THE BEST FILMS OF 2019

30

FIGHTING WITH MY FAMILY

In what was a great year for rising star Florence Pugh, FIGHTING WITH MY FAMILY, the first of three of her films on this list, kicks of my best of the year at number 30. Directed by Stephen Merchant, Fighting with My Family was the first and possibly biggest surprise of the year for me. Chronicling the WWE wrestler Paige’s rise to stardom, the film plays out as an inspirational, rags-to-riches style, underdog story. I’m a sucker for inspirational true story films, especially those that revolve around underdog sports stars. 2016’s EDDIE THE EAGLE was another personal favourite of mine and like that film, this also has a tremendous amount of heart. Despite hitting all the tried and tested formulaic beats you would expect, Fighting with My Family does such a fantastic job at getting you invested in Paige’s story that you can’t help but get swept up in the burgeoning emotion of it all.

29

ROCKETMAN

Not a million miles away from Fighting with My Family, ROCKETMAN, another true story film chronicling the life and times of Elton John comes in at number 29 on my list. However, what sets Rocketman apart, not just from other true story films but from other biopics in general is that unlike say 2018’s BOHEMIAN RHAPSODY that was much more straight-forward and generic, Rocketman tells the story of Elton John in a suitably flamboyant and fantastical way. Rocketman is less bog-standard biopic and more stylised musical, and because of this, the film rarely gets bogged down by the formulaic biopic tropes as the fantasy musical angle allows the film to play fast and loose with when certain songs feature in the narrative. Dexter Flexter, director of the aforementioned Eddie the Eagle brings his signature flair to the film, imbuing the musical numbers with vigorous energy and reteaming with star Taron Egerton, who once again brings his A-game. Egerton infuses real heart and pathos into his performance as Elton John and despite not looking exactly like the legendary rock star, Egerton embodies him so convincingly, I found myself genuinely moved and even brought to tears watching Elton’s turbulent life unfold before me.

28

FORD V FERRARI

Following his Oscar-nominated LOGAN, writer/director James Mangold returns with this heartfelt tale of the friendship between racing driver, Ken Miles and car designer, Carroll Shelby. In what could’ve been simply generic, throwaway entertainment in the wrong director’s hands, James Mangold instead brings real warmth and passion to the material. Like Logan, Mangold proves once again that he’s one of the best directors working today when it comes to not just frenetic action sequences but also infusing them with raw, palpable emotion. Speaking of which, delivering two of the year’s best leading man performances, Matt Damon and Christian Bale similarly inject real heart and humour in their turns as Shelby and Miles respectively. Though it’s Bale who steals the show on a first watch with his deliciously on-point, midlands accented Miles, complete with yelling classic British slang and consuming a constant stream of tea and biscuits, a second watch reveals that it’s Damon who emerges as the film’s surprise standout, tearing up in an emotional final scene with Miles’ son Peter (Noah Jupe) in one of the film’s most compelling scenes, proving yet again that it’s the intense bond and deep friendship between Shelby and Miles that’s undeniably the beating heart of this film.

27

US

Writer/director Jordan Peele burst onto the horror scene with GET OUT and returned this year with US, another strikingly unique film that only further cements Peele as one of our leading voices in modern horror cinema. Although Get Out and Us are very different films from one another and difficult to compare in that respect, what they share is Peele’s trademark social commentary, proving once again that the real world elements can be just as, if not more scary than the fantastical aspects. Like Get Out, Us illustrates how the scariest monsters often wear a human face. In one of the film’s most chilling and memorable sequences the villains? of the film “The Tethered” reveal themselves to be identical replicas of our main characters. “Who are you?” “We’re Americans.” Not only does this add to the overarching theme of ‘our greatest threat lies within’ but it also gives the actors, namely star Lupita N’yongo the chance to really flex her acting muscles and show the world how great of an actor she really is. In one of the year’s best lead performances, N’yongo not only pulls off, but also somehow brings the house down with two remarkable dual roles. This may be Peele’s masterwork but make no mistake; N’yongo is the real star of this film, exuding fear, anxiety, horror and vulnerability in one of 2019’s most show stopping performances.

