My Top 10 Favourite Films of 2019
This list may seem a little redundant at this stage (it currently being February 2020) but as the Oscars have just gone down, and several of the films on this list didn't get released in the UK until January, I feel I can just about sneak it in here. Now the first entry I made on this blog was listing my favourite films of the year up to that point. As a result, several entries on this list are carried over from there with slight modification. If you're at all interested in seeing how that list aged, and how some of my opinions have changed I'll include a link at the bottom of this post.
Honourable Mentions: THE IRISHMAN, UNCUT GEMS, HUSTLERS, AD ASTRA, PORTRAIT OF A LADY ON FIRE, DOLEMITE IS MY NAME, ROCKETMAN, JOHN WICK: CHAPTER 3 and my beloved CRAWL.
* I haven't yet had chance to catch THE FAREWELL, 1917 or THE LAST BLACK MAN IN SAN FRANCISCO
Now let's get on with it, here are my Top 10 Favourite Films of 2019.
10) FORD v FERRARI aka LE MANS '66 (Dir. James Mangold) - I've seen the phrase "Dad movie" thrown around a lot with relation to this film, and while it's not entirely inaccurate, it also doesn't do James Mangold's retelling of the rivalry between these two titans of industry justice. This is quite simply a good story executed well by all involved. Matt Damon delivers another solid, perhaps old fashioned, leading man performance to rank alongside his work in THE MARTIAN but unsurprisingly it is Christian Bale that steals this film with the more dynamic role of legendary racing engineer and driver Ken Miles. It is a joy to watch Damon and Bale bounce off of each other anytime they have a scene together but Bale shares similar chemistry with Catriona Balfe and together they craft one of the most realistic depictions of a marriage I have seen on film in a long time. But it isn't just the actors carrying the film. Mangold has long ago proved himself a skilled story teller (see COP LAND, GIRL INTERRUPTED, 3:10 TO YUMA or LOGAN if further proof is required) but here he also manages to infuse the various racing scenes with an energy and excitement that elevates them above film's of a similar ilk. FORD v FERRARI is an old fashioned film, but a great example to show that traditional methods still have something to offer.
9) BOOKSMART (Dir. Olivia Wilde) - BOOKSMART is a fairly straightforward film, a coming of age teen movie in which lifelong best friends Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) after discovering that their commitment to study has landed them the same College placements as their more carefree peers, seek to have one night of excess before graduating. Olivia Wilde's debut film as director has been most often likened, not unfairly, to a female take on SUPERBAD (2007). However the comparison does do the film somewhat of a disservice as BOOKSMART manages to tackle questions of identity, sexuality, expectation and mental health alongside it's hilarious exploration of friendship bordering on co-dependence. Beanie Feldstein (previously seen in 2017's excellent LADYBIRD) and Kaitlyn Dever (immortalised forever for me as Loretta McCready in FX's phenomenal series JUSTIFIED) are simply sensational in their roles are have created one of the great duos of the teen movie genre. Their charisma, chemistry and comic timing belie their years and hint at just how much they have to offer. Yet the entire cast are equally capable with stand out turns from Jessica Williams, Jason Sudeikis and scene stealer Billie Lourd. Probably the film on this list seen by the fewest people but the one I feel deserves a much bigger audience.
8) MARRIAGE STORY (Dir. Noah Baumbach) - Ordinarily I'm not a fan of straightforward relationship dramas but I was drawn into this picture by it's stellar cast and was gripped by the work on display. Scarlett Johansson delivers a career best performance opposite the typically excellent Adam Driver but supporting turns by Laura Dern, Alan Alda and Ray Liotta are equally memorable. Drawing from his own real life experiences, Baumbach has attempted to craft a film that offers both sides of the story in a collapsing marriage. Johansson and Driver do most of the heavy lifting in the film but Baumbach wisely fills the script with moments of levity and humanity to diversify the tone. Not an easy watch but definitely a cathartic one.
