#that sort of empowerment‚ the strength to try and fight against impossible odds and an inescapable situation

[fionnaskyborn]

current mood:

[mattbrothersscriptwriter]

My Top 20 Films of 2019 - Part One

I’m back and prising open this tomb of a blog like I’m Lara bloody Croft, let’s do this thing.

2019 was a huge year for movies and thanks in part to my ever obsessive Letterboxd account, i chalked up 150 total 2019 movies seen, which is... too many. Thanks again in part to the rise of Netflix originals, broader theatrical releases and a handful of festival showings (Sundance London, Edinburgh International Film Festival, Frightfest etc), I saw as much as I could. STILL some I didn’t catch (Rocketman, Shazam... Cats...) but as always, for my full breakdown, jump over to my Letterboxd ranking here - https://letterboxd.com/matt_bro/list/films-of-the-year-2019/

20. The Death of Dick Long

I honestly didn’t know what to expect from this, partly because it’s from one half of the ‘Daniels’ duo, who made the equally expectation-defying Swiss Army Man and also because I saw it at Sundance London back when there was no poster, trailer and barely a logline. Some vague word of mouth from Sundance proper was about it. And that’s how I’d recommend seeing it - as blind as you can - as it’s many surprises are unlike anything I’ve really seen before.

It’s a triumph of carefully balanced tone and pitch perfect black humour. Essentially a Fargo-esque tale of two idiot hillbillys who get involved in the mysterious, titular death of their friend Dick Long (played in a cameo by director Daniel Scheinert), things slowly unravel as they realise that in reality, covering your tracks and getting away with a crime is, actually, pretty damn unlikely. The tension that mounts as hidden truths inevitably begin to come to light can rival any straight thriller and the humour always comes from a place of character. But the genius comes in the film’s ability to maintain said tone with a straight face once a very specific spoiler comes to light. It’s deliberately absurdist but you still find yourself swerving from laughing at it to being wholly invested at the sincere pathos and tragi-comedy on display. The film, for all it’s surreal trappings, never punches down at it’s characters, treating them as flawed and vulnerable as any of us, and the leads Michael Abbott Jr and Andre Hyland remain a wholly tragic and relatable pair - against all odds.

19. The Farewell

Lulu Wang’s immensely crowd pleasing indie sensation manages to be many things - a witty comedy, an ode to family, an examination of another culture’s traditions and a character study of the American-Asian experience. Like most really great movies, it’s universal appeal comes from it’s specificity - telling a unique story based in a human truth that taps into themes we can all relate to: alienation from one’s own family, feeling like you don’t belong, truth and honesty within our closest relationships and our own mortality. Or more specifically still; how we would want to face death should we be fortunate/unfortunate enough to know that is is coming.

Awkwafina really is a revelation here, showing off her dramatic chops with a heartfelt performance that utilises her strengths as a funny everywoman and as a tortured individual trying to understand not only her own relatives but herself as well. The whole cast are equally impressive, especially Chen Han and Aoi Mizuhara as the clueless couple getting married and of course, Zhao Shuzhen as Nai Nai - delivering a touching portrayal of a grandmotherly figure we can all recognise. Definitely one of the most moving films of the year for me, it’s a marvel that never succumbs to easy schmaltz or signposted resolutions.

18. Pain and Glory

I’m a big admirer of Pedro Almodovar’s body of work, having studied him since college but I’d be hard pressed to say I was a proper fan. I went into this off the back of it’s buzz and came out more profoundly moved than I first predicted. This very self reflective piece tackles a lot of Almodovar staples - Spain throughout the decades, the pain of love, film-making, mothers! - but is so strongly rooted in a career best Antonion Banderas, here playing a thinly veiled and somewhat fictionalised version of Almodovar himself.

Like The Farewell, it is deeply personal but incredibly universal, dealing with life long regrets and suppressed trauma and memory. Cruz the Muse is back in magnetic form and the tenderness in both the flashbacks and present day make for a surprisingly comforting watch about an awful lot of self-examination. It also cannot be understated how strong Banderas is here, possibly the most human I’ve ever seen the man known for playing gun toting mariachis, sword wielding masked heroes and... sword wielding, um... cats. It’s possibly his most mature and unflashy role in years but he reminds us why he’s such a consistent and evergreen movie star ten times over here.

17. Dolemite Is My Name

Eddie Murphy is back baby! This was hands down one of the most joyful and life affirming films this year, so much so that I’m gutted I didn’t see it in a packed cinema instead of on Netflix. Still, it’s a huge win for the streamer. Before now, it’s been easy enough to write off a ‘Netflix’ movie as one of three things - the modern equivalent of going ‘straight to video’, a blank check passion project for a headline grabbing filmmaker (Noah Baumbach, the Coen Brothers, Martin Scorsese) or a big blatant push for awards glory (Roma). But this breaks through and hits the sweet spot, being the sort of mid-budget biopic the studios used to put out, a comeback vehicle for one of our most missed stars and as a straight up killer piece of film making all round.

