Alright, now we're in part II. Here's the good stuff.
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Okay
All is True
Kenneth Branaugh did the big cinematic Shakespeare adaptations of the modern age. Ben Elton wrote the funniest series of Blackadder , one of the funniest shows ever made. The two teamed up to do a full-on Shakespeare memoir film. It... was mostly mediocre, largely inventing large parts of Shakespeare's later life, and doesn't seem to have a point or any real purpose other than show melodrama and modern themes (again, largely from conjecture). Still, for what it is, it's good. Branaugh manages a more subdued performance, and he and Judi Dench do well in their roles.
Brightburn
Evil Superman is a very common comic trope, within and without the DC continuity. Still, framing the Superman story as a horror film and using his conventions in that manner could've worked. Unfortunately, Brightburn doesn't really do this in a way other than "hey, it's Superman. But he's a monster". It was scary and thrilling enough, and there is promising in the "horror Justice League" teased at the end, but it could've really expanded on this concept more than it did.
Five Feet Apart
The most notable thing about this film was that I was the only person in the theater. Also that Cole Sprouse sounds exactly like I do to a disturbing degree. Anyway, this follows the Fault in Our Stars format so dogmatically that I think the soundtrack is the exact same. Still, I couldn't help but be slightly invested, if only because of the actors doing their damnest to do well with this material like Haley Lu Richardson, Sprouse and Moises Arias.
Richard Jewell
This was a good film, exploring how one man was destroyed by a spurious accusation that had little actual evidence and much more circumstantial evidence. It manages to portray how Jewell and his friends were barraged by the media and pursued by an FBI that only had a profile and not any actual evidence. Paul Walter Hauser does a great job in the titular role. My biggest gripe is that the much criticized portrayal of real life Atlanta Constitution-Journal reporter Kathy Scruggs, which is always super uncomfortable whenever she (played by Olivia Wilde) is on screen, and completely sinks the film, especially knowing that it was so false, the ACJ is suing Warner Bros. So, yeah.
Isn't It Romantic
I liked the film for the most part. Like most good parodies, it works because it has some affection for the genre that it's parodying and has loving portrayals of the various conventions. That said, it feels more a parody of rom-coms of the 2000's than the more subdued or teenage oriented rom coms of today, and honestly, I couldn't really tell you any joke from the film.
The Best of Enemies
This was kind of Green Book, pt. II. It's about how a white man (a local KKK leader in this case) overcomes his own racism through having a relationship with a black person. It's a similar sort of racial reconciliation film that focuses on the redemption of the white person, over actually developing any of the black characters (notably, there's a scene where a number of white characters are described, and none of the black characters beyond Taraji P. Henson). The real story is mostly muffled (including how that white man found out how working class white people like him and his family were being manipulated by the white upper class in the South by racism to fight blacks and keep both from political and economic power). Nevertheless, the fact that the story has more basis in reality, and isn't nearly as cringy puts it a bit over Green Book (though I really hope it doesn't win an Oscar)
Good Boys
I saw this at an early screening at my college (along with Long Shot), and I consider writing a review for it. I decided against it, because, while I laughed quite a bit, there wasn't really much else to the film. It was very funny, in the standard "hey, these kids are doing adult stuff" sort of way, but beyond that, and a shoe-horned in theme at the end, there really isn't much else to the film.
Cold Pursuit
Another Liam Neeson action thriller where he avenges the death of a family member and take names, chew bubblegum and kick some ass etc. It follows that to a tee, but it's still entertaining enough, especially the nearly Saturday Morning Cartoon villains he fights and the elaborate deaths that are done. Plus, I can't hate a film set partly in my home town of Denver (even has a joke about whether Peyton Manning or John Elway is better.)
Midsommar
I think that I was perhaps harsh on this film in my initial assessment. After I got out, I thought it was too long, it was tedious, it didn't stand up with Hereditary. I think that last part really influenced my thinking. After the sort of haywire intensity of that film, this was significantly slower and had a lot more symbolism that wasn't immediately clear. I think I didn't appreciate it then, but I've gradually seen it as a pretty good feature that I should see again to fully understand.
Happy Death Day 2U
So far, this series has proven to be very fun, and this was no exception. I like that they escalate the stakes in this, taking it in a sci-fi direction with parallel earths and time travel, but still manage to keep the spirit and energy of the original around.
Escape Room
Inventive? No. Particularly original? Not really. Entertaining? Yeah. I had some fun watching the various schemes and scenarios that come up, and it could be thrilling. A lot of it was also banal and unoriginal, but it was entertaining enough to keep me going through the running time.
Cold War
With a loaded title like that, this romance set in the early years of Communist Poland promises maybe more explicit politics than it actually has. There's allusions to the Nazi occupation and of course, the Soviet domination of the country, but not much else in that field. (Weirdly, the 1956 Polish October and the protests in Poznan that were repressed are never mentioned). Still, it has a strong romance at its center, and a classic, black-and-white aesthetic that makes it work on that ground, even if its politics could've been clearer.
Captive State
Remember the show V, where aliens take over the Earth, and it's an extended metaphor for an authoritarian takeover and how people would react? This film basically rips it off, but updates it for the modern era. In spite of its somewhat generic tone and aesthetic, it still works, especially at balancing various characters, their relationships, and how they are fighting the alien menace. It keeps you on your feet as you question each character and what they'll do.
Ad Astra
The first two acts of this film are tedious, pretentious, and generally not as interesting as it thinks it is. I generally like these sorts of contemplative space films, but this felt too much like it was trying to be more of a character piece that generally didn't work. What really saves this film is the third act, which combines two stunning performances with gorgeous scenery and excellent writing. I really put it up here because of that final act.
Where'd You Go, Bernadette
Richard Linklater is unpredictable. He could follow a heavily experimental film like Boyhood with a more lowkey comedy like Everybody Wants Some, and this film, and is now doing Stephen Sondheim's Merrily We Roll Along in real time. Anyway, this was a lot of fun. I think the trailer did a massive disservice to the film, misleading people as to what it was about. I won't spoil the entire film, but it's fun to watch, and you get to see some nice pieces of Antarctic setting to marvel over. Plus, it is very funny, and the actors are mostly having fun.
Long Shot
I reviewed this after seeing it at an advanced screening, and I think I was coming off the high of seeing a film before most other people. Still, it was funny. There are moments that strain credibility, and feels a lot like a film that was meant for 3 years ago, but Seth Rogen and Charlize Theron play off each other well, and they manage to put in some actual (if very moderate and watered down) environmental politics in there.
Yesterday
This was a sweet little film. A sort of high concept film about one person who remembers the songs about the Beatles. It uses this to make a pretty sweet romantic comedy about the music industry. It had some nice references to the discography, and I like that they do address the possible issues and other stuff that might not exist in this world.
