100 BEST MOVIES (2010-2019) Menu. In a refrigerator, a disembodied hand awakens, and embarks on a quest to reunite with its former owner, who we soon learn is Moroccan-born French teenager Naoufel (voiced by Hakim Faris). Overflowing with symbolic motifs and twirling movement, it’s a philosophical inquiry into fate, agency, trauma and love – and the state of being whole, figuratively and literally – that, to its benefit, refrains from positing concrete answers to its profound questions. Strickland recounts his wacko tale with explosions of lurid color, black-and-white photo montages, and a mesmerizing Cavern of Anti-Matter score, as well as via compositions that have a tendency to cut off his characters’ heads (thus emphasizing their crotch-ety midsections). Flip-flopping backward and forward in time to create all sorts of harmonious narrative (and formal) echoes, and set to Alexandre Desplat’s lush, vibrant score (the year’s finest), Gerwig infuses her celebrated story with a feminist spirit that flows naturally from its tender depiction of its heroines’ intertwined, universal plights. Also channeling the spirit of Robert Altman, Brian De Palma, Alfred Hitchcock and Hollywood golden-age classics (set to a Henry Mancini-esque score), Sam’s cine-odyssey is a quest for meaning in an overstuffed pop-culture world. Parasite (2019) R | 132 min | Comedy, Drama, Thriller. Long-suffering but resolutely defiant, she’s the embodiment of female perseverance in the face of the unholy. Haenel and Golino are both phenomenal, the latter particularly so as a Mona Lisa smile-flaunting beauty engaged in a process of uncharted self-definition. Premiering on the 50th anniversary of that momentous event, it utilizes a treasure trove of recently discovered 65mm footage and audio recordings to afford an up-close-and-personal view of the preparations for launch, the men and women toiling behind the scenes to ensure its safety, the crowds gathering to witness history, and the outer-space flight itself, shot by cameras accompanying (and sometimes manned by) Neil Armstrong, Buzz Aldrin and Michael Collins. Petra Costa's harrowing and dismayingly timely Netflix documentary presents a country torn apart at the seams, split between citizens in favor of staying the thirty-year democratic course, and those eager to take a turn back into dictatorial extremism. Usually, Higher Score Means Better The Movies. Quentin Tarantino’s latest jaw-dropper bumps Kill Bill: Vol 1 off the list in gloriously irreverent fashion. Every product was carefully curated by an Esquire editor. 1. It’s been decades since Murphy has been this hilariously energized, his giant smile and brash talk elevating this underdog-makes-good effort from Craig Brewer (Hustle & Flow), which traces Moore’s transformative creation of both his famous alter ego, as well as the family of friends and collaborators who helped him realize his stage and screen dreams. 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Regardless, it’s still an escalating freak-out scored to thumping electronica and populated by a raft of potential monsters. At the end of every year, IndieWire gathers together film critics from around the world and invites them to pick the best movies and performances of the last 12 months. There’s plenty of shrieking horror to be found here, as well as droll comedy, as the writer/director never loses sight of the inherent humor of his out-there conceit. For skateboarding Jimmie (Jimmie Fails), nothing would be finer than reclaiming his childhood residence, a gorgeous Victorian in the Fillmore District that he proudly proclaims was built by his grandfather. No franchise dispenses more crazily choreographed violence than John Wick, in which savagery is carried out with both concussive force and dancer-like grace. With a light tough that allows for instances of escapist lyricism (none better than recurring shots of Gloria spinning amidst swirling colors), Lelio fashions a tender, incisive, heartbreaking ode to the myriad complications of adulthood, where efforts to move forward are burdened by regrets, entanglements and longing for connection. Now adults played by the likes of James McAvoy, Jessica Chastain and Bill Hader, The Losers Club returns to Derry, Maine to again confront unspeakable evil in It: Chapter 2, Andres Muschietti’s sprawling, character-driven companion piece to his 2017 blockbuster. Tarantino lavishes his period milieu, and the mainstream movies and television of the era, with sun-dappled neon-colored love. What a year it's been for movies. Here are the best movies of 2019 to watch, from crowd-pleasing