as I haven’t reviewed most of them yet, so they merit their moment in the spotlight. During 2019 there were 25. 13 made it into my best list, so rather than name them again I’ll let you have fun guessing which were the two to only get 4-stars (hint: only one of them is in the actual top 10; and the other has a review, so you can easily find it out). The remaining twelve were Les diaboliques, The Favourite, For Sama, Isle of Dogs, Jojo Rabbit, The Killer, Once Upon a Time in Hollywood, The Player, The Red Shoes, Roma, Rope, and Waltz with Bashir.. Finally, I also gave full marks to Monty Python and the Holy Grail (which will be the subject of a “Guide To” at some point) and three short films, Pleased to Eat You!, Hey You, and Facing It (all reviewed in this roundup).
I watched 34 films from 2019 during 2019, which means there are plenty of noteworthy releases I didn’t see — so here’s an alphabetical list of 50 I missed. (Why it’s 50, I’m not quite sure; but I’ve been doing it for 13 years, I’m not changing it now.) They’ve been chosen for a variety of reasons, from box office success to critical acclaim via simple notoriety; plus I’ve made an attempt to include a spread of styles and genres, successes and failures.
As usual, I’ve followed IMDb’s dating in my selection process, which means there are movies listed here that haven’t actually come out in the UK yet. And some films have likely fallen through the cracks because they’re listed as 2018 but I wasn’t aware of them in time for last year’s list (though I’ve made one exception in that regard). But there are always more films worth noting than can be included, anyway. I mean, this year my starting list was 119 films long (maybe I should increase how many I include…)
Alita: Battle Angel
A Beautiful Day in the Neighborhood
Dolemite is My Name
Fast & Furious: Hobbs & Shaw
Godzilla: King of the Monsters
How to Train Your Dragon: The Hidden World
It: Chapter Two
Jumanji: The Next Level
The Kid Who Would Be King
Le Mans ’66
The Lego Movie 2: The Second Part
Men in Black: International
The Peanut Butter Falcon
Pokémon: Detective Pikachu
Rambo: Last Blood
A Shaun the Sheep Movie: Farmageddon
Spider-Man: Far from Home
Terminator: Dark Fate
The Two Popes
The Wandering Earth
X-Men: Dark Phoenix
Zombieland: Double Tap
Whew, another year over!
Time to do it all over again…