26

JOJO RABBIT

In a radical departure from his more recent Marvel fare, ‘visionistical director’ Taika Waititi gives us one of the year’s most weird and wonderful films in JOJO RABBIT. I often think that the film isn’t all that strange when compared to some other films that came out this year until I find myself trying to explain to someone what the film is about and I’ve found that exclaiming how wonderful and hilarious a ‘satire about the Nazis following a young boy with his imaginary friend Adolf Hitler’ is makes you sound like a crazy person! In all seriousness, it’s the kind of film that has to be seen to be believed, even I, a huge Taika Waititi fan wasn’t entirely convinced by the trailers, but I was overjoyed by how much I loved this film. Although it’s not my favourite of Taika’s films, (it might not even make the Top 3) I was still nevertheless bowled over by how bold, daring and unashamedly sentimental this film was. Not only is it ridiculously funny, but also, (as with all Taika’s films) it is deeply heartfelt and emotional and doesn’t shy away from the darker, more serious moments. It’s an insanely difficult balancing act but Taika Waititi is the best there is at towing that fine line, swinging between comedic and dramatic incredibly well. In a similar vein to HUNT FOR THE WILDERPEOPLE, Jojo Rabbit is able to shift effortlessly from being hilariously funny one minute, to heartbreakingly emotional the next.

25

HIGH-LIFE

As I mentioned above, I personally believe there are many other, far weirder films that came out this year and Claire Denis’ HIGH-LIFE is most definitely one of them. In her English-language debut, Denis delivers one of the year’s strangest and most surreal films. On paper, High-Life could be seen as a generic voyager lost in space movie, but as directed by Claire Denis, this film is anything but generic. Starring Robert Pattinson, the film follows his lost, lonely lead on a seemingly hopeless quest to keep himself and his daughter alive after a failed mission that involved sending convicted criminals into space goes awry. The film also stars the endlessly hypnotic Mia Goth as one of Pattinson’s fellow inmates/crew members and a scene stealing Juliette Binoche as their sperm-crazed medical doctor who may have committed the worst crime of all. Much like how SNOWPIERCER was my introduction to one of the best directors working today in Bong Joon Ho, Claire Denis’ dreamy, surreal High-life certainly ensures that I will be paying very close attention to everything she does from here on out.

24

HONEY BOY

The first of 2019’s many deeply personal films, Alma Har’el’s HONEY BOY tells the painful true story of Shia LaBeouf’s turbulent childhood as a kid’s TV star and later therapy years as he attempts to come to terms with the heart-breaking pain that has dwelled on him ever since he was a child. LaBeouf, (who also writes the screenplay) delves deep into his heart in an effort to get to the truth of his pain in this deeply intimate character drama. Noah Jupe in his second appearance on this list after Ford v Ferrari, really gets the chance to shine here as “Otis” the child actor who spends his days working as a kid’s TV star and his nights in a motel with his homeless, unemployed father (played by LaBeouf) who proclaims his belief in Otis and his talent is so great that he can’t have a job of his own. Noah Jupe, who I was first introduced to in John Krasinski’s excellent A QUIET PLACE, is centre stage here as the young Otis and gives arguably 2019’s best child performance. However, it’s LaBeouf who steals the show playing his own father in such a deeply intricate manner that he disappears into the role in one of 2019’s most transformative performances.

23

MIDSOMMAR

I’ve never been more disturbed and unnerved by a film than I was by Ari Aster’s 2018 feature debut HEREDITARY, and in this follow-up he certainly does not disappoint. MIDSOMMAR may not be as spine chilling or purely horrifying as Hereditary but I was fascinated by the concept of a horror film in bright daylight and the idea of a scary film that has no scenes in the dark. Moreover, I don’t think it was Aster’s intention to make a conventionally scary film or one to rival that of Hereditary as Midsommar is an entirely different beast altogether. However, like the thematic similarities between Peele’s horror films, the shared commonality between Aster’s two films is the idea of a horror film that is more concerned with exploring grief and trauma and unearthing the deep-rooted fear from within. Whereas Hereditary revolved around the drama and conflict within a family, Midsommar tells the story of Dani (Florence Pugh making her third appearance on this list) and her deteriorating relationship with her boyfriend Christian (Jack Reynor), that just so happens to be taking place amidst a freaky Swedish cult. The film’s genius, other than Florence Pugh, who’s on fire here delivering quite possibly the best performance of her small yet illustrious career, is how it’s often at its most sickening when the toxic behaviour of men is exposed.

