Awards season is done, and the final year of film this decade has come to a close.
HONOURABLE MENTIONS:
- Jojo Rabbit
- Booksmart
- The Irishman
- The Mustang
- Toy Story 4
Notable Films I Have Not Seen This Year:
- Uncut Gems
- Dolemite Is My Name
- The Lighthouse
- I Lost My Body
- Klaus
- A Hidden Life
- Honey Boy
- Jojo Rabbit
- Booksmart
- The Irishman
- The Mustang
- Toy Story 4
Notable Films I Have Not Seen This Year:
- Uncut Gems
- Dolemite Is My Name
- The Lighthouse
- I Lost My Body
- Klaus
- A Hidden Life
- Honey Boy
#10: WAVES (Trey Edward Shults)
Waves is a cathartic, devastating, epic, emotional and raw drama. Trey Edward Shults is undoubtedly a director who I will, from now on, be following their every move, because Waves showcases some of the very best direction of the year.
#9: FORD V FERRARI (James Mangold)
Ford v Ferrari is a rare kind of film, where everything works together so well that I cannot imagine anyone not finding some kind of enjoyment in it. The only flaw I can imagine is that it doesn't anything new, with no distinct directorial flavour; it conforms instead of rebelling. But I see that as its winning quality, because although it is familiar, 'they just don't make 'em like this anymore', and I am delighted that it exists. A knockout and a complete and utter crowdpleaser. Ford v Ferrari is everything it should be. Thrilling, heart-warming, funny, endlessly entertaining and made to experience with a huge audience on the big screen.
#8: 1917 (Sam Mendes)
1917 is a stunning cinematic achievement. I went into the film expecting masterful craftsmanship and technical excellence due to the real-time single-shot, making for a unique and immersive experience, but I didn't expect how it would resonate so emotionally. I have the utmost respect for Dean Charles-Chapman and especially George MacKay for taking on and pulling off this extremely demanding role, emotionally and physically. The big-money sequence that you would've seen in the trailers is visually striking, but it has nowhere near as much emotion attached to it when viewing it without narrative context. The experience of that sequence is one of awe, devastation, hope, and every feeling I had experienced throughout the whole runtime up until that point, and it is one I will never forget. Truly epic.
1917 is a stunning cinematic achievement. I went into the film expecting masterful craftsmanship and technical excellence due to the real-time single-shot, making for a unique and immersive experience, but I didn't expect how it would resonate so emotionally. I have the utmost respect for Dean Charles-Chapman and especially George MacKay for taking on and pulling off this extremely demanding role, emotionally and physically. The big-money sequence that you would've seen in the trailers is visually striking, but it has nowhere near as much emotion attached to it when viewing it without narrative context. The experience of that sequence is one of awe, devastation, hope, and every feeling I had experienced throughout the whole runtime up until that point, and it is one I will never forget. Truly epic.
#7: JOKER (Todd Phillips)
Joker disturbed, amazed, traumatised and stunned me. It is set in the 80s but is a film for our current times. It has a lot on its mind, and communicates these sentiments in a deeply disturbing way, as intended. Phoenix is staggering, and so was the entire experience. Joker has not only made this character even more iconic than it already was, but it has revolutionised the comic-book genre, following in the footsteps of Logan. It is a thing of sheer beauty.
#6: US (Jordan Peele)
For those looking for a two-dimensional horror film with good scares and a fun time, they will get that, but for those looking for a masterful social commentary with complex themes and symbolism, they will get that too. This film works on so many different levels, and again, I feel comfortable enough now to call it a masterpiece.
#5: MARRIAGE STORY (Noah Baumbach)
Marriage Story is a masterfully written and acted film, with career-bests from both Scarlett Johansson and Adam Driver, mostly evident during a devastating argument scene at the emotional climax of the film, which is a scene I think should and will be studied in naturalistic acting classes. Another scene worthy of this is the exceptional monologue delivered by Laura Dern, which is a prime Noah Baumbach's extremely intelligent writing as well as Dern's effortless talent. She is pitch-perfect. And so is the entire film.
Parasite is, intersubjectively, the best film of the year. If it wasn't for my sheer adoration and emotional attachment to the two films listed above it, Parasite would absolutely be my Number 1. When watching with a critical eye, it is flawless. Now a favourite in the industry following the awards circuit, Bong Joon-Ho has given global audiences a genre-defying, extremely sharp, totally original masterpiece. And that word is not used lightly.
#4: AVENGERS: ENDGAME (Joe and Anthony Russo)
Thank you to Kevin Feige, Joe and Anthony Russo, Joss Whedon, Jon Favreau and Robert Downey Jr. for taking this genre to new heights in this past decade. The evidence of your influence is overtly clear in this decade-defining superhero masterpiece. The sweet balance of groundedness, poignancy, emotion, intellectuality and an exhilaratingly epic scale amalgamates in this stunning and stupendous finale. Avengers: Endgame delivers on every promise and more. I can, with no hesitation, say that being at the midnight showing of this cinematic event was the single greatest experience I've had watching a film. I have never been in a crowd so invested and excited by what was happening on screen, which is all a testament to this unprecedented achievement by the Russo Brothers, Kevin Feige, and the entire cast, especially the original six. After five viewings on the big screen, I believe that Endgame ranks among the likes of Return Of The King as a blockbuster opus.
#3: PARASITE (Bong Joon Ho)Parasite is, intersubjectively, the best film of the year. If it wasn't for my sheer adoration and emotional attachment to the two films listed above it, Parasite would absolutely be my Number 1. When watching with a critical eye, it is flawless. Now a favourite in the industry following the awards circuit, Bong Joon-Ho has given global audiences a genre-defying, extremely sharp, totally original masterpiece. And that word is not used lightly.
#2: LITTLE WOMEN (Greta Gerwig)
As a whole, Little Women is undoubtedly one of the very best films of the year, thanks to the most well-used, talented ensemble of the year, stunning costume and production design, a sweeping, beautiful score from Alexandre Desplat, a charming and powerful script, and an exciting sophomore directorial effort from rising auteur Greta Gerwig. She is going to be one of the greats, and this film deserves to be regarded as a timeless classic for the ages.
#1: ONCE UPON A TIME IN HOLLYWOOD (Quentin Tarantino)
Once Upon A Time In Hollywood is a technically flawless and outstandingly performed homage to the film industry of the 1960s. In addition to DiCaprio, Pitt, and Robbie all adding iconic performances to their resumé, the beauty of the film is how Quentin Tarantino gives audiences the opportunity to follow these characters through their day-to-day lives that culminates in a third act which is explosive and hilarious in its execution but tender and hopeful in its sentiment. Tarantino's presence is felt strongly in every frame of the film, but not in the way one would expect. It's a soulful love letter to the industry he loves and a transcendent viewing experience for everybody else.
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