Never Look Away
A nice German historical drama focusing on 30 years of German history. Sort of leaves out some stuff, and doesn't really resolve itself nor its themes, but still manages to get you invested in the lead and his journey from East to West Germany.
Let It Snow
Like I said in my review of this, it mostly works for the audience it's aimed at. I'm out of that audience at this point, but I can totally imagine a teenager really enjoying this film, and connecting with it on some level. It's a nice little, funny film to put on during the holidays, and I find it hard to really complain or nitpick in this regard.
Ma
Entertaining enough thriller, with Octavia Spencer being very entertaining and terrifying as the villain, combining a somewhat sympathetic vulnerability with a utterly manical, calculating, scheming mind. It was consistently entertaining, even if it had the standard slasher victims as its leads.
It: Chapter 2
While the first was a surprisingly dark, fast paced horror film, this largely digs into the more bizarre elements of the book, and doesn't consistently hit the scares as much as the first one. Still, it had some truly terrifying moments, and the cast of well-known actors are disturbingly good at emulating the kid cast while having their own quirks and growth since the last one. It also had some good cameos for some fun.
The Sun is Also A Star
Another YA romance with the hook of a theme of immigration, with its two leads being children of immigrants. While mostly forgettable (I mostly forgot about this movie until now) and occasionally cheesy, I can't help, but feel a little sympathetic towards this film, given my own background. And again, I expect the audience it's aimed towards to be very much in love with this film and its characters, so I can't fault it too much.
Spider-Man: Far from Home
It's a bit weird that this followed the world-changing events of Endgame, being that it was another smaller-scale Spider-Man film. Still, it had a solid plot with Spidey learning more about juggling his own responsibilities, dealing with them, and how he deals with his friends. It has very funny moments, some great action scenes, and some interesting subtext with Mysterio on the actual process of making special-effects driven films.
Judy
This film really is mostly about Renee Zellweger playing Judy Garland. Having seen some Judy Garland, she does get a lot of her mannerisms and speech down perfectly (even if her singing doesn't quite match). Along with being a good mimic, Zellweger also manages to capture the particular struggles and angst she experiences towards the very last period of her life, as she deals with financial ruin and increasing drug dependency. Overall, a good performance and a good film.
Captain Marvel
While the trailers didn't really impress, the film was fairly surprising in how it did deal with themes of militarism and genocide directly in what was effectively an ad for the Air Force, and have a pretty effective look into the culture of fear and power in militaristic structures. Helps that Brie Larson is super charismatic and is clearly loving playing a superhero.
Britney Runs a Marathon
I'll admit, I didn't like much of the comedy in this, and it has a fairly slow first half. However, I did ultimately come to appreciate the film as I continued watching, especially seeing the emotional journey of this character, and how she tries to fix her life and doesn't always succeeds, but manages to at least try towards a goal eventually. It works in showing the character as a real person and her struggles as very realistic.
Good:
Ford v. Ferrari
Don't really know much about cars or the history of racing, but that isn't really required for this. Instead, James Mangold makes a film focusing on how innovation and radical ideas can triumph, even within a massive corporate structure and the interference of executives (not like he might've dealt with that before...) Matt Damon is very good, but Christian Bale steals the show as the hot-headed engineer dealing with his erratic racing career, and having to fight a bureaucracy while trying to achieve their goal of winning the 24 Hours at Le Mans.
How to Train Your Dragon: The Hidden World
Again, this series manages to be top notch in its animation, its writing, its action scenes. There are some incredible flying sequences in this, and especially some gorgeous scenery, especially in the titular Hidden World. I'd put this higher on the list, but I'll admit, the ending left a bitter taste in my mouth. I didn't like the implications of it or what it says about our real world relationship with nature, or how it goes against the themes of the other two. I felt like a better resolution was there, but it still high quality regardless.
Late Night
I've not really seen Mindy Kaling in stuff, but I thought her writing here was pretty good. I liked Emma Thompson, who puts her comedic training to good use as a fictional talk show host who needs some innovation. The two work off each other well, and the film is a good show of the value of new ideas and perspectives, especially in comedy.
Native Son
A very arthouse take on the classic Richard Wright novel, which still retains its themes of race and class, but updates it for the modern age. Features some good symbolism, some good modernized scenes from the novel, and still retains its spirit and ultimate tragedy.
Ready or Not
I wasn't nearly as enamored with this film as others were. That said, this is a whole of damn fun. Samara Weaving has shown to be a good lead in a horror film, and her performance both shows fear and integrity in the face of an increasingly bizarre situation that has numerous twists and turns. A good riff on The Most Dangerous Game, using the hide-and-seek game as a cover for some brutal kills and some hilarious character moments. Overall, a good ole time.
Toy Story 4
While the idea of making another Toy Story after the third one provided such a good send-off was a bit of sticking point, this manages to capture everything we love about the Toy Story films. Returning characters growing, new interesting and funny ones coming in, a nice plot about growing, and a very sad, but ultimately uplifting ending. Honestly, what else need be said?
Scary Stories to Tell in the Dark
I wasn't aware that this was based on an apparently very popular series of books, and captures the horrific images in those books. Some complained about this, but personally, I quite enjoyed the off-putting creatures and imagery that this film invokes. I also like that it's a period piece, and actually comments on the period through its horror and its characters. For a horror movies made for younger teens, I was quite scared, and I could totally see it being a massive favorite in the coming years.
Hobbs and Shaw
I still haven't seen a Fast and Furious film other than this, but if they're as entertaining, bizarre yet easy to follow as this, I might have to give it a try. This was simply a lot of fun, with action, some good comedy from The Artist Formerly Known as The Rock and Jason Stathem, some good performances from the weirdly star-studded cast, and continuing the series theme on family. It was just a good time.
Peanut Butter Falcon
This was a very charming little film, taking the sports movie format and applying it on a smaller scale indie film premise. I like that the film never condescends to its lead with Down Syndrome nor tries to make his story feel overly inspirational. Indeed, the film condemns this sort of behavior and instead, focuses on the character as his own person with ambitions and agency of his own. It helps that the actor, Zach Gottsagen (who does have Down Syndrome) is super charming and charismatic. Shia LeBouf and Dakota Johnson are also pretty good in their supporting roles, as is Thomas Haden Church (of all people) and Bruce Dern.
Last Christmas
I've said before that I'm not really a Paul Feig fan, at least in terms of his films. So, imagine my surprise that I not only enjoyed his latest film, but really enjoyed it. It was very sweet and charming, with Emilia Clarke and Henry Goulding making a good couple, and the Christmas spirit slowly infecting every character within it, especially Clarke's character. Also helps that it is very funny and goes in some weird, unexpected directions for a film like this.