22

THE LAST BLACK MAN IN SAN FRANCISCO

One of 2019’s most overlooked and underappreciated films, THE LAST BLACK MAN IN SAN FRANCISCO, was such a pleasant surprise to me. Many of the films on this list are very larger-than-life and over-the-top and there’s nothing wrong with that, some of my favourite films of the year are ridiculous and crazy and wild but sometimes it’s refreshing to watch a film that’s unashamedly small-scale and that’s exactly what The Last Black Man in San Francisco is. This isn’t a film that has tremendously high stakes, there are no world-ending circumstances, there are no big action sequences, but instead it’s a film that shines a light on two ordinary people and their ordinary lives. The film revolves around the main character’s love of a house he feels a deep connection to and his desire to reclaim what he believes is rightfully his, in spite of facts about the city that may say otherwise. The film’s charm lies in how small and personal it is, amidst a sea of gigantic blockbuster fare it’s refreshing to see a film that is so quaint and unassuming. However, despite how down-to-earth the film feels, it boasts God tier cinematography in what is undeniably one of the most stunningly shot films of the year. The film has countless beautifully photographed sequences and on top of that, they are accompanied with an equally gorgeous musical score. The Last Black Man in San Francisco is easily one of the most stunning films of the year.

21

LITTLE WOMEN

Oscar nominated for her feature film debut in LADY BIRD, writer/director Greta Gerwig returns with an adaptation of Louisa May Alcott’s 1868 novel of the same name in LITTLE WOMEN. I’d been looking forward to seeing Little Women ever since I first heard of it and was even more excited to see it after I saw the trailer and it certainly did not disappoint. Gerwig brings a fresh new energy to the material that both honours the spirit of the original story whilst also giving it a modern, feminist spin that will ensure its resonance with a contemporary audience – the film simultaneously feels classic and traditional, whilst also modern and forward thinking at the same time. Gerwig also chooses to tell the story in a non-linear fashion that took me off guard at first but on reflection, I believe was the perfect decision. In doing this the film is able to stay ahead of the audience as it often reveals the outcomes of certain situations before we see the situations themselves, which prevents us from dwelling too much on what will happen and instead allows us to properly appreciate what is happening. And of course it goes without saying that absolutely everyone in the star-studded cast brings their A-game to this project with 2019’s breakout star Florence Pugh and the always-amazing Saoirse Ronan being particular standouts. If “I’m so lonely” isn’t movie moment of the year, I don’t know what is.

20

DOLEMITE IS MY NAME

In what has to be one of 2019’s most wildly entertaining movies, DOLEMITE IS MY NAME is the latest reminder of just how good of an actor Eddie Murphy really he is. We all know Murphy is one of the world’s greatest comedians but the based on true events film Dolemite reminds us that he’s also one of our best all-round entertainers. As Rudy Ray Moore, Murphy’s star power has never shone brighter, he’s such an endlessly compelling screen presence, able to draw you in and keep you glued to the screen for the entirety of the runtime. I’m a sucker for films about the filmmaking process and that’s just what Dolemite is. Based on the true life story of Rudy Ray Moore and the making of his 1975 cult film Dolemite, this is a film (especially as an aspiring filmmaker myself) that reminds you of the joys of filmmaking, the ups and downs, the friendships we make, the conflicts in the creative process and everything in between. There’s a certain magic that comes with films about the making of films, not only is there something wonderfully meta about the whole thing but they also help to remind you of how magical and special the movie going experience really is. Dolemite reminds us that movies have the power to bring us together and that’s just wonderful.

19

THE NIGHTINGALE

Jennifer Kent made a big splash onto the horror scene with her 2014 directorial debut THE BABADOOK, a film that although I have still yet to see, have heard nothing but great things about. However, as soon as I saw the strikingly beautiful poster for THE NIGHTINGALE I was hooked. Going in all I knew was that it was a rape revenge film and that was it. Obviously this is a genre that has been done to death and I was worried that the film wouldn’t have anything new to say or that it would be just more of the same but I couldn’t have been more wrong. This film absolutely blew me away. I thought I’d seen all there is that could be done with this genre but Jennifer Kent has shown that there is still so much more that can be said. This is without a doubt one of the darkest and most brutal films I have ever seen and I’m not exaggerating. This film is so relentlessly horrifying it makes Quentin Tarantino and Nicholas Winding Refn look light and fluffy in comparison. However, the real genius with this film is how Kent tells the story from an unashamedly female perspective. Clare (a remarkable Aisling Franciosi) is never once objectified or sexualised and she is also never sensationalised in any way; she always feels completely and utterly human. A man might be tempted to turn Clare into some glorified avenging angel but Kent always keeps her grounded, she’s not only angry and vengeful but also frequently tormented and terrified, exuding fear and vulnerability when audiences might expect her to exude power. The Nightingale is astonishing.