7) PARASITE (Dir. Bong Joon-Ho) - I wrote most of this list before the Academy Awards but I'd be remiss not to acknowledge the stunning success this film enjoyed on Oscar night, picking up four awards in total (Best Director, Best Picture, Best Original Screenplay and Best International Feature Film). While I imagine some of this success is due to other criticisms targeted at the Academy (particularly relating to diversity) it is my opinion that Bong Joon-Ho deserves all the credit in the world. Between MEMORIES OF MURDER, THE HOST and SNOWPIERCER, the South Korean filmmaker has delivered some of the greatest film's of the last 20 years and PARASITE continues that trend. It's hard to discuss this film without giving too much away but I will say that the director's mastery of tonal shifts is on full display here and he creates an air of unpredictability that few can match. The cast are excellent across the board and I particularly enjoy the work of long term collaborator Song Kang-Ho as the somewhat dimwitted patriarch of a family of conmen (conpeople?). The film is still on general release and I can't recommend it highly enough.
6) JOJO RABBIT (Dir. Taika Waititi) - It's probably worth noting that I'm not really a fan of Waititi's work. I enjoyed THOR: RAGNAROK but the charm of film's such as WHAT WE DO IN THE SHADOWS and HUNT FOR THE WILDERPEOPLE is largely lost on me. It's with much surprise then I can honestly say that I kind of love JOJO RABBIT. This satirical black comedy offers a coming of age tale, set against the backdrop of Nazi Germany, that manages to be both hilarious and charming whilst also offering an insight into how easily radicalized young minds can be. Roman Griffin Davis and Thomasin McKenzie are both solid in the central child roles but supporting roles by Scarlett Johansson and Sam Rockwell steal the show for me. Tonally it has more in common with the 80's BBC sitcom 'ALLO 'ALLO! then you might expect but it wears it's heart on it's sleeve and is refreshingly earnest. It also happens to have some of my favourite lines of dialogue of 2019, as delivered by 10 year old Archie Yates in the role of Jojo's best friend Yorki. A really enjoyable film that really shouldn't be taken too seriously.
5) US (Dir. Jordan Peele) - Jordan Peele's 2017 directorial debut, GET OUT, received critical acclaim upon release, proved hugely successful at the Box Office and even picked up an Academy Award for Best Screenplay amongst it's 4 nominations. Needless to say, expectations were high for his follow up, US, and if his second outing as director falls short of his first critically, its not for lack of ambition. US attempts to engage with and explore themes and ideas far more abstract and far reaching than GET OUT and as a side effect, lacks that film's brutal simplicity. If nothing else, US most resembles a big screen episode of THE TWILIGHT ZONE (which Peele fittingly oversaw the 2019 reimagining of). Subsequently the film is prone to more narrative plot holes and logical failings than GET OUT, but in its best moments still manages to achieve greatness. That US's tale of deadly doppelgangers works as well as it does is thanks in no small part to the excellent cast Peele has assembled. Winston Duke, Shahadi Wright Joseph, Evan Alex and Elizabeth Moss are all excellent in their dual roles but if anyone related to this film deserves award recognition it is surely Lupita Nyong'o who delivers one of the horror genres' greatest ever performances that has to be seen to be believed and virtually demands repeated viewings to truly appreciate the level of nuance at play. To match his cast, Peele brings some of his best work to the film and his efforts alongside the costuming department and his cinematographer, Mike Gioulakis, make virtually every scene a visual treat. The crowning moment of Peele's career thus far must come in the climactic confrontation between Lupita's Adelaide and her dark mirror. From the choreography, the lighting, the set design, the editing and the fantastically implemented soundtrack, every thing comes together in this scene to deliver something truly classic and not to be forgotten.