The Irishman
I've given Martin Scorsese a lot of shit this year, as you might've gathered from one of the entries last time, so let me say a few kind words about this film. Unlike Wolf of Wall Street, it seems that Scorsese actually remembered the point of Goodfellas, that being how the allure of crime is ultimately hollow and pointless, and uses that to very good effect in this film. Even if the actual veracity of the story can be placed in question, it still shows how a life of crime is meaningless and ultimately destroys someone, physically or mentally. I prefer Casino over Goodfellas, and this film primarily works more off the former, but the three could be considered a trilogy expanding on the nature of organized crime. And I'd rather this Scorsese knock-off be made by the actual guy.
Dark Waters
A film with a lot of horrifying implication. The true story of a corporate defense attorney who helps a family friend deal with some mysterious cattle deaths ultimately comes across a massive cover-up by a prominent chemical company that has effectively poisoned the world. I normally don't really like Todd Haynes, but his stripped down, semi-realist style works in evoking a conspiracy thriller concerning a real conspiracy. Mark Ruffalo and the ensemble do well to show both a horrified public and a sinister corporation unwilling to be responsible. I highly recommend this film because it shows how far corporations will go to protect their reputations while not spending a dime.
John Wick: Parabellum
It's John Wick. It's still Keanu Reeves doing the most elaborate, almost ballet like action scenes with tons of blood and some inventive kills. It's still a well-built secret society he inhabits and has to fight. It is still a ton of style that makes every frame feel cinematic on its own. It's still all that and even more. Of course it's very good.
A Beautiful Day in the Neighborhood
After last year's Won't You Be My Neighbor, I had trepidation over this narrative film, especially with the very recognizable Tom Hanks in the lead role. But like its cynical protagonist, it managed to win me over through just its charm. Yeah, Hanks is a little distracting at the beginning (and he never gets the voice fully down), but he easily slips into the role after a bit, and gives an incredible performance. The journey of the lead guy was also interesting, taking the cynicism to optimism route in a very interesting direction that you don't entirely expect and solely towards that character. Finally, I like that director Marianne Heller committed fully to framing the film as an episode of Mr. Rogers Neighborhood, with similar segments and everything.
Dolemite is My Name
Scott Alexander and Larry Karaszewski wrote one of my favorite films, Ed Wood, and decided to take another low budget filmmaker and depict his struggles, in this case, comedian Rudy Ray Moore and his struggle to make his iconic Blaxploitation film Dolemite. They successfully show the struggle of making a small scale film with a small budget and all the difficulties, and the ultimate satisfaction when it manages to get an audience. Of course, the real star is Eddie Murphy, whose performance manages to capture Rudy Ray Moore, Rudy Ray Moore playing Dolemite, and the Dolemite character, and easily transitions between the three. This is a real Oscar-worthy performance that he is giving his all into, but also really relishing and enjoying. Hopefully, he can keep this streak up.
Avengers: Endgame
The capstone to the Marvel Cinematic Universe might have some confusing parts and some continuity issues, but it manages to be engaging, intelligent, and very heartfelt. It serves both as a tribute to the 10 years the MCU has dominated popular culture, but also manages to complete each character's respective journeys, and paves the way for new works, without neglecting either. Plus, it is just fun and awesome to watch. I look forward to seeing how they can top this.
Rocketman
Competing with Eddie Murphy for "best performance in a biopic" is Taron Egerton, who does a spectacular job as Elton John. He has the look down, he has the singing down, he rocks the outfits with pizzazz, but also gets to the central pathos and struggles of the man as he rises to fame and deals with being a gay man during the 60's and 70's. Helping is that the film manages to subvert some of the music biopic tropes, including actually detailing the process of writing the songs and especially how the songs relate to his life through great sequences. I guarantee these songs will be stuck in your head after watching.
Queen and Slim
When I saw this film, it was in a packed theater, and at the very end (won't spoil), a person was so affected by the film and its imagery that she ran out the theater crying. At that moment, I felt that the film sort of achieved the effect it needed to have. It is very contemporaneous in its themes, how the characters act, and how they move around in their environment. It is both incredibly tragic and has very uplifting moments. It is intensely nerve-wracking and keeps you engaged at all times. It simply works on most levels.
Doctor Sleep
This was perhaps the most interesting horror film of the year. It takes the book, the original Shining film, and the original Shining book, and combines them into a strange paranormal story that takes the "shining" to a whole other level, with some spectacular effects to show sequences of characters battling each other through their minds. It helps that, while it takes the imagery of the Kubrick film, director Mike Flanagan is not beholden to it, instead creating his riff on them. This is a must-watch if you are a fan of any of these incarnations.
The Lighthouse
Don't want to say much on this. Partially because we're almost done, and this has taken a very long time to write. Partially because the best way to go into this is not knowing anything. It is one of the most visceral experiences I've had in a theater. Sort of a mix of horror, comedy, period drama, thriller, even fantasy. It really needs to be seen in order to be believe, especially Wilhem Defoe giving a career best performance.
Great
The Kid Who Would Be King
Joe Cornish did an excellent little film called Attack the Block, which was a great low-budget alien invasion film that introduced the world to an actor named John Boyega. Now, with a larger budget, he makes one of the best kids films I've seen in a while. Both homaging and subvert the Arthurian legend, it manages to be fun, exciting, hilarious, and kind of uplifting, with a great message about real potential and the power of groups. I love everything about this, and hope that we get more Joe Cornish in the future.
Once Upon a Time in Hollywood
Quentin Tarantino makes a very Quentin Tarantino-y film, as Quentin Tarantino usually does. It manages to capture the changes that were happening in Hollywood in 1969 (as the name implies), and also combines the climate in Los Angeles at the time. The leads all have a sense of ennui and trepidation about this new era, and the possibilities it has. Combined with that are some real out there action scenes and hysterical comedic scenes and exchanges. In other words, a Tarantino film.
The Last Black Man in San Francisco
A good companion piece to last years' Blindspotting , this takes a look at gentrification in a different light. In this case, generational wealth and property. The main characters have deal with squatting in a home their grandparents owned, and not being able to legally own it. More than that, this is ultimately a film about the idea of "home" and how it can change with different priorities and goals in mind. It is just an overall powerful film to take in.
Hustlers
I complain a lot about Scorsese knock-offs, and how samey they all tend to feel, so here's an example that serves as a counterpoint to all those. This leans into the comedic aspects (it being a Gloria Sanchez production) with gusto, and manages to be visually distinct and balances out its narration and fleshes out its characters. Most notable of all, it boasts a number of great performances, especially leads Constance Wu and Jennifer Lopez, the latter of who gave one of the best performances of the year. Beyond all that, it's just very entertaining to watch, with good jokes and good pacing.