From the writers of Ed Wood and the director of Hustle and Flow, Murphy stars as Rudy Ray Moore, a true over-the-hill underdog who stubbornly chases his dreams of reaching stardom as a middle aged man, who refuses to be put down in the face of mass criticism and overwhelming odds. It’s an empowerment story about pursuing what you believe in and saying fuck you to the haters. It understands that the only judge you need to answer to is yourself. It’s a testament to the power of a minority voice, in finding the unstoppable force who will fight to be seen - not just by his peers but by society at large. 

I’m a sucker for films about a group of people stretched outside of their natural talents who strive to create something that wasn’t there before. Whether it’s Ed Wood or The Disaster Artist, Brigbsy Bear or Bowfinger - these movies never fail to strike a chord with me. I think championing a belief in yourself, often in the face of huge pessimism or swarms of naysayers, is so incredibly important and seeing these central figures who probably shouldn’t have succeeded, manage to do so, is so touching. The scene in the limo when they read the shitty reviews of their movie and all take a moment to arrive at the conclusion of ‘fuck them, we made a movie, it’s ours’ is an antidote to everybad review any creative endeavour may end up receiving. If it’s important to you, that’s all that matters but like all art, even if you reach one person and affect their life for the better, then it’s all been worth it.

Shining a light on the rise of Blaxploitation also helps to champion an era of outsider art that reflected the lives of millions and gave many more than chance to see themselves represented on screen as their OWN heroes and not just reductive stereotypes. Plus... Snipes is also back baby! Cripes it’s Snipes!

16. Monos

What a gargantuan feat this film is. Shooting in some of the most inhospitable locations ever seen, this tense, survivalist story of a band of young soldiers slowly imploding whilst they guard an American hostage is elemental and animalistic - a 21st century Lord of the Flies for sure.

Moises Arias is unrecognisable here as the eventual alpha Bigfoot. A former Disney star, he is most fondly remembered by me as the polar opposite Biaggio in one of my other favourite films of the decade, The Kings of Summer. The rest of the cast are fantastic too, from the captured Dr Watson (Julianne Nicholson) to the morally torn Rambo (Sofia Buenaventura). With some of the most breathtaking cinematography of the year to yet another stunning Mica Levi score, this feels like a lost Herzog masterpiece from the 70s. In other words, the kind of impossible thriller that you see all too rarely these days.

15. Once Upon a Time... in Hollywood

Any new Tarantino is a cause for celebration, especially as he approaches his long-threatened ‘final’ 10th movie. I’m a massive western guy so I’d been loving his detour into the genre through both Django Unchained and The Hateful Eight but was definitely looking forward to his depiction of 1960s Hollywood. And Tarantino being Tarantino, the western influences manage to find their way into most, if not all, of his filmography.

OUATIH certainly ended up a divisive piece. Too much of an aimless character hangout for some, not enough dramatic bite for others. I was initially left a bit cold myself, knowing I’d enjoyed what I’d seen but wondering if it would go up or down in my estimations upon a second viewing. While that second viewing still hasn’t taken place yet, I tend to believe it will be even more favourable knowing where it’s all heading. I’m in the camp that loved where this film ended up and thought it stuck the landing wonderfully and in DiCaprio and Pitt, the film found a truly dynamic and compelling central friendship fuelled by two A-listers back on A-list form. The two veterans instantly deliver some of their best work in years (DiCaprio is 10x more alive here than he was in his Oscar winning turn in The Revenant) and 2019 would go on to be Pitt’s year, alongside Ad Astra. Margot Robbie is luminous in her limited screentime and while some were disappointed she wasn’t more of a major player, he Tate is arguably the lynchpin of the whole piece. Perhaps more as a symbol than a person, sure, but the scene where she gets to witness the joy her big screen clowning brings others (complete with tactfully judged real life Tate footage) is magic.

At first glance, this could seem like QT regressing somewhat but there are moments in here that stand out as some of his best work, from DiCaprio’s stroppy meltdown to Pitt’s visit to Spahn Ranch to the whole bloody climax. If it ends up being the odd duck of his filmography (Four Rooms aside) then it will end up all the more interesting and I am already captivated.

