Logan's Top 10 Films of 2019
There’s something quite cathartic about Top 10 lists. Going through the previous year, reflecting on films seen, and even catching up on a watchlist gives the downtime during January (and even parts of February) a purpose to reflect on that year in film. While it’s an unspoken truth that lists like these can change even after they’re published, I personally use these types of lists to talk about films that deserve more love mixed in with films that could be considered “obvious choices.” Plus, I just love talking about films, especially when it focuses on the good rather than the bad. With that said, after a month of catch-up and reflection, here are my top ten films of 2019:
#10: Once Upon a Time...in Hollywood
At this point in his career, I think the only thing that can stop Quentin Tarantino from making great films is his own hubris. His follow-up to 2015’s The Hateful Eight is his most mature, subdued film since 1997’s Jackie Brown, letting his romanticized take on Hollywood in 1969 breathe to the point where it’s clear Tarantino would’ve made a ten-hour version of the film if given the proper time and funding. The film looks gorgeous, Leonardo DiCaprio and Brad Pitt are front-runners for “Most Lovable Duo of 2019,” and the script definitely deserves it Oscar nomination for balancing drama and comedy in such an enthralling way. Sure, the film does slow down a bit in the middle (and its use of Sharon Tate works but feels a tad needless), but it ultimately succeeds by committing to its characters, world, and even its most insane moments. Overall, don’t take this film being so low on the list as a bad thing because, in all honesty, Once Upon a Time...in Hollywood is a film that bleeds quality from start to finish.
#9: Little Women
As someone who has never read the classic novel (or seen any of the other film adaptations), believe me when I say that I never expected to enjoy this film as much as I did. Greta Gerwig’s interpretation of the classic tale not only has one of the best ensembles of 2019 but also is one of the few films to make me laugh out loud consistently. The March sisters are expertly casted, the adapted screenplay by Gerwig is incredibly tight and emotional, the film is exceptionally pretty, and the film goes by as if it’s less than an hour. This film is an expertly-crafted adaptation that is extremely approachable regardless of age, gender, etc. Little Women is a film that exudes passion to the point where my next viewing will never feel soon enough.
#8: Waves
Trey Edward Shults caught my eye with his 2017 horror film It Comes At Night. He grabbed my attention with his 2019 follow-up Waves, a stunning rollercoaster of a film that uses a great cast, shifting aspect ratios, and a modern soundtrack to elevate a film about love, family trauma, loss, and the road to forgiveness. The story is heartbreaking, the visuals are colorful, and the performances drive this film with Kelvin Harrison Jr., Sterling K. Brown, and Taylor Russell leading the incredible cast all the way to its emotional finale. Not every story/character aspect feels satisfyingly tied up but the elements that do feel conclusive leads to a film that may be Shults’ best work yet. It might not be my favorite film of the year but Waves made me sure that I’ll be there when Shults’ next film releases.
#7: Knives Out
What an absolute blast of a movie. Despite the film not even breaking my top five, I’d gladly say that, out of all the films on this list, I had the most fun with Rian Johnson’s Knives Out. It’s a lovely homage to classic Agatha Christie that works even if you have no idea who she is. It’s a mystery film that revels in silliness and the outlandish, following a detective and a nurse as they set out to discover the death of an author who made his living creating similarly ridiculous mysteries. The film is hilarious, the pacing is perfect, the cast of characters are delightful, and Johnson’s writing is as sharp as ever. It’s Rian Johnson’s best film, showing off not only his keen eye as a director but also his incredible writing. While better films are in the same Oscar category as its nomination, I would not be mad at all if Knives Out took Best Original Screenplay.
#6: The Peanut Butter Falcon
I absolutely love this film. This small, Mark Twain-esque adventure about an unlikely duo heading south to make a wrestling fan’s dream come true is such a beautiful story. The writing is great, the score is well done, Zack Gottsagen and Shia LaBeouf are quite possibly my favorite duo of 2019, and, for their first time directing a feature, directors Tyler Nilson and Michael Schwartz did a phenomenal job creating characters that feel earnest, fun, and easy to love. The Peanut Butter Falcon is the type of film that I have to nitpick to find flaws because it’s truly the type of film I feel like anyone can love.