18

UNDER THE SILVER LAKE

In what has to rival High-Life and Midsommar as 2019’s strangest film, David Robert Mitchell’s UNDER THE SILVER LAKE is a fascinating watch. Unquestionably an acquired taste, this film is strange but in all the best ways. What I loved about Under the Silver Lake above all else is just how different it is, not just from any other film I’ve seen this year but anything else I’ve seen in general. This has got to be one of the most unique pieces of filmmaking I’ve seen all year, it’s not interested in conforming to generic conventional storytelling at all and I absolutely loved that, this film is unapologetically its own thing and isn’t trying to be like anything else, what is there not to love? Andrew Garfield stars here as a weird, kinda creepy loner who unintentionally becomes embroiled in a dark, tangled web of mystery that he finds himself pulled deeper and deeper into over the course of the narrative. This film is weird and I don’t want to get too specific in fear of spoiling anything but what I will say is that the film on one hand has shades of classic Hitchcock-esque mysteries invoking the likes of VERTIGO in particular, whilst simultaneously feeling dangerously modern and subversive at the same time. This film won’t be for everyone. I loved it.

17

TOY STORY 4

In a drastic change of pace, coming in at number 17 on my list is Pixar’s latest gem, the fourth (and final?) instalment in their beloved Toy Story franchise. I’ve got to admit, before I saw this film I was vehemently against the idea of a fourth Toy Story film. 2010’s TOY STORY 3 was so good and ended so perfectly I quite frankly hated the idea of another Toy Story film, to me it felt unnecessary and reeked of being nothing more than a blatant cash grab. I couldn’t have been more wrong. Although this may not be the best of the franchise, it certainly ranks right up there. TOY STORY 4 is a beautiful film that, like most of Pixar’s offerings is also incredibly mature and sophisticated despite being targeted primarily to children. This is a film that is about learning to let go of the past, moving on and finding new purpose in life after everything you once knew is now gone. Whereas the third film was all about the end of Andy’s story, this film is about the end of Woody’s. At its core this film is about Woody coming to terms with the fact that he is no longer needed and realising that it’s time for him to move on. This is a franchise that has been with me my whole life and I have grown up with these films but if this really is the end I will look back on them fondly with a smile but also move forward with a newfound sense of optimism as the sunsets with hope at what’s to come.

16

ONCE UPON A TIME… IN HOLLYWOOD

I’ve got admit, I know it maybe sacrilegious to say but I’m not the biggest Tarantino fan. Now don’t get me wrong; I think he’s an extremely talented writer and one of the best directors working today, his films just generally aren’t my cup of tea. However, I was pleasantly suspired by his latest film ONCE UPON A TIME… IN HOLLYWOOD as it felt refreshingly different from his usual shtick. Obviously it still very much feels like a Tarantino film, everything from the intricate, characterful dialogue to the meticulous production design and soundtrack is very much in line with what you expect from Tarantino. However, what sets Once Upon a Time apart from most of his other films is how unusually restrained and surprisingly compassionate it is. Despite having the stereotypical Tarantino fireworks towards the end, the film on a whole is actually much more mature than you’d expect; it’s slower, more thoughtful and has a certain dreamy, hazy quality to it that I personally loved. Obviously all of the actors are at the top of their game here, namely Leonardo Di Caprio and Brad Pitt who steal the show with their barnstorming performances but it’s actually a light touch from Margot Robbie as Sharon Tate who really shines here in a small but wistful role; her angelic presence casting a hopeful ray of light over the entire film. When you hear her voice in the film’s closing scene you can’t help but tear up at how heartbreakingly bittersweet its final note is.

15

AVENGERS: ENDGAME

This film may seem like an odd outlier when compared to the other films on this list (heck even Pixar have a prestigious, sophisticated quality) but I can’t lie, the Marvel Cinematic Universe has been a massive part of my life for the past 12 years. I was already a fan of superhero movies long before the MCU began but it was Marvel’s movies, (particularly their “Avengers” films) that made me an even bigger fan than I was before. What Marvel studios were able to accomplish from 2008 all the way through to 2019 was remarkable and deserves to be commended for just how bold and ambitious it really was. With ENDGAME, they were somehow able to successively interweave and subsequently payoff 10 plus years of storytelling across 21 preceding films, a tremendous feat that I can’t see being repeated, (certainly not to this level) ever again. It may not seem like much of an achievement but when you look at the other franchises this past year that attempted to do the same, DARK PHOENIX, GAME OF THRONES S08 and THE RISE OF SKYWALKER, all saga conclusions and all vehemently divisive prove just how remarkable Endgame’s success really is. On top of all this the film itself may even be Marvel’s best. Despite the big explosive CGI finale, it’s a surprisingly self-reflexive film that takes its time and allows scenes between its characters to really live and breathe.