The Mustang
This was the most intense movie of the year. The scale of it just weighs on you, especially since it takes place in a prison. The sheer dehumanization and violence within the setting is shown with such precision and detail, it wears you out just watching it. This is especially shown in Matthias Schoenaerts' performance, which shows his internal angst and bitterness, while allowing his vulnerability to pass through at key moments. With this, the bright spots where he bonds with the horse as part of his rehabilitation indicate a bright spot within this system and a brief glimmer of hope.
The Farewell
I listened to the This American Life segment this was based on, and it hews quite close to that (ignoring some of the later parts). However, seeing it play out in a narrative way, we get more of the character (Lulu Wang's avatar) internal struggle with the central problem of the film and her more Americanized nature while in China, as well as her family's sheer sadness at the entire situation. It's all very affecting, and while applying to Chinese filial norms, can be seen as something of a universal experience.
Parasite
Again, another film that deserves as little knowledge as possible when going to see. All I knew going in was that it was a Korean film and it got weird. I didn't expect what I got, and the themes it went into. It is one of most unique films I've seen in a very, very long time, and goes in the most unexpected directions and shows characters going in unexpected directions, and has something of an unexpected theme.
The Art of Self-Defense
The blackest of black comedies. A Coen Brothers-esque look into a schlub who signs up for karate after an assault, and is gradually indoctrinated into a literal cult of masculinity. With the rise of Gaters and toxic fandom, this is perhaps a pertinent look into how that sort of culture builds and is cultivated through intimidation and control. Beyond the deeper themes, it is incredibly, insane, deeply funny in every single scene. Like I said, though, black comedy, so it's both funny and just a little bit shocking.
Booksmart
I've never laughed as hard or as constantly as I did in this film (and I was, for some reason, the only one in the theater). This was incredibly funny, and had so many interesting memorable jokes that work on so many levels, from subtle jokes to big set pieces. Along with being uproarious, it also has some very meaningful stuff for teens to absorb, including pressure for college, pressure of being LGBTQIA+ , pressure for romance, and pressure of trying to have fun in an academically stressful time. What really places it here are Beanie Feldstein and Kaitlyn Dever , who are hilarious together and individually.
Shazam
DC has been making incredible films recently, it's weird to think. After years of total dogshit, their films are not only watchable, but incredible, and this was incredible. This was incredibly fun, with Zachery Levi clearly having a blast playing the titular character and had some of the best comedy and action I've seen in any superhero movie. It manages to takes its ridiculous premise seriously without being too dour about it, and shows the fun of it, without neglecting the characters. And despite all that, it is so emotionally powerful and poignant, I was in tears for some of the ending. It is not only the best superhero film of the year, but perhaps one of the best period.
Jojo Rabbit
The comedies this year have really stepped up their game. This film most reminds me of a Disney short from World War II called Education for Death, which explores the psychology of a child as they are molded through the Hitler Youth system into perfect soldiers for the Third Reich, devoid of empathy. This film takes those themes and adds a comedic spin to it. Like the other comedies on here, this manages to be both gut-bustingly hysterical, and have a very strong emotional side to it, never downplaying the terror of Nazism or the threat it posed even to its own citizens, while using the comedy to increase this terror. It is a film that only Taika Waititi could've made.
Pokemon: Detective Pikachu
This was very personal to me, being a longtime fan of this franchise. I simply adored this film. I love all the Pokemon it shows from every generation. I love the way they look realistic while still retaining their game designs. I like all the little nods to continuity. I love the way the story integrates many facets of the Pokemon universe while introducing new ones. Even beyond that, I just like that this was just fun to watch. It legitimately made me feel like a kid again, watching Pokemon on my VHS tapes. This will be a film I'll revisit for years to come.
Alita: Battle Angel
Having only recently begun getting into the original manga, I am very impressed with the way the film brought it to life, keeping the spirit and tone of it alive, while making it just a little more realistic. It is incredibly beautiful, with stunning visuals and imaginative designs for each and every character, capturing the tone of the manga without being too dogmatic. It also has the best visual effects of any big blockbuster this year. It is just a stunning picture.
Lego Movie 2
The first one managed to surprise by not just being a massive toy commercial, but also a surprisingly funny satire and just a fun experience with a surprisingly good message. This film takes the elements that work about the first one, and increases them tenfold. This was both hilarious, satirizing various genres and feeling like a sugar fueled adventure conceived by a 12 year old, while being very, very good at it, and having a surprisingly great message that expands on the other film's message, and adds a new element to the film that ties everything very neatly. It's hard not to top this, but there are a few more entries.
Us
Having proved he could sociopolitical horror with Get Out, I think Jordan Peele wanted to prove he could straight-forward horror with Us. Within the first hour of watching this, I realized that, while Get Out was a riff on George Romero and Wes Craven's brand of socially aware horror, this was more John Carpenter, both in its dark, slow moving fashion, and in the way it explicitly explores the conventions of the genre and bring some originality to it. Not to say that Peele is a mimic. In fact, he takes the Carpenter method of slow burning horror and escalates it to nearly nationwide proportions, taking the stalking killer to a whole new level. And as a big John Carpenter fan, it was obvious to appeal to me, along with Peele's very strong talent for directing and writing.
Blinded by the Light
My parents are immigrants from South India. That bit of knowledge is needed to truly understand why this film resonated so strongly with me. This real story of a young Pakistani-British teen and how his creativity is sparked by an obsession with Bruce Springsteen, was very powerful for me. I could very strongly relate to the main character, his drive for creativity (primarily writing), and especially his complicated relationship with his immigrant family. I've had many experiences with my own family similar to that of the main character, and it got hard to watch because of that fact. It was a very emotional experience for me, and that really is the point of the film.
Best of the Year
Knives Out
I've said before, I don't have a set criteria for the best of. It's really a combination of how much each factor worked and more of a gut instinct immediately after. This had that right combination. Again, best thing you can do is go into this with absolutely no knowledge. Not of its plot, characters, anything. It works because it grabs you completely by surprise with every turn. You are just absorbed into this mystery as it gradually unravels more and more to reveal multiple levels. It has a number of shocking twists and details that require multiple viewings to fully get. Combined with great acting, great writing, and superb cinematography (as per veteran crime filmmaker Rian Johnson), it really was the most fun I had in the theater in a very long time. It is a film I recommend to everyone. And that is why I consider it the best film of the year.
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So, that's that. Thank you very much for reading, I hope you had a great New Year. Stay tuned for the combined list (in the next few days) and my "Notables of the 2010's", coming either this month or the next.
