Matt's Top Fifteen Movies of 2019
2019 truly was an embarrassment of riches both at the theater and at home. Filmmakers and actors at the tops of their game doing some of the best work of their respective careers. All-timer moments abound, from revisionist history to some of the best twists in years, this was a banner year for welcome surprises. For 2019, this list is heavily populated by the alleged future of movies, streaming services; three of the top fifteen premiered online, negating the need to even leave your couch to experience some of the best that cinema has to offer. Last year I sort of locked myself into a tradition of doing a Top Fifteen, so without further delay, here they are, my favorite films of the year that was 2019.
Best Non-2019 Film Seen in 2019
The Taking of Pelham One Two Three
(1974 d. Joseph Sargent)
In the early 1970s Walter Matthau had a three film streak of hard-boiled action pictures; Charley Varrick, The Laughing Policeman, and The Taking of Pelham One Two Three. I was finally able to check all of these out and let me tell you, Walter Matthau Action Star is a beautiful phrase. The best of these was the last, Pelham, and it’s one of the most gripping thrillers of that entire decade. Remade years later by Tony Scott, the original, directed by Joseph Sargent, grabs a hold from frame one and never lets go, leaving the audience with what is probably the best final shot ever committed to film. Matthau is fantastic here, negotiating with terrorists who have commandeered a subway train, promising to kill the passengers if their demands aren’t met. Robert Shaw (Jaws) is the perfect villain, sadistic and always playing by his own rules, and the great Martin Balsam (All the President’s Men) nearly steals the show as one of his henchman. It’s a legit masterpiece and quickly became an all-time favorite.
Honorable Mentions
Happy Death Day 2U (dir. Christopher Landon)
It’s a crime that Jessica Rothe isn’t a huge star and this brilliant horror/comedy sequel is just more proof why. Taking the horror elements that worked in the original and adding a ton of heart, it’s not only a great slasher, Happy Death Day 2U is the best college comedy in years. One can only hope that we eventually get the conclusion to Landon’s trilogy, but if not, at least we got two of the most inventive films of the decade.
The Report (dir. Scott Z. Burns)
A terrific genre exercise featuring the first of two great Adam Driver performances on this list, longtime Soderbergh collaborator Scott Z. Burns’ The Report takes a hard alternate look at the story previously told in Kathryn Bigelow’s Zero Dark Thirty. It’s riveting, even when it goes into ‘checklist’ mode, asking the audience to question things we’ve taken as fact for years. Underrated to be sure, it’s bound to stick in the minds of anyone who sees it.
Pain and Glory (dir. Pedro Almodovar)
This was my first Almodovar film and oh man what a way to start. Antonio Banderas has never been better than he is here, playing an approximation of Almodovar himself. It’s the semi-autobiographical story of a filmmaker and one of the best ‘Movies About Movies’ to come along in a while. This is a director who snuck up on me and I’m eagerly looking forward to checking out more of his work.
Doctor Sleep (dir. Mike Flanagan)
Mike Flanagan has quietly made a name for himself as one of the best horror filmmakers of his generation and his sequel to The Shining, Doctor Sleep, is his best film yet. The mere idea of making a sequel to what is widely regarded as the greatest horror film of all time sounds blasphemous, but Flanagan expertly combines both Kubrick and Stephen King’s mentalities to create something all his own. It’s terrifying, emotional, and has a finale that blew my mind, Doctor Sleep is the real deal.
Rocketman (dir. Dexter Fletcher)
The gayest movie of 2019 also happens to be the best musical in years, big shock I know. Taron Egerton embodies Elton John in a performance for the ages, singing his heart out and bringing pathos to a role that could’ve fallen into a bad impression. It’s laughably better than a certain other rock biopic to come along recently, that’s for sure. Fantastical visuals, down and dirty details of John’s life, it’s that rare musical that’s not afraid to get real and bless it for that.
THE COUNTDOWN
15. Joker (dir. Todd Phillips)
Probably the most divisive film of 2019, Todd Phillips’ Joker isn’t for everyone. To the Scorsese faithful it’s too derivative and to others it’s too on the nose with its calling out of the mental healthcare problem in this country. Personally, I believe Joker works as a gateway drug to stronger films, but I haven’t been this struck by a lead performance in the longest time. Phoenix really is that good here, taking bits and pieces of previous Joker performances and making it his own. Sometimes it’s a good thing to be obvious and this film is a great example of that; most audiences don’t know or even care about big issues and themes unless they’re beaten over the head with them. Joker isn’t a subtle picture, but that also doesn’t make it not great, which it is.
14. Knives Out (dir. Rian Johnson)
For my money this is Johnson’s most crowd pleasing film. A fun and funny Whodunnit with an all-star cast and some terrific social commentary to boot, Knives Out contains some of the best pure filmmaking of the year. It’s a blast from start to finish and holds up on repeat viewings, a hallmark trait of the best this genre has to offer. Ana de Armas is wonderful and she matches Daniel Craig, in full Foghorn Leghorn mode, at every turn. If Craig were to fully transition into the character actor he’s shown talent for, I wouldn’t be the least bit disappointed. That’s not even mentioning the Secret MVP of the entire picture, Christopher Plummer, who at the age of 90 is still doing phenomenal work, holding the entire film together.