14

WILD ROSE

In what may be the biggest surprise of 2019, WILD ROSE arrived early and continued to feature prominently in my best of the year right until the end. Rising star Jessie Buckley stars here as Rose-Lynn, a diehard country music fan who dreams of making it big in Nashville but is tied down with kids in Glasgow. This film took me off guard when I first saw it back in April and it has stuck with me ever since. Of course it has to be Jessie Buckley who is the standout here, delivering a wonderfully honest performance in a star-making turn as Rose-Lynn. Buckley, who has also appeared in several other films recently in smaller parts, has yet to break out into the mainstream but I’m hoping that Wild Rose will be just the beginning for her. Also a delight are the musical numbers that feel genuine and authentic, Buckley, (doing all her own singing) infuses real heart and soul into every word, the standout being the closing number of “Glasgow” that brings the house down.

13

A BEAUTIFUL DAY IN THE NEIGHBORHOOD

I first took notice of director Marielle Heller after her fantastic CAN YOU EVER FORGIVE ME? One of the best and most under appreciated films of 2018; she followed it up this year with the equally compelling A BEAUTIFUL DAY IN THE NEIGHBORHOOD. On what first glance may seem like just another formulaic biopic of a beloved figure, what sets A Beautiful Day apart and makes it unique is that it’s not a straight-forward biopic of Mister Rogers but rather a story following Lloyd Vogel, (based on the real life reporter Tom Junod) an investigative journalist whose damaged relationship with his father has caused him to become deeply distrusting and sceptical in his adult life. It’s through Lloyd (a terrific Matthew Rhys) that we are introduced to Mister Rogers (Tom Hanks on typically Oscar-worthy form) and in many ways it feels like he is talking to us and helping us to get through our problems just as much as he with Lloyd. I’m not going to lie, this movie was like therapy for me, it resonated with me on such a deep, profound level that I can’t remember the last time I was this emotionally moved by a film. As early as the opening two minutes this film had me in tears and kept me that way for almost the entirety of its 109-minute runtime.

12

BOOKSMART

I was taken aback by how much I ended up loving Olivia Wilde’s directorial debut BOOKSMART, an uproariously entertaining high school teen comedy. Going in I had heard nothing but glowing recommendations but I was worried it wouldn’t live up to the hype. However, not only did it live up to the hype, it also somehow exceeded it. Booksmart is one of those rare films that is so deliriously exciting, it reinvigorated my passion for film and inspired me to get back into filmmaking. Olivia Wilde did such a remarkable job with this film, it’s hard to believe this is her very first directorial effort. You’d think there would be nothing new to add to this well-worn genre but Wilde injects so much energy and passion and heart into the material, you can’t help but fall in love with these characters and their antics. Not only is the movie ridiculously entertaining and one of the funniest films of the year, it also feels refreshingly modern and subversive. Unlike many other high school comedies that are more interested in paying homage to the likes of John Hughes and consequently are nothing more than nostalgia fests, Booksmart acts not only as a love letter to our favourite movies but also feels very much of the here and now. All of the characters, particular the two leads (played by the wonderful Kaitlyn Dever and Beanie Feldstein) feel so breathtakingly honest and genuine, the film never once loses its authenticity.

11

APOLLO 11

The first and only documentary on this list, the extraordinary APOLLO 11 is an eye-opening insight into the Apollo 11 mission more than anything we’ve ever seen before. Featuring never before seen restored footage, Apollo 11 explores in great depth and detail everything that went into mankind’s legendary mission to the moon in the summer of 1969. What I admired so greatly about this film is how, despite it being a story we’ve known all our lives and have seen footage of countless times, gave me a whole new appreciation of the moon launch and a much greater sense than ever before of just how extraordinary an accomplishment it truly was. The film was also incredibly immersive and felt almost like a virtual simulation; I was sucked into the world of the film so deeply, it felt as if I had been transported back in time and was living in that moment watching everything unfold for the first time. The film really is that good. Compelling, emotional and inspiring, Apollo 11 quite simply makes you feel proud to be part of the human race.