4) KNIVES OUT (Dir. Rian Johnson) - Probably the surprise box office hit of 2019, Rian Johnson continues to display his mastery of storytelling and genre in this reimagining of classic Agatha Christie mysteries. KNIVES OUT, similar to his excellent work on THE LAST JEDI, operates like a finely crafted machine with every aspect of production pulling it weight and serving its purpose. The set design, costuming, sound design, editing and cinematography are top notch across the board and allow Johnson to tell a relatively old-fashioned story in a way that feels exciting and vibrant, helped in no small part by the films exploration of race and political division in modern America. To pull this off, Johnson has gathered one of the truly great casts of recent years with top notch work from Ana de Armas, Daniel Craig, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Colette, Christopher Plummer, Katherine Langford, Riki Lindholme, Jaeden Martell and Lakeith Stanfield. Johnson even finds room for his friends and regular cast members Noah Segan and Joseph Gordon Levitt without the production ever feeling overstuffed and his subversion and reinforcement of genre traditions is masterful. I'm thrilled that this the film was a success and has had a sequel greenlit that will see the return Craig's instantly iconic gentleman detective, Benoit Blanc. I can honestly recommend this film to everyone without hesitation.
3) ONCE UPON A TIME IN HOLLYWOOD (Dir. Quentin Tarantino) - Of all the films that return from my previous list, this is the one that has aged the best in the meantime. ONCE UPON A TIME IN HOLLYWOOD continues the trend of Tarantino's recent films then through its 161 minute run time, it's languid pacing and it's use of revisionist history. One of the recurring criticisms aimed at Tarantino in critical circles has been that his films are style over substance, lacking any personal feeling or expression from the filmmaker. I have often argued the merit of this assessment of his work, but it cannot be mistaken that ONCE UPON A TIME IN HOLLYWOOD is easily Tarantino's most openly personal film. Here, the LA born filmmaker has created a glamorised, almost fantastical, vision of the Hollywood of his childhood. The film's tale of three people in very different stages of their careers, trying to find their places within the film industry, unfolds at a deliberately languid pace that lends the fairly uneventful first 2 hours of the movie an almost dreamlike quality. Brad Pitt and Leonardo DiCaprio form a hugely watchable double act with the former's cool charisma effectively juxtaposed by the latter's insecurity and self-loathing. Both actors do excellent work yet it is Margot Robbie's depiction of Sharon Tate that steals the film and reveals much of the filmmakers intent. Robbie comes to represent the heart of the film and is a clear exercise by the filmmaker to rehumanize Tate by portraying her everyday life separate from the tragic mythology that has grown around her (an effort wholly supported by Sharon's sister Debra Tate, in recent interviews). The film's final act will always be controversial for many but this is clearly a labor of love for Tarantino and one worth seeing for the performances of Pitt, DiCaprio and Robbie if nothing else.
2) MIDSOMMAR (Dir. Ari Aster) - As a follow up to his debut feature, HEREDITARY, director Ari Aster has improved upon his previous work across the board. His genre influences, that previously felt more heavy handed, are more smoothly implemented in MIDSOMMAR and work to the film's credit. Florence Pugh is exceptional in the lead role of Dani, a student with severe anxiety problems trying to navigate a family tragedy whilst in a toxic relationship with Josh Raynor's increasingly loathsome Christian. Raynor is also key to the film's success as his performance of Christian's selfishness and casual cruelty is so effective and true to life that not only does the audience innately understand why Dani is still with him, but there have been many people (mostly men) who didn't recognise his behaviour as toxic or even problematic. The success of MIDSOMMAR is that everything else that happens in the film is depicted in relation to Dani's battles with anxiety and her relationship with Christian. Their trip to the isolated Swedish commune of Helga, encounters with its unnerving customs and the horrors that subsequently unfold all provide a backdrop to the overdue dissolution of Dani and Christian's relationship. I don't want to give away anything further about the plot so I will instead discuss why this film so deeply affected me. Simply put, Florence Pugh delivers the most realistic and heartbreaking performance of an individual afflicted with anxiety related mental illness that I have ever seen on film. Even before the familial trauma she undergoes, Pugh's every nuance conveys that this is a young woman gripped by anxiety and the various panic attacks she suffers throughout the film are gut wrenching in their realism. That her time in Helga offer Dani some form of therapeutic release lends the film an oddly positive tone for me. Ultimately MIDSOMMAR is an excellently crafted horror film, with a lot to say regarding mental illness. Not for everyone, but definitely one for horror aficianados.