13. Richard Jewell (dir. Clint Eastwood)
A highlight in Clint Eastwood’s recent string of films, Richard Jewell, the story of the wrongfully accused security guard at the 1996 Atlanta Olympics, is also one of his most human. Paul Walter Hauser gives what might be the best lead performance of 2019, and it’s thanks to Eastwood letting his star just do his thing. Never boring with new layers constantly being revealed, Richard Jewell is an intense drama like only Eastwood could make. The rest of the cast is aces as well with Sam Rockwell and Kathy Bates doing great work, they balance the picture and it’s all the better for it. Harrowing and surprisingly anti-cop, it makes me excited for what Eastwood, going into his ninth decade on this planet, has planned next.
12. 1917 (dir. Sam Mendes)
With 1917, Roger Deakins again proves why he’s one of the best cinematographers around. A gripping war picture with high stakes and a sublime visual style, the latest from Sam Mendes is a shock to the senses. We’ve all seen war movies before but we’ve never seen them like this. Sure the “single take” has been overused a bit, but with Deakins framing everything, Mendes makes it feel fresh and new. Add in some all-star cameos, some horrific violence, and a strong central performance by George MacKay, and 1917 will be highly regarded, deservedly so, for years to come.
11. 6 Underground (dir. Michael Bay)
Holy shit! With 6 Underground we finally have Michael Bay, the best American action filmmaker of his generation, completely unhinged. It’s a wonderful thing when he has full control and no one telling him no, as the action sequences he crafts here are some the the most over-the-top and insane of his long career. Sure the story at hand isn’t much to write home about and the characters could be a little more fleshed out, but when you come to a Michael Bay movie you really only need great action and ridiculous scenarios and 6 Underground has those in spades. The best action film of 2019, no contest, it’s also one of Bay’s best as well.
10. The Lighthouse (dir. Robert Eggers)
A righteously funny and bizarre trip to an isolated island, the latest from Robert Eggers is an amazing experience. The funniest film of 2019, with a few horror elements thrown in the satiate genre fans, The Lighthouse is simultaneously gut-bustingly hilarious and filled with dread. Willem Dafoe and Robert Pattinson go toe to toe throughout this crazy endeavor keeping their heads above the briny deep, singing sea shanties, getting drunk, and arguing like an old married couple. It’s the best kind of studio film, one that’s not afraid to alienate audiences and one that if you’re on its level you’ll get more out of than you ever thought possible.
9. A Beautiful Day in the Neighborhood (dir. Marielle Heller)
Marielle Heller is quickly making a name for herself, crafting films that reveal themselves to be much more than they seem. After Can You Ever Forgive Me? was my favorite film of 2018, I had high hopes for her follow-up and A Beautiful Day in the Neighborhood didn’t disappoint me in the least. Less the story of Mr. Rogers himself (a sublime Tom Hanks) and more a look at dealing with your past, forgiving, and moving on, it’s a powerful experience that I didn’t expect. The choice to frame the movie as an episode of Mr. Roger’s Neighborhood is a stroke of genius and I doubt the whole thing would work if that hadn’t been implemented. Along with Hanks the rest of the cast is phenomenal as well with Matthew Rhys, Chris Cooper, and Susan Kelechi Watson all bringing heart to the proceedings. Heller hasn’t let me down yet, and I’m certain that streak will continue.
8. Jojo Rabbit (dir. Taika Waititi)
Taika Waititi’s portrait of misguided youth and finding yourself in an insane world is a haunting and sublime film. I’m not overly familiar with his work, so perhaps that’s why Jojo Rabbit hit way harder than I was expecting. It’s almost a miracle that this picture saw the light of day with the recent Disney purchase of Fox, but I’m pleased that enough people believed in this one. It’s a great film that tells an oft-told tale but with a twist and features a uniformly superb cast. Scarlett Johansson, more on her further down the list, gives a beautiful turn as young Jojo’s mother and Jojo himself, a young Roman Griffin Davis shines in his debut. Davis holds the entire thing together, able to outshine his much more famous co-stars, and it’s a great picture for that.
7. Little Women (dir. Greta Gerwig)
I went into Gerwig’s latest with no prior knowledge of the source material and came away absolutely floored. Nothing was beckoning me outside of the stellar cast but I’m so glad I gave this a chance. It’s a beautiful film featuring top flight performances all around and a non-linear structure that I’m a sucker for. Told in an almost contemporary way at times, the way Gerwig tells this story rattled some die hard fans, but I just went along for the ride. At times heartbreaking, hilarious, and moving, Little Women is anything but a sophomore slump, it’s a crowning achievement in a young career that I’m sure will produce more than a few classics. Greta Gerwig is two for two and I’m more than excited to see what she has in store.