10

THE SOUVENIR

Quite possibly 2019’s most deeply personal film, Joanna Hogg’s THE SOUVENIR is an absolutely absorbing watch. Set in the early 1980s, the film recounts Hogg’s own personal story of her time at film school and the turbulent relationship she had with an older man at the time. The film is so brave and honest on Hogg’s part and so deeply authentic as well; everything from the acting (Honor Swinton Byrne in a remarkable debut) all the way down to the production design is so immaculate and painfully precise. As the film unfolds, you slowly get sucked deeper into the world of the film, so much so that it feels like you have been transported back in time and are living in that time period too. The film is not only deeply immersive but also heart achingly resonant. As a 24-year-old former film student myself, I related so intensely with Hogg’s very personal recount of her early adulthood. In 2014 when I saw Richard Linklater’s BOYHOOD, I remember thinking that the film had arrived at the perfect time for me as it was almost like watching a depiction of my own life up until that point and I feel the same way about The Souvenir. Joanna Hogg’s quietly powerful film in many ways feels almost like looking into a mirror for me. I was breathlessly transfixed until its final note.

9

KNIVES OUT

One of my favourite directors working today has to be Rian Johnson. From noir in BRICK to science fiction in LOOPER to delivering the best Star Wars movie in THE LAST JEDI, there doesn’t seem to be anything he can’t do and his latest movie, the Agatha Christie-style whodunit KNIVES OUT only helps to cement that notion even further. A suitably all-star cast is assembled including Chris Evans, Jamie Lee Curtis and Toni Collette, headlined by an outrageously entertaining Daniel Craig who is clearly having the time of life; chewing on all the scenery he can get his donut-chomping teeth on. However, not only is Knives Out easily the most wildly entertaining movie of the year, it’s also one of the most sharply written too. I’m constantly in awe of Johnson’s ability to craft delicately intricate screenplays that both deliver on all the twists and turns you’d expect from the genre whilst also giving his characters the chance to really shine. Daniel Craig and Chris Evans may be the biggest names in the cast, but Knives Out’s most pleasant surprise might be that it’s actually Ana de Armas who emerges as the actual lead and it’s her performance as Marta Cabrera that reveals itself to be the real heart of the film. In fact, Rian Johnson might be the first director to properly utilise Armas and fully showcase her talent and for that I thank him.

8

THE FAREWELL

In another of 2019’s most deeply personal and affecting films, Lulu Wang’s THE FAREWELL is an absolute delight. On the surface you’d think a film about a woman learning of her grandmother’s cancer diagnosis and then being forced to keep it a secret from her to uphold long-standing Chinese traditions would be an awfully upsetting film to watch but it’s actually not. Now it’s true that the film in many ways is deeply moving but it is also surprisingly life affirming and hopeful as well. Despite the sad subject matter, (based on director Lulu Wang’s own personal experiences) the film proves itself to be an unexpectedly cathartic watch. Now I can’t speak for everyone but as something who has lost a close relative to Cancer and is also very close to my grandparents, I found The Farewell to be very therapeutic. I also have many distressing memories associating with sick loved ones and to see a film that, although undeniably sad is also surprisingly upbeat was actually very reassuring for me. Sometimes films about sad subject matter can be just what you need to help you come to terms with your own sadness and that’s exactly what The Farewell does. This is a film that helps heal the soul. It doesn’t shy away from the (very relatable) conflicts and harsh divides within the family but it also helps reminds you that there is, surprisingly, always hope.

7

THE LIGHTHOUSE

I first saw director Robert Eggers’ follow-up to THE WITCH, the beautifully bizarre THE LIGHTHOUSE at this year’s London Film Festival and I was blown away. The Lighthouse may not be as unnervingly strange as Under the Silver Lake or Midsommar but it’s no less balls-to-the-wall insane. This movie is a bold, daring, uncompromising masterwork from director Robert Eggers that won’t be soon forgotten. Robert Pattinson and Willem Dafoe (both insane, both extraordinary) deliver two of the year’s best performances here as lighthouse keepers trapped on a frozen rock. Frequently tormented by violent storms, temperamental seagulls and nightmarish sea monster visions, we watch Pattinson’s Winslow slowly descend into madness as he furiously attempts to uncover the secrets of ‘the light’. Pattinson and Dafoe both deliver tour-de-force performances as the two crazed lighthouse keepers with Dafoe in particular standing out as one of 2019’s most memorable characters in Thomas Wake. The film also has some of the most evocatively atmospheric sound design of the year, which coupled with its hypnotic cinematography and terrifyingly striking visuals, makes The Lighthouse one of 2019’s most hauntingly mesmerising films.