1) LITTLE WOMEN (Dir. Greta Gerwig) - I would never in a million years have guessed that an adaptation of Louise May Alcott's 1868 novel of the same name would top a favourite films list for me but here we are. Simply put, writer/director Greta Gerwig has crafted a minor miracle with this film and I honestly believe it is the best film, not only of 2019, but one of the best films of the last 30 years. In short, Gerwig has delivered one of the great literary adaptations and I strongly believe this film's reputation will only grow over time. Moreover, the creative licenses she has taken (jumping between time periods and the more ambiguous ending) has lent the film a more contemporary feel whilst also allowing the film to address some of Alcott's own criticisms of her work. Probably the most effective tool at the director's disposal (and the aspect of the film that got me into the cinema in the first place) is the simply exceptional cast that has been assembled. The supporting cast of Laura Dern, Meryl Streep, Chris Cooper, James Norton, Louis Garrel and Bob Odenkirk are all brilliant but it is the film's central quintet that really make the film something special. Saoirse Ronan, Emma Watson, Eliza Scanlan, Florence Pugh and Timothee Chalamet are all phenomenal in their roles and bring their characters to vibrant life. Ronan and Pugh are particularly deserving of recognition but that is in part due to the more combustable nature of their chemistry. LITTLE WOMAN is simply a joy of a film and one I will be revisiting for many year's to come.
Well there's my list, hopefully you might give some of these films a try if you haven't already. I know we are living in the age of the Hollywood Superhero Blockbuster, but there are still plenty of great smaller films being made as I hope this list suggests.
My Top 10 Favourite Films of 2019 (so far):
https://mattcsmoviemusings.blogspot.com/2019/09/my-top-10-favourite-films-of-2019-so-far.html
Honourable Mentions: THE IRISHMAN, UNCUT GEMS, HUSTLERS, AD ASTRA, PORTRAIT OF A LADY ON FIRE, DOLEMITE IS MY NAME, ROCKETMAN, JOHN WICK: CHAPTER 3 and my beloved CRAWL.
* I haven't yet had chance to catch THE FAREWELL, 1917 or THE LAST BLACK MAN IN SAN FRANCISCO
Now let's get on with it, here are my Top 10 Favourite Films of 2019.
10) FORD v FERRARI aka LE MANS '66 (Dir. James Mangold) - I've seen the phrase "Dad movie" thrown around a lot with relation to this film, and while it's not entirely inaccurate, it also doesn't do James Mangold's retelling of the rivalry between these two titans of industry justice. This is quite simply a good story executed well by all involved. Matt Damon delivers another solid, perhaps old fashioned, leading man performance to rank alongside his work in THE MARTIAN but unsurprisingly it is Christian Bale that steals this film with the more dynamic role of legendary racing engineer and driver Ken Miles. It is a joy to watch Damon and Bale bounce off of each other anytime they have a scene together but Bale shares similar chemistry with Catriona Balfe and together they craft one of the most realistic depictions of a marriage I have seen on film in a long time. But it isn't just the actors carrying the film. Mangold has long ago proved himself a skilled story teller (see COP LAND, GIRL INTERRUPTED, 3:10 TO YUMA or LOGAN if further proof is required) but here he also manages to infuse the various racing scenes with an energy and excitement that elevates them above film's of a similar ilk. FORD v FERRARI is an old fashioned film, but a great example to show that traditional methods still have something to offer.