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Okay
All is True
Kenneth Branaugh did the big cinematic Shakespeare adaptations of the modern age. Ben Elton wrote the funniest series of Blackadder , one of the funniest shows ever made. The two teamed up to do a full-on Shakespeare memoir film. It... was mostly mediocre, largely inventing large parts of Shakespeare's later life, and doesn't seem to have a point or any real purpose other than show melodrama and modern themes (again, largely from conjecture). Still, for what it is, it's good. Branaugh manages a more subdued performance, and he and Judi Dench do well in their roles.
Brightburn
Evil Superman is a very common comic trope, within and without the DC continuity. Still, framing the Superman story as a horror film and using his conventions in that manner could've worked. Unfortunately, Brightburn doesn't really do this in a way other than "hey, it's Superman. But he's a monster". It was scary and thrilling enough, and there is promising in the "horror Justice League" teased at the end, but it could've really expanded on this concept more than it did.
Five Feet Apart
The most notable thing about this film was that I was the only person in the theater. Also that Cole Sprouse sounds exactly like I do to a disturbing degree. Anyway, this follows the Fault in Our Stars format so dogmatically that I think the soundtrack is the exact same. Still, I couldn't help but be slightly invested, if only because of the actors doing their damnest to do well with this material like Haley Lu Richardson, Sprouse and Moises Arias.
Richard Jewell
This was a good film, exploring how one man was destroyed by a spurious accusation that had little actual evidence and much more circumstantial evidence. It manages to portray how Jewell and his friends were barraged by the media and pursued by an FBI that only had a profile and not any actual evidence. Paul Walter Hauser does a great job in the titular role. My biggest gripe is that the much criticized portrayal of real life Atlanta Constitution-Journal reporter Kathy Scruggs, which is always super uncomfortable whenever she (played by Olivia Wilde) is on screen, and completely sinks the film, especially knowing that it was so false, the ACJ is suing Warner Bros. So, yeah.
Isn't It Romantic
I liked the film for the most part. Like most good parodies, it works because it has some affection for the genre that it's parodying and has loving portrayals of the various conventions. That said, it feels more a parody of rom-coms of the 2000's than the more subdued or teenage oriented rom coms of today, and honestly, I couldn't really tell you any joke from the film.
The Best of Enemies
This was kind of Green Book, pt. II. It's about how a white man (a local KKK leader in this case) overcomes his own racism through having a relationship with a black person. It's a similar sort of racial reconciliation film that focuses on the redemption of the white person, over actually developing any of the black characters (notably, there's a scene where a number of white characters are described, and none of the black characters beyond Taraji P. Henson). The real story is mostly muffled (including how that white man found out how working class white people like him and his family were being manipulated by the white upper class in the South by racism to fight blacks and keep both from political and economic power). Nevertheless, the fact that the story has more basis in reality, and isn't nearly as cringy puts it a bit over Green Book (though I really hope it doesn't win an Oscar)
Good Boys
I saw this at an early screening at my college (along with Long Shot), and I consider writing a review for it. I decided against it, because, while I laughed quite a bit, there wasn't really much else to the film. It was very funny, in the standard "hey, these kids are doing adult stuff" sort of way, but beyond that, and a shoe-horned in theme at the end, there really isn't much else to the film.
Cold Pursuit
Another Liam Neeson action thriller where he avenges the death of a family member and take names, chew bubblegum and kick some ass etc. It follows that to a tee, but it's still entertaining enough, especially the nearly Saturday Morning Cartoon villains he fights and the elaborate deaths that are done. Plus, I can't hate a film set partly in my home town of Denver (even has a joke about whether Peyton Manning or John Elway is better.)
Midsommar
I think that I was perhaps harsh on this film in my initial assessment. After I got out, I thought it was too long, it was tedious, it didn't stand up with Hereditary. I think that last part really influenced my thinking. After the sort of haywire intensity of that film, this was significantly slower and had a lot more symbolism that wasn't immediately clear. I think I didn't appreciate it then, but I've gradually seen it as a pretty good feature that I should see again to fully understand.
Happy Death Day 2U
So far, this series has proven to be very fun, and this was no exception. I like that they escalate the stakes in this, taking it in a sci-fi direction with parallel earths and time travel, but still manage to keep the spirit and energy of the original around.
Escape Room
Inventive? No. Particularly original? Not really. Entertaining? Yeah. I had some fun watching the various schemes and scenarios that come up, and it could be thrilling. A lot of it was also banal and unoriginal, but it was entertaining enough to keep me going through the running time.
Cold War
With a loaded title like that, this romance set in the early years of Communist Poland promises maybe more explicit politics than it actually has. There's allusions to the Nazi occupation and of course, the Soviet domination of the country, but not much else in that field. (Weirdly, the 1956 Polish October and the protests in Poznan that were repressed are never mentioned). Still, it has a strong romance at its center, and a classic, black-and-white aesthetic that makes it work on that ground, even if its politics could've been clearer.
Captive State
Remember the show V, where aliens take over the Earth, and it's an extended metaphor for an authoritarian takeover and how people would react? This film basically rips it off, but updates it for the modern era. In spite of its somewhat generic tone and aesthetic, it still works, especially at balancing various characters, their relationships, and how they are fighting the alien menace. It keeps you on your feet as you question each character and what they'll do.
Ad Astra
The first two acts of this film are tedious, pretentious, and generally not as interesting as it thinks it is. I generally like these sorts of contemplative space films, but this felt too much like it was trying to be more of a character piece that generally didn't work. What really saves this film is the third act, which combines two stunning performances with gorgeous scenery and excellent writing. I really put it up here because of that final act.
Where'd You Go, Bernadette
Richard Linklater is unpredictable. He could follow a heavily experimental film like Boyhood with a more lowkey comedy like Everybody Wants Some, and this film, and is now doing Stephen Sondheim's Merrily We Roll Along in real time. Anyway, this was a lot of fun. I think the trailer did a massive disservice to the film, misleading people as to what it was about. I won't spoil the entire film, but it's fun to watch, and you get to see some nice pieces of Antarctic setting to marvel over. Plus, it is very funny, and the actors are mostly having fun.
Long Shot
I reviewed this after seeing it at an advanced screening, and I think I was coming off the high of seeing a film before most other people. Still, it was funny. There are moments that strain credibility, and feels a lot like a film that was meant for 3 years ago, but Seth Rogen and Charlize Theron play off each other well, and they manage to put in some actual (if very moderate and watered down) environmental politics in there.
Yesterday
This was a sweet little film. A sort of high concept film about one person who remembers the songs about the Beatles. It uses this to make a pretty sweet romantic comedy about the music industry. It had some nice references to the discography, and I like that they do address the possible issues and other stuff that might not exist in this world.