6

MARRIAGE STORY

Inspired by his own personal experiences, Noah Baumbach’s relationship drama is devastating. Adam Driver and Scarlett Johansson (delivering two of the best performances of the year) star here as Charlie and Nicole, a couple struggling through a rocky divorce. Before watching the film you could easily be mistaken in thinking that yet another film about divorce would not be worth watching but to put in plainly, Noah Baumbach’s MARRIAGE STORY is nothing short of exceptional. In what might be 2019’s most sharply written film, Baumbach has crafted a masterwork here, with Driver and Johansson blowing the doors off with two of the most powerfully emotional performances I’ve seen all year. One of Marriage Story’s many strengths, right off the bat, is just how honest and truthful it feels. Of all the films I saw this year, this was undeniably the most authentic. From the opening scene, Charlie and Nicole feel real and messy, they aren’t stereotypical movie characters but complex, multi-faceted people. There are no ‘good guys’ and ‘bad guys’ here, no one is pitted against one another in battle; Charlie and Nicole’s struggles are messy, chaotic and real and as such always feel 100% true to life. Because of this, the film is often heartbreakingly difficult to watch at times, everything feels so painfully real that it’s impossible not to be emotionally floored. In what has to be the films show stopping scene, an intense argument breaks out between Charlie and Nicole as they proceed in blowing up in each other’s faces. For anyone who has ever witnessed a heated family argument before, the scene hits so close home to home and is absolutely devastating to watch unfold. However, despite how emotional the film is it’s also surprisingly funny. In fact, I don’t think I’ve ever laughed and cried so much watching a film before. Such a wide spectrum of emotions are evoked, the film in many ways feels akin to a theme park ride, but what is life if not a rollercoaster of emotion? Marriage Story is tremendous.

5

UNCUT GEMS

After storming onto the scene with the deliriously entertaining GOOD TIME, the Safdie brothers return with UNCUT GEMS, a film so intensely stressful it makes Good Time look tame in comparison. A fantastic Adam Sandler stars here as Howard Ratner, a dodgy jeweller who spends most of his time gambling with his money, rolling the dice so often that watching his relentlessly reckless behaviour unfold repeatedly on screen is akin to having an anxiety attack. Whereas most films are primarily concerned with being light-hearted and fun, Uncut Gems is the absolute antithesis of what you’d typically expect from a high-profile studio film. With this movie I had one of the most stressful experiences I’ve ever had watching a film and I mean that as the highest compliment. For the first hour you can feel the film ratcheting up the tension as it winds up tighter and tighter before exploding in gloriously horrifying fashion. It’s not an exaggeration to say that the second half of this film is so unbearably nerve-wracking it becomes legitimately painful to watch. Like witnessing a car crash, you are powerless to intervene as Ratner’s schemes fall apart disastrously time and time again. It’s gut-wrenchingly horrifying stuff but you can’t take your eyes off it. It’s true that these characters may not be the most likable people but I admire the Safdie’s for not being afraid to do something wildly different and for how they executed it with such intense precision.

4

THE IRISHMAN

Legendary director Martin Scorsese returns to the genre he helped define with this epic tale of loss and regret. As with Tarantino, I admittedly am not the biggest Scorsese fan in the world but his new film THE IRISHMAN is just the latest reminder that he’s one of the best directors alive today. 25 years after CASINO, Scorsese reteams with De Niro (on Oscar-worthy form here) to tell this epic mob story that spans decades. Going into this film I knew it would be good because, well, it’s Martin Scorsese but what I was not prepared for was just how much I ended up loving it. Like Tarantino’s mournful Once Upon a Time, what sets The Irishman apart from Scorsese’s previous mob movies is how surprisingly quiet and reflective it is. Chronicling the life and times of Frank “The Irishman” Sheeran, the film revolves around the mystery of who killed Jimmy Hoffa (Al Pacino on suitably manic form) and Sheeran’s time working for Jimmy Buffalino (a quietly devastating Joe Pesci who steals the show here with an uncharacteristically nuanced performance). As Sheeran, De Niro delivers one of his best performances in years as we watch Frank’s turbulent life unfold on screen and witness all the people who have been affected by his actions. Not only is ‘de-ageing’ technology employed, enabling us to see our lead actors at different ages across 50 odd years but the film also repeatedly cuts back to Sheeran at the tail end of his life as he recounts his own story to camera. Some people have speculated that Sheeran is confessing to a priest in these scenes but I would disagree; he is clearly confessing to us, the audience, admitting all of his deepest darkest secrets. The film’s final 30 minutes are devastating as Frank attempts to reconcile with his estranged daughter Peggy (an excellent Anna Paquin) who, understandably, refuses to speak to him. This is a film about mortality, morality and regret and the films final moments confirm this as Frank, with no-one left in his life, has to pay for his own coffin. The films final shot lingers on that of Frank, sitting alone in his room, left to think about nothing else except what he has done. Crushing.