9) BOOKSMART (Dir. Olivia Wilde) - BOOKSMART is a fairly straightforward film, a coming of age teen movie in which lifelong best friends Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) after discovering that their commitment to study has landed them the same College placements as their more carefree peers, seek to have one night of excess before graduating. Olivia Wilde's debut film as director has been most often likened, not unfairly, to a female take on SUPERBAD (2007). However the comparison does do the film somewhat of a disservice as BOOKSMART manages to tackle questions of identity, sexuality, expectation and mental health alongside it's hilarious exploration of friendship bordering on co-dependence. Beanie Feldstein (previously seen in 2017's excellent LADYBIRD) and Kaitlyn Dever (immortalised forever for me as Loretta McCready in FX's phenomenal series JUSTIFIED) are simply sensational in their roles are have created one of the great duos of the teen movie genre. Their charisma, chemistry and comic timing belie their years and hint at just how much they have to offer. Yet the entire cast are equally capable with stand out turns from Jessica Williams, Jason Sudeikis and scene stealer Billie Lourd. Probably the film on this list seen by the fewest people but the one I feel deserves a much bigger audience.
8) MARRIAGE STORY (Dir. Noah Baumbach) - Ordinarily I'm not a fan of straightforward relationship dramas but I was drawn into this picture by it's stellar cast and was gripped by the work on display. Scarlett Johansson delivers a career best performance opposite the typically excellent Adam Driver but supporting turns by Laura Dern, Alan Alda and Ray Liotta are equally memorable. Drawing from his own real life experiences, Baumbach has attempted to craft a film that offers both sides of the story in a collapsing marriage. Johansson and Driver do most of the heavy lifting in the film but Baumbach wisely fills the script with moments of levity and humanity to diversify the tone. Not an easy watch but definitely a cathartic one.
7) PARASITE (Dir. Bong Joon-Ho) - I wrote most of this list before the Academy Awards but I'd be remiss not to acknowledge the stunning success this film enjoyed on Oscar night, picking up four awards in total (Best Director, Best Picture, Best Original Screenplay and Best International Feature Film). While I imagine some of this success is due to other criticisms targeted at the Academy (particularly relating to diversity) it is my opinion that Bong Joon-Ho deserves all the credit in the world. Between MEMORIES OF MURDER, THE HOST and SNOWPIERCER, the South Korean filmmaker has delivered some of the greatest film's of the last 20 years and PARASITE continues that trend. It's hard to discuss this film without giving too much away but I will say that the director's mastery of tonal shifts is on full display here and he creates an air of unpredictability that few can match. The cast are excellent across the board and I particularly enjoy the work of long term collaborator Song Kang-Ho as the somewhat dimwitted patriarch of a family of conmen (conpeople?). The film is still on general release and I can't recommend it highly enough.
6) JOJO RABBIT (Dir. Taika Waititi) - It's probably worth noting that I'm not really a fan of Waititi's work. I enjoyed THOR: RAGNAROK but the charm of film's such as WHAT WE DO IN THE SHADOWS and HUNT FOR THE WILDERPEOPLE is largely lost on me. It's with much surprise then I can honestly say that I kind of love JOJO RABBIT. This satirical black comedy offers a coming of age tale, set against the backdrop of Nazi Germany, that manages to be both hilarious and charming whilst also offering an insight into how easily radicalized young minds can be. Roman Griffin Davis and Thomasin McKenzie are both solid in the central child roles but supporting roles by Scarlett Johansson and Sam Rockwell steal the show for me. Tonally it has more in common with the 80's BBC sitcom 'ALLO 'ALLO! then you might expect but it wears it's heart on it's sleeve and is refreshingly earnest. It also happens to have some of my favourite lines of dialogue of 2019, as delivered by 10 year old Archie Yates in the role of Jojo's best friend Yorki. A really enjoyable film that really shouldn't be taken too seriously.