14. Stan & Ollie

Easily the most underrated film of the year in my eyes, I sort of understand most people’s dismissal of this charming biopic as grey pound fodder and even I admit that it falls into a sub-genre quickly approaching cliche: ageing Golden Age Hollywood movie stars have one last stab at fame and redemption by reviving a stage act in the UK - see also Film Stars Don’t Die in Liverpool and Judy. But this is so sweetly put together in every sense and manages to transcend the biopic trappings to create a more loving portrait of two old friends accepting that they love each other. It’s about male, platonic love and that in itself is rare enough.

Steve Coogan and John C. Reilly are incredible as Laurel and Hardy respectively, both disappearing into the roles completely. Shirley Henderson and Nina Arianda provide brilliant comic support as their two very mismatched wives. The decision to focus on the duo’s later years, rather than to speed chronologically through their early days and movie making prime (glimpsed in the opening flashback) means that the film is free to draw pathos from a life long lived. There are mere hints at the history between them; chasms of time that hold so much importance yet are left to us (and to the actors) to speculate about, to draw from and to imagine. The performances are so strong that you can feel the weight of their professional careers in a sideways glance or a barbed retort or an exasperated sigh. It’s so much more interesting and allows practically the whole film to feed off this feeling that their entire lives are about to reach an impasse that we’re about to witness. This is the emotional resolution to the story of Laurel and Hardy and it’s wonderful to know that this is how it went down in real life too - that two lifelong colleagues couldn’t see how much they meant to each other until it was all about to come to an end. 

Ultimately, it’s a story of loyalty and friendship in the face of a fast approaching curtain call. It’s bittersweet and truly sad, watching these two iconic titans perform to tiny crowds and hopelessly chase the dream of a comeback they both know, deep down, is long dead. It also contains two of the most tear-jerking scenes of the year: the very public bust up after one of their shows (”You loved Laurel and Hardy... but you never loved me”) and the ‘turn’ in the climax that wrong footed me so suddenly, despite it’s arguable foreshadowing, that I was almost immediately weeping. A truly touching British film of the highest calibre, it’s much more affecting that you might believe.

13. The Favourite

How does it feel like a million years since I saw this? Man, 2019 was long! Yorgos Lanthimos’ biggest hit yet, this is full of wild, punk energy and gives the period piece a real anarchic streak. Easily the best three hander in years, the ever evolving dynamic between Rachel Weisz, Emma Stone (hot off an Oscar win) and QUEEN Olivia Coleman (heading directly into an Oscar win) is a joy to watch. The dialogue is biting, the visuals sumptuous and the debauched attitude running through it makes it a wicked fun time. It’s influence is already being felt too - just check out that teaser trailer for the new Emma!

12. The Art of Self Defense

Unfairly shafted to VOD, I caught Riley Stern’s follow up to the ace Faults on the big screen whilst in Edinburgh, along with a fellow filmmaker and we had an absolute blast. Playing like a capital D dark comedy mash up of Fight Club and The Foot Fist Way if directed by Yorgos Lanthimos, Jesse Eisenberg utilises his weedy, beta male persona into an effective portrayal of a guy sick of being shit on in life, who takes up karate lessons after a traumatic mugging and slowly descends into a cult-like world of aggressive toxic masculinity. 

It’s a fantastic satire of perceived manliness, with some of the funniest stuff I’ve seen all year instantly flipping into something completely shocking. It’s another great showcase for Imogen Poots, who seems to be most often caught playing students despite being in her 30s (looking at you, Black Christmas) but it’s Alessandro Nivola who utterly owns this movie as the intimidating dojo leader; a truly twisted creation that, in a just world, would be generating some serious awards buzz. Mark my words now that by the time the Sopranos prequel movie The Many Saints of Newark lands later in 2020, we’ll suddenly all be talking about him.

11. Us

Another one that feels about three years old already, Jordan Peele’s Get Out follow up finds him with free reign to really get crazy (”you wanna get crazy?”) as he uses his blank check on another bitingly original horror social satire. Leaning a bit more heavily into both the straight up genre elements AND the often-times confusing social allegories, Us is a cabin in the woods slasher that evolves into a Twilight Zone ‘what-if’ scenario before going all out with it’s underlying metaphor.

The results can occasionally be mixed but the sheer ambition on display here is invigorating and it’s captivating to sit back and let a writer/director present something to you as unique and multifaceted as this. His love for horror fuels a tense plot that constantly looks to re-shuffle the stakes every twenty minutes, Lupita Nyong’o is mindbogglingly good as two very different versions of ‘one’ character and Elisabeth Moss is the supporting standout of choice, making 2019 her year with this alongside the brilliant Her Smell... (let’s not mention The Kitchen).

COMING UP - a Canadian stuntman, a wheel of knives, space baboons and every superhero ever