Never Look Away
A nice German historical drama focusing on 30 years of German history. Sort of leaves out some stuff, and doesn't really resolve itself nor its themes, but still manages to get you invested in the lead and his journey from East to West Germany.
Let It Snow
Like I said in my review of this, it mostly works for the audience it's aimed at. I'm out of that audience at this point, but I can totally imagine a teenager really enjoying this film, and connecting with it on some level. It's a nice little, funny film to put on during the holidays, and I find it hard to really complain or nitpick in this regard.
Ma
Entertaining enough thriller, with Octavia Spencer being very entertaining and terrifying as the villain, combining a somewhat sympathetic vulnerability with a utterly manical, calculating, scheming mind. It was consistently entertaining, even if it had the standard slasher victims as its leads.
It: Chapter 2
While the first was a surprisingly dark, fast paced horror film, this largely digs into the more bizarre elements of the book, and doesn't consistently hit the scares as much as the first one. Still, it had some truly terrifying moments, and the cast of well-known actors are disturbingly good at emulating the kid cast while having their own quirks and growth since the last one. It also had some good cameos for some fun.
The Sun is Also A Star
Another YA romance with the hook of a theme of immigration, with its two leads being children of immigrants. While mostly forgettable (I mostly forgot about this movie until now) and occasionally cheesy, I can't help, but feel a little sympathetic towards this film, given my own background. And again, I expect the audience it's aimed towards to be very much in love with this film and its characters, so I can't fault it too much.
Spider-Man: Far from Home
It's a bit weird that this followed the world-changing events of Endgame, being that it was another smaller-scale Spider-Man film. Still, it had a solid plot with Spidey learning more about juggling his own responsibilities, dealing with them, and how he deals with his friends. It has very funny moments, some great action scenes, and some interesting subtext with Mysterio on the actual process of making special-effects driven films.
Judy
This film really is mostly about Renee Zellweger playing Judy Garland. Having seen some Judy Garland, she does get a lot of her mannerisms and speech down perfectly (even if her singing doesn't quite match). Along with being a good mimic, Zellweger also manages to capture the particular struggles and angst she experiences towards the very last period of her life, as she deals with financial ruin and increasing drug dependency. Overall, a good performance and a good film.
Captain Marvel
While the trailers didn't really impress, the film was fairly surprising in how it did deal with themes of militarism and genocide directly in what was effectively an ad for the Air Force, and have a pretty effective look into the culture of fear and power in militaristic structures. Helps that Brie Larson is super charismatic and is clearly loving playing a superhero.
Britney Runs a Marathon
I'll admit, I didn't like much of the comedy in this, and it has a fairly slow first half. However, I did ultimately come to appreciate the film as I continued watching, especially seeing the emotional journey of this character, and how she tries to fix her life and doesn't always succeeds, but manages to at least try towards a goal eventually. It works in showing the character as a real person and her struggles as very realistic.
Good:
Ford v. Ferrari
Don't really know much about cars or the history of racing, but that isn't really required for this. Instead, James Mangold makes a film focusing on how innovation and radical ideas can triumph, even within a massive corporate structure and the interference of executives (not like he might've dealt with that before...) Matt Damon is very good, but Christian Bale steals the show as the hot-headed engineer dealing with his erratic racing career, and having to fight a bureaucracy while trying to achieve their goal of winning the 24 Hours at Le Mans.
How to Train Your Dragon: The Hidden World
Again, this series manages to be top notch in its animation, its writing, its action scenes. There are some incredible flying sequences in this, and especially some gorgeous scenery, especially in the titular Hidden World. I'd put this higher on the list, but I'll admit, the ending left a bitter taste in my mouth. I didn't like the implications of it or what it says about our real world relationship with nature, or how it goes against the themes of the other two. I felt like a better resolution was there, but it still high quality regardless.
Late Night
I've not really seen Mindy Kaling in stuff, but I thought her writing here was pretty good. I liked Emma Thompson, who puts her comedic training to good use as a fictional talk show host who needs some innovation. The two work off each other well, and the film is a good show of the value of new ideas and perspectives, especially in comedy.
Native Son
A very arthouse take on the classic Richard Wright novel, which still retains its themes of race and class, but updates it for the modern age. Features some good symbolism, some good modernized scenes from the novel, and still retains its spirit and ultimate tragedy.
Ready or Not
I wasn't nearly as enamored with this film as others were. That said, this is a whole of damn fun. Samara Weaving has shown to be a good lead in a horror film, and her performance both shows fear and integrity in the face of an increasingly bizarre situation that has numerous twists and turns. A good riff on The Most Dangerous Game, using the hide-and-seek game as a cover for some brutal kills and some hilarious character moments. Overall, a good ole time.
Toy Story 4
While the idea of making another Toy Story after the third one provided such a good send-off was a bit of sticking point, this manages to capture everything we love about the Toy Story films. Returning characters growing, new interesting and funny ones coming in, a nice plot about growing, and a very sad, but ultimately uplifting ending. Honestly, what else need be said?
Scary Stories to Tell in the Dark
I wasn't aware that this was based on an apparently very popular series of books, and captures the horrific images in those books. Some complained about this, but personally, I quite enjoyed the off-putting creatures and imagery that this film invokes. I also like that it's a period piece, and actually comments on the period through its horror and its characters. For a horror movies made for younger teens, I was quite scared, and I could totally see it being a massive favorite in the coming years.
Hobbs and Shaw
I still haven't seen a Fast and Furious film other than this, but if they're as entertaining, bizarre yet easy to follow as this, I might have to give it a try. This was simply a lot of fun, with action, some good comedy from The Artist Formerly Known as The Rock and Jason Stathem, some good performances from the weirdly star-studded cast, and continuing the series theme on family. It was just a good time.
Peanut Butter Falcon
This was a very charming little film, taking the sports movie format and applying it on a smaller scale indie film premise. I like that the film never condescends to its lead with Down Syndrome nor tries to make his story feel overly inspirational. Indeed, the film condemns this sort of behavior and instead, focuses on the character as his own person with ambitions and agency of his own. It helps that the actor, Zach Gottsagen (who does have Down Syndrome) is super charming and charismatic. Shia LeBouf and Dakota Johnson are also pretty good in their supporting roles, as is Thomas Haden Church (of all people) and Bruce Dern.
Last Christmas
I've said before that I'm not really a Paul Feig fan, at least in terms of his films. So, imagine my surprise that I not only enjoyed his latest film, but really enjoyed it. It was very sweet and charming, with Emilia Clarke and Henry Goulding making a good couple, and the Christmas spirit slowly infecting every character within it, especially Clarke's character. Also helps that it is very funny and goes in some weird, unexpected directions for a film like this.