5) US (Dir. Jordan Peele) - Jordan Peele's 2017 directorial debut, GET OUT, received critical acclaim upon release, proved hugely successful at the Box Office and even picked up an Academy Award for Best Screenplay amongst it's 4 nominations. Needless to say, expectations were high for his follow up, US, and if his second outing as director falls short of his first critically, its not for lack of ambition. US attempts to engage with and explore themes and ideas far more abstract and far reaching than GET OUT and as a side effect, lacks that film's brutal simplicity. If nothing else, US most resembles a big screen episode of THE TWILIGHT ZONE (which Peele fittingly oversaw the 2019 reimagining of). Subsequently the film is prone to more narrative plot holes and logical failings than GET OUT, but in its best moments still manages to achieve greatness. That US's tale of deadly doppelgangers works as well as it does is thanks in no small part to the excellent cast Peele has assembled. Winston Duke, Shahadi Wright Joseph, Evan Alex and Elizabeth Moss are all excellent in their dual roles but if anyone related to this film deserves award recognition it is surely Lupita Nyong'o who delivers one of the horror genres' greatest ever performances that has to be seen to be believed and virtually demands repeated viewings to truly appreciate the level of nuance at play. To match his cast, Peele brings some of his best work to the film and his efforts alongside the costuming department and his cinematographer, Mike Gioulakis, make virtually every scene a visual treat. The crowning moment of Peele's career thus far must come in the climactic confrontation between Lupita's Adelaide and her dark mirror. From the choreography, the lighting, the set design, the editing and the fantastically implemented soundtrack, every thing comes together in this scene to deliver something truly classic and not to be forgotten.
4) KNIVES OUT (Dir. Rian Johnson) - Probably the surprise box office hit of 2019, Rian Johnson continues to display his mastery of storytelling and genre in this reimagining of classic Agatha Christie mysteries. KNIVES OUT, similar to his excellent work on THE LAST JEDI, operates like a finely crafted machine with every aspect of production pulling it weight and serving its purpose. The set design, costuming, sound design, editing and cinematography are top notch across the board and allow Johnson to tell a relatively old-fashioned story in a way that feels exciting and vibrant, helped in no small part by the films exploration of race and political division in modern America. To pull this off, Johnson has gathered one of the truly great casts of recent years with top notch work from Ana de Armas, Daniel Craig, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Colette, Christopher Plummer, Katherine Langford, Riki Lindholme, Jaeden Martell and Lakeith Stanfield. Johnson even finds room for his friends and regular cast members Noah Segan and Joseph Gordon Levitt without the production ever feeling overstuffed and his subversion and reinforcement of genre traditions is masterful. I'm thrilled that this the film was a success and has had a sequel greenlit that will see the return Craig's instantly iconic gentleman detective, Benoit Blanc. I can honestly recommend this film to everyone without hesitation.
3) ONCE UPON A TIME IN HOLLYWOOD (Dir. Quentin Tarantino) - Of all the films that return from my previous list, this is the one that has aged the best in the meantime. ONCE UPON A TIME IN HOLLYWOOD continues the trend of Tarantino's recent films then through its 161 minute run time, it's languid pacing and it's use of revisionist history. One of the recurring criticisms aimed at Tarantino in critical circles has been that his films are style over substance, lacking any personal feeling or expression from the filmmaker. I have often argued the merit of this assessment of his work, but it cannot be mistaken that ONCE UPON A TIME IN HOLLYWOOD is easily Tarantino's most openly personal film. Here, the LA born filmmaker has created a glamorised, almost fantastical, vision of the Hollywood of his childhood. The film's tale of three people in very different stages of their careers, trying to find their places within the film industry, unfolds at a deliberately languid pace that lends the fairly uneventful first 2 hours of the movie an almost dreamlike quality. Brad Pitt and Leonardo DiCaprio form a hugely watchable double act with the former's cool charisma effectively juxtaposed by the latter's insecurity and self-loathing. Both actors do excellent work yet it is Margot Robbie's depiction of Sharon Tate that steals the film and reveals much of the filmmakers intent. Robbie comes to represent the heart of the film and is a clear exercise by the filmmaker to rehumanize Tate by portraying her everyday life separate from the tragic mythology that has grown around her (an effort wholly supported by Sharon's sister Debra Tate, in recent interviews). The film's final act will always be controversial for many but this is clearly a labor of love for Tarantino and one worth seeing for the performances of Pitt, DiCaprio and Robbie if nothing else.