6. Ad Astra (dir. James Gray)
Usually I have a pretty firm grasp on how a movie will hit me but not this time. I knew the basic story going in; astronaut Brad Pitt crosses the galaxy in search of his father, played by Tommy Lee Jones, in an approximation of Apocalypse Now, what I didn’t know was just how emotional it would get. My father has a striking resemblance to Tommy Lee Jones and 2019 was one of the most trying years in my family. In late 2018 my father was diagnosed with cancer and he spent the first half of 2019 battling that monster, beating it, then getting two hip replacement surgeries. During all of this, he lost a lot of weight, which he’s since gained back, but seeing an emaciated Tommy Lee Jones here brought all of those memories flooding back. Obviously I was a total wreck watching Gray’s latest, so consider me biased, but Ad Astra is a masterpiece of structure and tone. Audiences go into movies with their prior experience and emotional baggage and Ad Astra took my own baggage and hit me in the face with it.
5. Marriage Story (dir. Noah Baumbach)
Equally devastating and uplifting, Noah Baumbach’s Marriage Story is a next-level family dramedy. Absolutely love the leads here. Driver has been on fire lately and this might be his best performance, but I don't think Johansson has ever been better. Here she's back at the Lost in Translation, Under the Skin, and Match Point levels of her talent. Oh and the supporting cast isn't too shabby either. We don’t deserve an actor as great as Alan Alda, who has always been terrific but with just a little bit of screen time gives one of the best supporting performances of the year. There's a purity to his character that's rarely seen in a lawyer and it's something I cherish. There are scenes that rocked my core bringing me to tears from all sorts of emotions. It’s a wonderful look at a dissolving relationship, the kind that makes you want to be a better partner, a true magic trick of a picture.
4. Hustlers (dir. Lorene Scafaria)
The best film yet about the 2008 financial crisis, Lorene Scafaria’s Hustlers took me completely by surprise. I went in expecting a Jennifer Lopez drama and got so much more. A vicious takedown of the Wall Street elite and a great “selfish” Robin Hood story to boot, Hustlers may be heavily influenced by Goodfellas but it carves its own path. Lopez steals the show in a career-best performance but Constance Wu more than holds her own. She’s a star on the rise and after the one-two punch of this and Crazy Rich Asians, she’s about to become a household name. Constantly surprising and filled with shocking set-pieces, Hustlers is stylish and takes no prisoners.
3. Once Upon A Time …in Hollywood (dir. Quentin Tarantino)
A tremendous love letter to days gone by, an enthralling hangout movie, a great film about friendship, and a superb addition to one of my favorite sub-genres (movies about movies), Tarantino's latest is also one of the best of the year. I was completely blown away by the scope and craft of it all, this is something special. With a cast at the top of their game (MVP Brad Pitt), there's almost never a dull moment. Every scene is vital, adding to the story at hand, never once coming across as indulgent or unnecessary. Gorgeous to look at and just a wonder to behold, Once Upon a Time is both hilarious and terrifying in equal measure. You're constantly waiting for the other shoe to drop and it leads up to an intense finale with all the Tarantino quirks and flourishes you could ask for. It can be a great thing when a celebrated filmmaker comes into his own and makes his most mature work, and Once Upon a Time ...in Hollywood is a shining example of that.
2. The Irishman (dir. Martin Scorsese)
Scorsese's latest is also one of his most tragic pictures. A story of friendship betrayed to keep things level, of aging and losing control. Robert DeNiro gives his best performance in maybe 25 or 30 years as Frank Sheeran and he’s absolutely never been better than he is during THAT phone call. The reteaming Scorsese and DeNiro after so many years is a cause for celebration in and of itself, but to have it be for a picture as masterful as The Irishman is a gift. A sprawling yet focused gangster film, The Irishman or I Heard You Paint Houses, is a singular picture that really only would've made sense coming from Ol’ Eyebrows. Yes he's been down this path before, but it's never been this sad and immediate. Bless Netflix for finally stepping up and letting Scorsese make the film he tried to get financed for close to a decade. It's likely the last time we're going to see this crew assemble, and if that turns out to be true, we should be thankful we got something so great, so pure, and so final.
1. Parasite (dir. Bong Joon-ho)
A masterpiece, plain and simple. Bong Joon-ho’s latest is a labyrinthine tale of the haves and have-nots told with a striking visual style, a razor-sharp screenplay, a true WTF plot twist, and the finest cast this visionary filmmaker has ever assembled. Parasite isn’t just the best film of 2019, it’s one of the best of the decade overall. To say anything of the plot would be a disservice to the picture, as this is a prime example of a film that’s best seen with as little prior knowledge as possible. It’s a movie that sticks with you and holds up more than well on revisits, Bong’s digs at capitalism are welcome and biting and the down the middle storytelling between the rich and poor families works fully to the film’s advantage. It’s rare that a movie lives up the internet hype, but Parasite is the rare film that not only lives up to expectations but far surpasses them.