The Irishman
I've given Martin Scorsese a lot of shit this year, as you might've gathered from one of the entries last time, so let me say a few kind words about this film. Unlike Wolf of Wall Street, it seems that Scorsese actually remembered the point of Goodfellas, that being how the allure of crime is ultimately hollow and pointless, and uses that to very good effect in this film. Even if the actual veracity of the story can be placed in question, it still shows how a life of crime is meaningless and ultimately destroys someone, physically or mentally. I prefer Casino over Goodfellas, and this film primarily works more off the former, but the three could be considered a trilogy expanding on the nature of organized crime. And I'd rather this Scorsese knock-off be made by the actual guy.
Dark Waters
A film with a lot of horrifying implication. The true story of a corporate defense attorney who helps a family friend deal with some mysterious cattle deaths ultimately comes across a massive cover-up by a prominent chemical company that has effectively poisoned the world. I normally don't really like Todd Haynes, but his stripped down, semi-realist style works in evoking a conspiracy thriller concerning a real conspiracy. Mark Ruffalo and the ensemble do well to show both a horrified public and a sinister corporation unwilling to be responsible. I highly recommend this film because it shows how far corporations will go to protect their reputations while not spending a dime.
John Wick: Parabellum
It's John Wick. It's still Keanu Reeves doing the most elaborate, almost ballet like action scenes with tons of blood and some inventive kills. It's still a well-built secret society he inhabits and has to fight. It is still a ton of style that makes every frame feel cinematic on its own. It's still all that and even more. Of course it's very good.
A Beautiful Day in the Neighborhood
After last year's Won't You Be My Neighbor, I had trepidation over this narrative film, especially with the very recognizable Tom Hanks in the lead role. But like its cynical protagonist, it managed to win me over through just its charm. Yeah, Hanks is a little distracting at the beginning (and he never gets the voice fully down), but he easily slips into the role after a bit, and gives an incredible performance. The journey of the lead guy was also interesting, taking the cynicism to optimism route in a very interesting direction that you don't entirely expect and solely towards that character. Finally, I like that director Marianne Heller committed fully to framing the film as an episode of Mr. Rogers Neighborhood, with similar segments and everything.
Dolemite is My Name
Scott Alexander and Larry Karaszewski wrote one of my favorite films, Ed Wood, and decided to take another low budget filmmaker and depict his struggles, in this case, comedian Rudy Ray Moore and his struggle to make his iconic Blaxploitation film Dolemite. They successfully show the struggle of making a small scale film with a small budget and all the difficulties, and the ultimate satisfaction when it manages to get an audience. Of course, the real star is Eddie Murphy, whose performance manages to capture Rudy Ray Moore, Rudy Ray Moore playing Dolemite, and the Dolemite character, and easily transitions between the three. This is a real Oscar-worthy performance that he is giving his all into, but also really relishing and enjoying. Hopefully, he can keep this streak up.
Avengers: Endgame
The capstone to the Marvel Cinematic Universe might have some confusing parts and some continuity issues, but it manages to be engaging, intelligent, and very heartfelt. It serves both as a tribute to the 10 years the MCU has dominated popular culture, but also manages to complete each character's respective journeys, and paves the way for new works, without neglecting either. Plus, it is just fun and awesome to watch. I look forward to seeing how they can top this.
Rocketman
Competing with Eddie Murphy for "best performance in a biopic" is Taron Egerton, who does a spectacular job as Elton John. He has the look down, he has the singing down, he rocks the outfits with pizzazz, but also gets to the central pathos and struggles of the man as he rises to fame and deals with being a gay man during the 60's and 70's. Helping is that the film manages to subvert some of the music biopic tropes, including actually detailing the process of writing the songs and especially how the songs relate to his life through great sequences. I guarantee these songs will be stuck in your head after watching.
Queen and Slim
When I saw this film, it was in a packed theater, and at the very end (won't spoil), a person was so affected by the film and its imagery that she ran out the theater crying. At that moment, I felt that the film sort of achieved the effect it needed to have. It is very contemporaneous in its themes, how the characters act, and how they move around in their environment. It is both incredibly tragic and has very uplifting moments. It is intensely nerve-wracking and keeps you engaged at all times. It simply works on most levels.
Doctor Sleep
This was perhaps the most interesting horror film of the year. It takes the book, the original Shining film, and the original Shining book, and combines them into a strange paranormal story that takes the "shining" to a whole other level, with some spectacular effects to show sequences of characters battling each other through their minds. It helps that, while it takes the imagery of the Kubrick film, director Mike Flanagan is not beholden to it, instead creating his riff on them. This is a must-watch if you are a fan of any of these incarnations.
The Lighthouse
Don't want to say much on this. Partially because we're almost done, and this has taken a very long time to write. Partially because the best way to go into this is not knowing anything. It is one of the most visceral experiences I've had in a theater. Sort of a mix of horror, comedy, period drama, thriller, even fantasy. It really needs to be seen in order to be believe, especially Wilhem Defoe giving a career best performance.
Great
The Kid Who Would Be King
Joe Cornish did an excellent little film called Attack the Block, which was a great low-budget alien invasion film that introduced the world to an actor named John Boyega. Now, with a larger budget, he makes one of the best kids films I've seen in a while. Both homaging and subvert the Arthurian legend, it manages to be fun, exciting, hilarious, and kind of uplifting, with a great message about real potential and the power of groups. I love everything about this, and hope that we get more Joe Cornish in the future.
Once Upon a Time in Hollywood
Quentin Tarantino makes a very Quentin Tarantino-y film, as Quentin Tarantino usually does. It manages to capture the changes that were happening in Hollywood in 1969 (as the name implies), and also combines the climate in Los Angeles at the time. The leads all have a sense of ennui and trepidation about this new era, and the possibilities it has. Combined with that are some real out there action scenes and hysterical comedic scenes and exchanges. In other words, a Tarantino film.
The Last Black Man in San Francisco
A good companion piece to last years' Blindspotting , this takes a look at gentrification in a different light. In this case, generational wealth and property. The main characters have deal with squatting in a home their grandparents owned, and not being able to legally own it. More than that, this is ultimately a film about the idea of "home" and how it can change with different priorities and goals in mind. It is just an overall powerful film to take in.
Hustlers
I complain a lot about Scorsese knock-offs, and how samey they all tend to feel, so here's an example that serves as a counterpoint to all those. This leans into the comedic aspects (it being a Gloria Sanchez production) with gusto, and manages to be visually distinct and balances out its narration and fleshes out its characters. Most notable of all, it boasts a number of great performances, especially leads Constance Wu and Jennifer Lopez, the latter of who gave one of the best performances of the year. Beyond all that, it's just very entertaining to watch, with good jokes and good pacing.