blockbusters to … From euphoric in-motion beginning to pitch-perfect self-referential end, it’s a time-honored tale made new, and enchanting, once more. Motifs involving broken timepieces, dripping water, starry skies, flight and fire all pepper Gan’s latest, which is bookended by telling images of rotating colored ceiling lights and a room spinning around blissful lovers. And then, it becomes a story about how those artists are in fact overrun by a real zombie threat. Gigs soon follow for his sister Ki-jung (So-dam Park) as an art teacher, his dad Ki-taek (Kang-ho Song) as a driver, and his mom Chung-sook (Hye-jin Jang) as a housekeeper. At a remote late-18th century manor house, Marianna (Noémie Merlant) is commissioned by a countess (Valeria Golino) to paint her daughter Héloïse (Adèle Haenel), recently returned from a convent, engaged against her will to be married, and already defiant enough to have rejected one painter. Until, that is, it reveals itself to be about a crew of filmmakers making an undead horror movie. Search ... from actual royals like Kate Middleton and Meghan Markle to Hollywood ... 50 Sexiest Movies of All Time; The Best 2019 Movies … The Irishman (2019) 4. 20 Best Hollywood movies of 2019 | Top Hollywood Films 2019 The result is an aesthetic performance piece that feels like the psychosexual underworld dance extravaganza that Luca Guadagnino’s Suspiria wanted to be, replete with a finale that takes up residence in some hallucinatory ninth circle of Hell. In his debut, the critic-turned-writer/director cuts efficiently, so that no gesture or expression is wasted, and yet he also tends to linger – on a notepad’s to-do list, or a face trying to hide the reality behind a recent utterance – in order to evoke greater unspoken truths. Nonetheless, in any format, it’s a curatorial effort of thrilling enormity, presenting this pioneering triumph as the byproduct of myriad individuals, immense ingenuity, and the colossal bravery of three men who dared to venture to the stars. Beginning, portentously, with interviews seen on a television set surrounded by the director’s favorite VHS horror films, the French auteur’s latest is arguably his least provocative to date. Sign Up: Stay on top of the latest breaking film and TV news! Through circumstance, he also assumes the guise of famous writer Weidel, whose possessions he acquires and whose documentation permitting travel to Mexico await him at the port city’s embassy. Various culture-clash issues, however, soon complicate the endeavor’s chances for success, leading to tensions on both sides and, ultimately, a battle over workers’ desire to unionize, which is opposed by their foreign-born bosses. During an apocalyptic Florida hurricane, struggling but talented collegiate swimmer Haley (Kaya Scodelario) goes in search of her MIA father Dave (Barry Pepper), whom she finds in the basement of their old home, wounded and trapped by a swarm of alligators. Moreover, it’s another of his masterworks to confront issues of personal and national consciousness through a distinct cine-filter, with Casablanca and The Passenger proving two of its many spiritual touchstones. Roiling passions lurk beneath the painterly facades of Portrait of a Lady on Fire, and director Céline Sciamma demands that one inspect her frame—and her characters’ faces—to locate them. The 40 Greatest Comedy Series of All Time, Loungewear Is the Undisputed Winner of 2020, When a Bottle of Costco Bourbon Is Something More, This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. It’s the horror film of the year. I'll be sure to keep it updated. double – who, when not falling in love with his superior’s wife (Sun Li), attempts to incite a war with a rival kingdom against the wishes of his self-serving king (Zheng Kai). Copyright © 2021 Penske Business Media, LLC. A semi-clandestine drug habit eventually becomes a complicating factor for the duo, but the real heart of this enthralling film is Julie herself, whose interior state is brought to vivid life by the director’s intimate, aesthetically diverse approach. Reuniting him with his favorite stars (as well as Al Pacino), and clocking in at a whopping 209 minutes, The Irishman serves as Martin Scorsese’s grand closing statement on the gangster genre he helped elevate to greatness with 1990’s Goodfellas and 1995’s Casino. A mid-‘90s Courtney Love type who resides in the center of a tornado of her own making, Moss’ Becky Something leaves only chaos in her wake, much to the chagrin of her bandmates (Agyness Deyn and Gayle Rankin), ex (Dan Stevens), young daughter (Daisy Pugh-Weiss), mother (Virginia Madsen), collaborators/rivals (including Amber Heard and Cara Delevingne) and heroically loyal manager (Eric Stoltz). Their confined setting is a veritable labyrinth that –as with CGI-ified imagery of storm-ravaged communities – director Alexandre Aja imbues with underlying allegorical heft. Reconfiguring noir’s fatalistic heart for our tangled modern condition, it’s a portrait of the surreal new bleakness, with everything part of a grander whole that offers no substance or solace – leaving only that eternal desire for truth, and togetherness. Yet despite their familiarity, such building blocks prove the stuff of superior melodrama in the hands of Brazilian-German director Karim Aïnouz, whose adaptation of Martha Batalha’s 2016 novel pays heartbreaking tribute to the strength, solidarity and unjust suffering of two sisters – reckless young Guida (Julia Stockler) and older would-be pianist Euridice (Carol Duarte) – who are torn apart by their callous dad (António Fonseca), Euridice’s chauvinistic spouse (Gregorio), and their patriarchal Brazilian culture. Its characters linked by spectral bonds they can feel if not quite identify (or control), it’s an entrancing and inherently mysterious ghost story that’s both timeless and, sadly, of our particular moment. published the full critics poll earlier this week. 2019 is in the rearview mirror and we're in the thick of "best of" season. Sold at a department store by a saleswoman (Fatma Mohamed) with a nefarious true identity, the satanically erotic garment preys upon the sexually repressed and/or unfulfilled, all while fluttering and hovering about like a sinister specter. An era-spanning tale that charts the intersections of the mob and domestic politics (including the election and assassination of JFK), Scorsese’s film is also a flashback-layered drama about the passage of time, and the impact – or chilling lack thereof – that regret, treachery and immorality have on a man’s soul. This Article is related to: Film and tagged Parasite, Uncut Gems, Year in Review 2019. That’s merely the first of many multi-layered ways in which Mallo attempts to reconnect with his past, as flashbacks to his youth alongside his mom (Penélope Cruz), and an encounter with an old flame (Leonardo Sbaraglia), also allow him to rediscover his love of cinema, family and self. Made by first-time writer/director Phillip Youmans at the age of 19, the film imparts an all-encompassing sense of its milieu’s atmosphere, from the oppressive stillness of the air, to the spartan sounds of insects and footsteps in partly furnished old homes, to the sticky countenances that dot the swampy landscape. Brought to life by Pitt with a wellspring of bubbling-beneath-the-surface pain, yearning and hope, Roy is a man whose steady pulse rate is emblematic of his sorrowful, walled-off remoteness. Adam Sandler is a loser who can’t stop chasing that elusive victory in Uncut Gems, an anxiety-inducing crime film fueled by its protagonist’s addiction to the rush of risking it all. Split into five sections spanning 1960-1980, and set in the country’s northern La Guajira region, Guerra’s film (co-directed by his wife and producing partner Cristina Gallego) details the disintegration of a Wayuu community thanks to enterprising Rapayet (José Acosta), who marries the daughter of imposing matriarch Ursula (Carmiña Martinez) and transforms everyone’s fortunes by smuggling weed procured from relatives. Street Justice. In a Mexican city rendered a ghost town by violent drug gangs, young Estrella (Paola Lara) strikes up a prickly alliance with a group of orphaned boys – led by Shine (Juan Ramón López) – after her mother goes missing. In the Austrian Alps circa the 15th century, young Albrun (Celina Peter) tends to her mother (Claudia Martini), a supposed witch, in their remote log cabin. Musician-filmmaker Blitz Bazawule’s feature debut is a spellbinding storybook fable about a young Ghanaian girl named Esi (Cynthia Dankwa) whose father Kojo (Joseph Otsiman) is convinced by his back-in-the-picture brother Kwabena (Kobina Amissah-Sam) to move their family from a village on stilts in the middle of a lake to the big city, where greater economic prosperity supposedly awaits them. Led by his own interior-thought narration, Roy’s saga is at once awe-inspiring and poignant, intimate and majestic. Paired with its predecessor, it’s one of the finest Stephen King adaptations ever. His is a conservative celebration of the old at the very moment that the new took over (not to mention a wish for a fusion of the two), and an air of wistfulness – and desire to fight obsolescence – permeates the action. Outside of this year’s Best Film race, IW Critics Poll winners included “Parasite” filmmaker Bong Joon Ho for Best Director and Best Screenplay, “Us” favorite Lupita Nyong’o for Best Actress, “Marriage Story” favorite Adam Driver for Best Actor, and more. His quest is fraught with literal danger and, also, emotional, psychological and spiritual peril, as Roy searches the heavens for the indifferent father that abandoned him. Costa's connection to her homeland's bifurcated history (via her revolutionary parents and wealthy grandparents) lends additional urgency to her survey of this tumultuous period of disintegration, in which corporate greed and power turn out to be more influential than the rule of law – or the will of the people. The volatility of youth and the vitality of kinship (with present and former relatives) serve as sturdy thematic undercurrents for this low-key genre tale. In this saga about the self-destructiveness of war, the kids aren’t alright. Mixing the class commentary of Snowpiercer with the family dynamics of The Host, Bong Joon-ho takes a scalpel to inequity with Parasite, his scathing drama about a lower-class clan that endeavors to pull itself up from the figurative and literal basement. Their ensuing custody fight centers on which coast their kid will call home, and Baumbach’s sharp writing and visuals—full of close-ups of pain and fury, and remote compositions that separate and isolate his adrift protagonists—locates the way in which that battle inevitably warps that which was once good, leaving only resentment and ruin in its wake. Interjecting their verité tale with enveloping dreaminess, Guerra and Gallego capture the insidious ways that greed spreads like a poison, cutting people off from their heritage, their morality, and ultimately, from their loved ones and themselves. The separation of Brooklyn theater director Charlie (Adam Driver) and actress Nicole (Scarlett Johansson) begins with amicable intentions but soon devolves into a costly and traumatizing legal war that’s carried out by cutthroat, self-interested lawyers (Laura Dern, Ray Liotta), and strands the couple’s young son Henry (Azhy Robertson) in the middle of a figurative (and, at one point, literal) tug of war. In Parabellum, Wick teams up with Laurence Fishburne, Ian McShane, and Halle Berry (and her two crotch-fixated German shepherds) in order to stave off death at the hands of the world’s assassins, all of whom seek a bounty on his head. God and the Devil are at war in rural Louisiana in Burning Cane, and the former doesn’t appear to be faring too well. The end is here, at least for the cinematic year, which has gifted us with a bounty of audacious dramas, documentaries, comedies, thrillers and action-adventures. Improving on Chapter 2, director Stahelski stages his set pieces as exercises in vicious physicality. “If something’s broken, it stays broken,” intones Bo (Lorraine Toussaint) at the outset of Fast Color, which then proceeds to show that things – and people – can be mended through the power of family, love and connection to the past. Shaft (2019) 4. In the “nice” town of Centerville, chief Cliff (Bill Murray) and officer Ronnie (Adam Driver) are forced to contend with a zombie outbreak caused by…well, maybe it’s the polar fracking that’s knocked the Earth off its axis, or the MAGA-type insanity peddled by local farmer Frank (Steve Buscemi), or simply good ol’ fashioned American materialism. Best Films of the Last 5 Years (2015-2019) Menu. Best Hollywood Movies of 2019. There’s poignant poetry in this haunting fairy tale, and magic as well. Kent Jones’ Diane is a character study of this solitary Massachusetts woman, filled with telling details and sharply observed moments that speak to her Christian altruism, her tough love, and the secrets that continue to torment (and, perhaps, drive) her. life– is alive, and causing intergalactic pulses that threaten Earth. With a lyrical touch that invigorates his often-droll action, Talbot pays bittersweet tribute to San Francisco and the magic of true friendship. The rapidly changing global manufacturing landscape is examined through the lens of an Ohio auto-glass plant founded by the Chinese and staffed with men and women from both countries in American Factory. Get The Latest IndieWire Alerts And Newsletters Delivered Directly To Your Inbox. Tragedy comes from rejection, resentment, alienation, rage and sorrow in An Elephant Sitting Still, an intimate epic about Chinese citizens who view themselves as powerless and worthless. 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