3

AD ASTRA

I was so deeply moved by director James Gray’s THE LOST CITY OF Z, a poignant tale of an outsider who finds himself at home in a foreign land, that when it was announced he would be making a space opera about a man’s desperate attempt to reconnect with his estranged father, I was immediately hooked. In what might be 2019’s most misunderstood film, AD ASTRA tells the story of Roy McBride, (an Oscar-worthy Brad Pitt) an astronaut who after being informed of the reappearance of his missing father, is tasked with finding him and putting a stop to his schemes. It’s true that Ad Astra is not a film for everyone, it has very little action, has practically no big exciting set pieces and is far more concerned with what’s going on inside our main character’s head, but I personally loved this. Science fiction movies shouldn’t be concerned with delivering big explosive set pieces, that’s just not what science fiction is and this film, (like the best of them) understands this. Ad Astra is a slow, thoughtful, meditative odyssey that spends far more time delving deeper into Roy’s mind; exploring his inner feelings much more than it explores outer space. I’m also a sucker for films about fathers and sons and as a result, this film hit me right in the feels. The climax of the film resonated with me on a particularly deep level as Roy is forced to move on from his father and let go of him for good. Ad Astra is just as powerful as it is subtle and because of this, the emotional moments have an even greater impact. “Let go Roy.” I don’t think any other 2019 moment hit me harder.

2

PARASITE

One of my favourite directors working today has to be Bong Joon Ho. As I mentioned earlier, I was first introduced to him with 2013’s Snowpiercer, a film that quickly became one of my favourites of the decade. With PARASITE though, he cements himself as one of the best directors working right now. I’ve been a big fan of Bong for many years now but with Parasite, he has reached a new level entirely. This film is so excitingly unique, I can’t think of anything else quite like it. I would try to describe it but in fear of spoiling anything all I’ll say is that quite simply, this is the kind of film that is so good, it makes me excited. After watching Parasite I’m excited about the prospect of more Bong Joon Ho films, I’m excited about how this may influence today’s genre films moving forward and I’m just excited about film again in general. I can honestly say I’ve seen nothing else quite like Parasite all year. The way it shifts seamlessly between genres, the masterful way in which it’s directed, the way it comments on class warfare and social divide in such clever, cunning ways; this film is nothing short of extraordinary. Bong Joon Ho is operating on another level here in what may be 2019’s strongest directorial effort. The way he moves the camera to stir emotion, the way he frames his actors to increase the tension. Stunningly shot, masterfully directed, ingeniously scored and phenomenally acted, Parasite is miraculous.

1

PORTRAIT OF A LADY ON FIRE

You might be wondering how any other film could possibly top what’s come before this but there was one other film this year that was so glorious it had to make the top spot on my list and that is Céline Sciamma’s beautifully exquisite PORTRAIT OF A LADY ON FIRE. Another film I saw at this year’s London Film Festival, Sciamma’s tender portrait of longing and desire is without a doubt, the most precisely perfect film I saw in 2019. Even some of the best films I saw this year I had minor nit-picks with but Portrait of a Lady on Fire I thought was quite simply flawless in every regard. From its opening moments all the way until its final frame, this film was note perfect. The premise is simple but effective as we follow Noémie Merlant’s Marianne, who after arriving at an isolated island in late 18^th century Brittany is tasked with painting a portrait of Adèle Haenel’s soon-to-be married Heloise. In many ways the film has a classical Hitchcockian feel to it, echoing the likes of REBECCA and VERTIGO and more recently Paul Thomas Anderson’s PHANTOM THREAD. There are many haunting visuals in this film, particularly one of a woman in a white dress that will stay with you long after the credits roll. Merlant and Haenel deliver delicately devastating performances in this heart aching tale of forbidden love, a story that’s both epic and intimate at once as the two women slowly but surely confess their love for one another in a way that feels both poetically inevitable and heartbreakingly tragic. Another of Sciamma’s many genius touches comes with her use of sound in the film, choosing to accompany only two pivotal sequences with music. The first of which being one of the most breathtakingly entrancing scenes of the year and the second; the films final shot, a moment so overwhelming it left me speechless. Watching this film is like having a religious experience, and not one you’ll easily forget. Portrait of a Lady on Fire is quite simply, a masterpiece.