The Mustang
This was the most intense movie of the year. The scale of it just weighs on you, especially since it takes place in a prison. The sheer dehumanization and violence within the setting is shown with such precision and detail, it wears you out just watching it. This is especially shown in Matthias Schoenaerts' performance, which shows his internal angst and bitterness, while allowing his vulnerability to pass through at key moments. With this, the bright spots where he bonds with the horse as part of his rehabilitation indicate a bright spot within this system and a brief glimmer of hope.
The Farewell
I listened to the This American Life segment this was based on, and it hews quite close to that (ignoring some of the later parts). However, seeing it play out in a narrative way, we get more of the character (Lulu Wang's avatar) internal struggle with the central problem of the film and her more Americanized nature while in China, as well as her family's sheer sadness at the entire situation. It's all very affecting, and while applying to Chinese filial norms, can be seen as something of a universal experience.
Parasite
Again, another film that deserves as little knowledge as possible when going to see. All I knew going in was that it was a Korean film and it got weird. I didn't expect what I got, and the themes it went into. It is one of most unique films I've seen in a very, very long time, and goes in the most unexpected directions and shows characters going in unexpected directions, and has something of an unexpected theme.
The Art of Self-Defense
The blackest of black comedies. A Coen Brothers-esque look into a schlub who signs up for karate after an assault, and is gradually indoctrinated into a literal cult of masculinity. With the rise of Gaters and toxic fandom, this is perhaps a pertinent look into how that sort of culture builds and is cultivated through intimidation and control. Beyond the deeper themes, it is incredibly, insane, deeply funny in every single scene. Like I said, though, black comedy, so it's both funny and just a little bit shocking.
Booksmart
I've never laughed as hard or as constantly as I did in this film (and I was, for some reason, the only one in the theater). This was incredibly funny, and had so many interesting memorable jokes that work on so many levels, from subtle jokes to big set pieces. Along with being uproarious, it also has some very meaningful stuff for teens to absorb, including pressure for college, pressure of being LGBTQIA+ , pressure for romance, and pressure of trying to have fun in an academically stressful time. What really places it here are Beanie Feldstein and Kaitlyn Dever , who are hilarious together and individually.
Shazam
DC has been making incredible films recently, it's weird to think. After years of total dogshit, their films are not only watchable, but incredible, and this was incredible. This was incredibly fun, with Zachery Levi clearly having a blast playing the titular character and had some of the best comedy and action I've seen in any superhero movie. It manages to takes its ridiculous premise seriously without being too dour about it, and shows the fun of it, without neglecting the characters. And despite all that, it is so emotionally powerful and poignant, I was in tears for some of the ending. It is not only the best superhero film of the year, but perhaps one of the best period.
Jojo Rabbit
The comedies this year have really stepped up their game. This film most reminds me of a Disney short from World War II called Education for Death, which explores the psychology of a child as they are molded through the Hitler Youth system into perfect soldiers for the Third Reich, devoid of empathy. This film takes those themes and adds a comedic spin to it. Like the other comedies on here, this manages to be both gut-bustingly hysterical, and have a very strong emotional side to it, never downplaying the terror of Nazism or the threat it posed even to its own citizens, while using the comedy to increase this terror. It is a film that only Taika Waititi could've made.
Pokemon: Detective Pikachu
This was very personal to me, being a longtime fan of this franchise. I simply adored this film. I love all the Pokemon it shows from every generation. I love the way they look realistic while still retaining their game designs. I like all the little nods to continuity. I love the way the story integrates many facets of the Pokemon universe while introducing new ones. Even beyond that, I just like that this was just fun to watch. It legitimately made me feel like a kid again, watching Pokemon on my VHS tapes. This will be a film I'll revisit for years to come.
Alita: Battle Angel
Having only recently begun getting into the original manga, I am very impressed with the way the film brought it to life, keeping the spirit and tone of it alive, while making it just a little more realistic. It is incredibly beautiful, with stunning visuals and imaginative designs for each and every character, capturing the tone of the manga without being too dogmatic. It also has the best visual effects of any big blockbuster this year. It is just a stunning picture.
Lego Movie 2
The first one managed to surprise by not just being a massive toy commercial, but also a surprisingly funny satire and just a fun experience with a surprisingly good message. This film takes the elements that work about the first one, and increases them tenfold. This was both hilarious, satirizing various genres and feeling like a sugar fueled adventure conceived by a 12 year old, while being very, very good at it, and having a surprisingly great message that expands on the other film's message, and adds a new element to the film that ties everything very neatly. It's hard not to top this, but there are a few more entries.
Us
Having proved he could sociopolitical horror with Get Out, I think Jordan Peele wanted to prove he could straight-forward horror with Us. Within the first hour of watching this, I realized that, while Get Out was a riff on George Romero and Wes Craven's brand of socially aware horror, this was more John Carpenter, both in its dark, slow moving fashion, and in the way it explicitly explores the conventions of the genre and bring some originality to it. Not to say that Peele is a mimic. In fact, he takes the Carpenter method of slow burning horror and escalates it to nearly nationwide proportions, taking the stalking killer to a whole new level. And as a big John Carpenter fan, it was obvious to appeal to me, along with Peele's very strong talent for directing and writing.
Blinded by the Light
My parents are immigrants from South India. That bit of knowledge is needed to truly understand why this film resonated so strongly with me. This real story of a young Pakistani-British teen and how his creativity is sparked by an obsession with Bruce Springsteen, was very powerful for me. I could very strongly relate to the main character, his drive for creativity (primarily writing), and especially his complicated relationship with his immigrant family. I've had many experiences with my own family similar to that of the main character, and it got hard to watch because of that fact. It was a very emotional experience for me, and that really is the point of the film.
Best of the Year
Knives Out
I've said before, I don't have a set criteria for the best of. It's really a combination of how much each factor worked and more of a gut instinct immediately after. This had that right combination. Again, best thing you can do is go into this with absolutely no knowledge. Not of its plot, characters, anything. It works because it grabs you completely by surprise with every turn. You are just absorbed into this mystery as it gradually unravels more and more to reveal multiple levels. It has a number of shocking twists and details that require multiple viewings to fully get. Combined with great acting, great writing, and superb cinematography (as per veteran crime filmmaker Rian Johnson), it really was the most fun I had in the theater in a very long time. It is a film I recommend to everyone. And that is why I consider it the best film of the year.
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So, that's that. Thank you very much for reading, I hope you had a great New Year. Stay tuned for the combined list (in the next few days) and my "Notables of the 2010's", coming either this month or the next.
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