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Tuesday, 31 December 2019

What to Watch to Cure Your ‘Mandalorian’ Hangover

The Mandalorian is over, and waiting for Season 2 to arrive is going to suck. In an age when Star Wars’ cinematic releases have become bloated and divisive, the lowkey nature of the Disney+ series marked a welcome change of pace for the franchise. Short, sweet, and highly entertaining, the show has left many fans craving more episodes, as opposed to feeling fatigued by the galaxy far, far away.

Season 2 is definitely happening, though it isn’t expected to hit the streaming service until the fall of 2020. To make the wait easier, though, I have prepared this list of movies and TV shows that should hold you over until then. While none of them are Star Wars-related, they are still likely to appeal to viewers who enjoyed the Mandalorian’s themes and its fantastical interpretation of Western/samurai elements. Enjoy.


The Wild Wild West (1965-1969)

The Wild Wild West

The 1960s saw spy shows rise to prominence on the small screen — The Man from U.N.C.L.E, The Avengers, and Get Smart, and I, Spy, to name a few examples. Elsewhere, Westerns in the form of Bonanza, Rawhide, and Gunsmoke were still going strong, but heading toward their commercial decline as audiences were craving other forms of entertainment.

The Wild Wild West, however, tried to marry the best of both worlds, while tossing monsters, mad scientists, wizards, creatures, politicians, and other crazy characters into the mix. The show follows a pair of secret agents who ride a private train throughout the Old West, fighting all the evil beings they encounter while trying to thwart the plans of a maniacal little person. They also have access to hi-tech gadgets, which come in handy during their battles.

The show was also given the Hollywood remake treatment in 1999, in a critically panned movie starring Will Smith that’s not as bad as people remember.


Kung Fu (1972-1975)

Kung Fu

The other shows and movies on this list operate in the same kind of sci-fi wheelhouse as Mandalorian. Still, fans of the Disney+ series ought to check out this seventies martial arts saga starring David Carradine as an exiled Shaolin monk who wanders around the Old West protecting innocent people from ruffians, while simultaneously trying to avoid the assassins that want to end his life.

Kung Fu’s story and themes are also reminiscent of those present in Mandalorian. Both shows revolve around on-the-run protagonists as they roam the lands, finding themselves embroiled in unexpected and very dangerous situations. Furthermore, both shows were inspired by the pop culture of North America and Asia, marrying both to great effect.

Kung Fu is rooted in reality for the most part, but it still contains some Weird Western flavor at times. The third season explores some supernatural concepts, featuring storylines involving demons, curses, and spirits.


G.I. Samurai (1979)

G I Samurai

There are plenty of sci-fi Westerns out there, but sci-fi samurai movies are a rarity. Fortunately, this gem starring the indelible Sonny Chiba exists.

G.I. Samurai centers around a squadron of Japanese Self-Defence Force soldiers that travel back in time to their country’s warring states era. Upon arrival, they find themselves embroiled in a battle between rival samurai clans that want to crown a supreme Shogun. The squad’s captain (Chiba) has his own nefarious ambitions to become a ruler, though, and decides to use modern weapons in an effort to overthrow the samurai factions.

G.I. Samurai is a strange movie that infuses misplaced blues and rock songs into what is otherwise a battle epic. Of course, the action and combat scenes are spectacular, with a final showdown for the ages that’s exhilarating and exhausting. As all war movies should be.


Battle Beyond the Stars (1980)

Battle Beyond The Stars

In Mandalorian‘s “Chapter 4: Sanctuary,” the hero teams up with another bounty hunter to protect a farming village from some raiders. The episode is essentially one big homage to Seven Samurai and The Magnificent Seven, condensed into 30 minutes of blissful television.

Mandalorian’s sci-fi spin on a familiar concept works well, but other creators have tried something similar in the past. Roger Corman’s 1980 space opera Battle Beyond the Stars follows a group of mercenaries who get hired to protect a farming planet from a tyrannical warlord and his goons. The planet’s inhabitants are even called the Akira, which is an obvious nod to Seven Samurai director Akira Kurosawa.

Battle Beyond the Stars was released to cash in on the popularity of Star Wars, but the film mined some of George Lucas’ Western and samurai influences for inspiration as opposed to just ripping off his movie. It’s a lot of fun, too.


Outland (1981)

Outland

Fans of Mandalorian’s “Sanctuary” episode should check out this 1981 thriller from director Peter Hyams. It’s another movie that takes the plot of a classic Western and reapplies it to an outer space environment, making for some solid entertainment.

Essentially High Noon set on Jupiter, Outland stars Sean Connery as an aging marshal in a corrupt mining colony who finds himself marked for death after uncovering a drug ring. The townspeople he’s been hired to protect have no interest in keeping him alive either, and he’s forced to decide between saving his own life or doing the right thing.

According to Hyams, Outland was originally intended as a straight Western. Unfortunately for the director, the genre was dead in the ‘80s, which is why he decided to set the story on another planet.


The Adventures of Brisco County, Jr (1993-1994)

The Adventures Of Brisco Country, Jr

The Adventures of Brisco County, Jr. is an underseen gem that was canceled after one season, but if you mention the show to anyone familiar with it, chances are their face will light up with joy. In this writer’s humble opinion, it’s one of the best-kept secrets in the history of television.

Starring the mighty Bruce Campbell in the titular role, the story follows a bounty hunter as he navigates the Old West, fighting an assortment of bad guys while trying to catch up with the outlaw gang that murdered his father. Along the way, he is forced to deal with bandits, ghosts, ninjas, magic orbs, futuristic machines, and sheriffs that act like Elvis Presley.

Indiana Jones and the Last Crusade writer Jeffrey Boam co-created the series with Carlton Cruse, and the show boasts a similar tone and style to those movies. However, Adventures of Brisco County Jr. is entirely its own thing, mainly due to its weirdness and roster of colorful characters.