2) MIDSOMMAR (Dir. Ari Aster) - As a follow up to his debut feature, HEREDITARY, director Ari Aster has improved upon his previous work across the board. His genre influences, that previously felt more heavy handed, are more smoothly implemented in MIDSOMMAR and work to the film's credit. Florence Pugh is exceptional in the lead role of Dani, a student with severe anxiety problems trying to navigate a family tragedy whilst in a toxic relationship with Josh Raynor's increasingly loathsome Christian. Raynor is also key to the film's success as his performance of Christian's selfishness and casual cruelty is so effective and true to life that not only does the audience innately understand why Dani is still with him, but there have been many people (mostly men) who didn't recognise his behaviour as toxic or even problematic. The success of MIDSOMMAR is that everything else that happens in the film is depicted in relation to Dani's battles with anxiety and her relationship with Christian. Their trip to the isolated Swedish commune of Helga, encounters with its unnerving customs and the horrors that subsequently unfold all provide a backdrop to the overdue dissolution of Dani and Christian's relationship. I don't want to give away anything further about the plot so I will instead discuss why this film so deeply affected me. Simply put, Florence Pugh delivers the most realistic and heartbreaking performance of an individual afflicted with anxiety related mental illness that I have ever seen on film. Even before the familial trauma she undergoes, Pugh's every nuance conveys that this is a young woman gripped by anxiety and the various panic attacks she suffers throughout the film are gut wrenching in their realism. That her time in Helga offer Dani some form of therapeutic release lends the film an oddly positive tone for me. Ultimately MIDSOMMAR is an excellently crafted horror film, with a lot to say regarding mental illness. Not for everyone, but definitely one for horror aficianados.
1) LITTLE WOMEN (Dir. Greta Gerwig) - I would never in a million years have guessed that an adaptation of Louise May Alcott's 1868 novel of the same name would top a favourite films list for me but here we are. Simply put, writer/director Greta Gerwig has crafted a minor miracle with this film and I honestly believe it is the best film, not only of 2019, but one of the best films of the last 30 years. In short, Gerwig has delivered one of the great literary adaptations and I strongly believe this film's reputation will only grow over time. Moreover, the creative licenses she has taken (jumping between time periods and the more ambiguous ending) has lent the film a more contemporary feel whilst also allowing the film to address some of Alcott's own criticisms of her work. Probably the most effective tool at the director's disposal (and the aspect of the film that got me into the cinema in the first place) is the simply exceptional cast that has been assembled. The supporting cast of Laura Dern, Meryl Streep, Chris Cooper, James Norton, Louis Garrel and Bob Odenkirk are all brilliant but it is the film's central quintet that really make the film something special. Saoirse Ronan, Emma Watson, Eliza Scanlan, Florence Pugh and Timothee Chalamet are all phenomenal in their roles and bring their characters to vibrant life. Ronan and Pugh are particularly deserving of recognition but that is in part due to the more combustable nature of their chemistry. LITTLE WOMAN is simply a joy of a film and one I will be revisiting for many year's to come.
Well there's my list, hopefully you might give some of these films a try if you haven't already. I know we are living in the age of the Hollywood Superhero Blockbuster, but there are still plenty of great smaller films being made as I hope this list suggests.
My Top 10 Favourite Films of 2019 (so far):
https://mattcsmoviemusings.blogspot.com/2019/09/my-top-10-favourite-films-of-2019-so-far.html
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