#5: The Last Black Man in San Francisco
Out of all the films snubbed at the Oscars, this one is truly the most infuriating to me. The Last Black Man in San Francisco is such a powerful film that grabs and never lets go, championing an underdog story about a man going against gentrification, social class imbalance, and a city that’s leaving him behind in order for him to get the only home he’s ever had. The film puts the same amount of effort into making you smile as it does breaking your heart, resulting in a film that lingers in your brain weeks after seeing it. In addition, the cast is fantastic with Jimmie Falls making a killer feature film debut and Jonathan Majors bringing his immense talent to the point where the man deserved an Oscar nod even more than almost everyone else in the Best Supporting Actor category. The Last Black Man in San Francisco has no right being an underrated gem, forcing me to tell everyone to see it because it’s truly one of the best feature film debuts of 2019.
#4: Marriage Story
Divorce is never an enjoyable topic, especially ones that devolve into being nasty, soul-crushing ordeals that almost ruin the lives involved. So for Noah Baumbach to make a two-plus hour film about a nasty divorce that is gripping, emotional, and difficult to watch (yet hard to stop watching) shows how accurately Baumbach hit the nail on the head. The film is incredibly written, Adam Driver and Scarlett Johansson deserve their Oscar nods, Randy Newman’s score does a great job of evoking the subdued love and somber feelings between the separated couple, and the film thankfully sprinkles in genuine humor between the immense amounts of sadness. It’s a film that people who’ve been through a divorce will hate due to how authentic it feels to the experience. Despite my own personal experience with the subject, I couldn’t help but watch Marriage Story and admire just how much of an amazing film this Netflix Original is.
#3: The Lighthouse
From this point forward, the films on this list, in my opinion, are A+ quality. So what better way to kick that off than with the black-and-white psychological thriller filled with crazy dreams, tension you could cut with a knife, a hilarious amount of farts, and the perfect amount of Willem Dafoe? There’s no film that fits that description better than Robert Eggers’ The Lighthouse. It’s an artsy, insane film that is filled to the brim with so much to chew on, regardless of whether the film is taken figuratively or literally. In addition, incredible cinematography, genuine laughs, a haunting score, and two of the best performances we’ve ever gotten from Willem Dafoe and Robert Pattinson round out a sophomore effort that is far from what I expected from the man behind The Witch. While I do have a soft spot for his first film, I can’t help but appreciate the absolute madness The Lighthouse brought to 2019 that no other film could top.
#2: Booksmart
Out of all the films I saw last year, this film is the biggest surprise. I never imagined, even after the alright trailer, that Olivia Wilde’s directorial debut would be as perfect as it is. The humor knocks it out of the park, the film’s cinematography is surprisingly appealing, the film has immense energy, and the film’s ensemble is still one of the best of 2019. The film feels like the best of both worlds of 2007’s Superbad and 2018’s Eighth Grade, grabbing the earnestness of that youthful time while also not being afraid to be weird or cinematic. It has been months since I saw the film in theaters and I’m always in the mood to sit down, throw the movie on, and enjoy it in its entirety.
And finally, my favorite film of the year:
#1: Parasite
When it comes to talking about A+ films, I personally feel there’s always an asterisk next to that conversation because, due to films are usually made by imperfect people, I don’t really feel that there is technically a “perfect” film. However, if it were up to me, I believe the film that is truly the closest to perfection in 2019 is the one I’ve had in my number one slot since November: Bong Joon Ho’s Parasite. This Korean film feels absolutely effortless, playing with genres and making some of the best scenes of the year as if it’s second nature to everyone involved. The cinematography is gorgeous, the script is astounding, the performances (especially from Kang-ho Song) are amazing, and the directing is truly some of the best of 2019. Bong Joon Ho puts American cinema to shame by creating something that is truly unique, resulting in a film that deserves more than the Oscars could ever offer. In the end, Parasite embodies everything I love about films, getting me riled up for a 2020 lineup that’ll hopefully offer films that reach similar heights as Bong Joon Ho’s best film.