Like Mandalorian, Adventures of Brisco County Jr. is a pulpy Western-themed adventure series that blends a bunch of strange influences to create something original and fun. Hunt this one down, and prepare to have one of the best times of your life.


Cowboy Bebop (1998-1999)

Cowboy Bebop

Shinichirō Watanabe’s cult-favorite anime series is a unique hybrid of space opera, Western, noir, and comedy, and its genre-mashing approach to storytelling will undoubtedly appeal to fans of Mando’s adventures.

Set in 2071, the show takes place in a lawlessness galaxy, where crime lords reign supreme, and the authorities hire bounty hunters to take on the most dangerous jobs. The series follows a group of these bounty hunters as they travel the solar system on the hunt for fugitives. That’s a fun concept on paper, but the show’s propensity for violence and despair makes for harrowing viewing at times.

Cowboy Bebop was canceled prematurely during its original run. However, when audiences caught on to it, later on, the show was showered in heaps of critical acclaim and hailed as a masterpiece that transcended anime. The show’s legacy has proved to be enduring ever, and fans can expect to see a live-action remake soon.


Samurai Jack (2001-2017)

Samurai Jack

Samurai Jack follows a feudal warrior who gets sent to a dystopian future that’s ruled over by a tyrannical shapeshifting demon, which leads to him going on some strange adventures and encountering all kinds of foes. However, it’s another sci-fi show that was inspired by Westerns and samurai fare and is very similar to Mandalorian in certain departments.

For example, the protagonists in each show are lone wolfs with ties to formidable groups — Jack was trained by legendary Japanese warriors. At the same time, Mando was part of an elite group of galactic mercenaries before he went rogue. That said, both shows are essentially about heroes trying to adjust to a new way of life after circumstances force them to give up their old one, and trouble finds them at every turn.

Samurai Jack and Mandalorian also embrace a wandering approach to storytelling, with each new episode serving as an excuse to explore new corners of their respective universes. Samurai Jack does have a larger overarching plot, but for the most part, the episodes revolve around a fresh distraction that prevents the eponymous hero from reaching his goal.

There is also a connection between Samurai Jack and Star Wars in the form of Genndy Tartakovsky. He is the mastermind behind Samurai Jack, but he also developed the original Clone Wars series that aired in 2003, which remains one of the best Star Wars properties out there to this day.


Jason X (2001) and Lockout (2012)

Jason X

This is a strange double bill that I found myself in the mood for after watching “Chapter 6: The Prisoner.” In the episode, Mando finds himself on a mission to help a group of mercenaries rescue one of their own from space jail. That is until they double-cross him anyway, which leads to the bounty hunter picking them off one-by-one, slasher-style.

Jason X is recommended for obvious reasons: it’s the best space-set slasher movie out there. In the film, the titular hockey mask-sporting maniac is awakened on a spaceship and proceeds to slaughter its inhabitants. While the Mandalorian episode isn’t bloody (and he technically doesn’t kill anyone), the single-location galactic setting, coupled with the simple slasher approach, is sort of reminiscent of Jason X.

Lockout, meanwhile, is a shameless space-based Escape from New York clone. But the movie scores points for taking place in a prison beyond the stars, and for being a helluva lot of fun. The story follows a man who is recruited by the government to spring the President’s daughter from the pen, which is quite similar to the plot of “The Prisoner.”


Firefly (2002-2003)

Firefly

Joss Whedon’s short-lived series is arguably the greatest space Western to ever grace the small screen, and the show’s cult appeal endures even after all these years. The story follows a renegade transport crew who travel across the outskirts of outer space, taking on all manner of jobs, while evading the agents, bounty hunters, and dangerous factions that are out to get them.

Star Wars was a big influence on Whedon while he was creating Firefly. Captain Malcolm Reynolds (Nathan Fillion) is very similar to Han Solo, while the Serenity spacecraft was inspired by the Millennium Falcon. Firefly also paid homage to the legendary galaxy far, far away by sneaking Imperial Shuttles and Starlight Intruders into episodes.

At its core, however, Firefly is another show that combines science fiction and Western elements to tell a story about characters just trying to survive on an episodic basis. The characters in Whedon’s show speak more than Mando, but if they ever had to meet each other, they’d probably be friends. Plus, every episode of Firefly is also a brand new space adventure through the great frontier of outer space.


Afro Samurai (2007)

Afro Samurai

Continuing with the theme of loner warriors, albeit with a unique twist, Afro Samurai follows the titular character as he sets out to avenge the death of his father, who was killed by Justice, the #1 fighter in Japan. Before he can conquer his enemy, though, Afro must battle the countless assassins who desire his headband, as whoever wears it is considered the #2 fighter in the land and is, therefore, eligible to challenge Justice.

Afro Samurai was inspired by the lore of Japan’s ancient warriors. Still, the show — and its spinoff media — takes place in a dystopian future version of feudal times and draws a lot of influence from Spaghetti Westerns, hip-hop culture, and Blaxploitation movies. It’s nothing like Mandalorian, though both properties share enough common themes and influences to serve as complementary viewing.

The 50 Best Movies of 2019

This article is part of our 2019 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from 2019.


It’s hard to be certain of much as we come to the close of 2019, but we are pretty certain that you’re about to skip to the last page of this list to find what many will say later was an obvious choice for number one. That’s entirely fine and we’ll even give you a hint: read this for a great longform explanation of our top choice.

That said, in between here and the end to which you’ll inevitably skip are 49 other movies that, for our team here at Film School Rejects, One Perfect Shot, and Nonfics, show off a fairly diverse selection of the best films released in North America in 2019. At the least, these are 50 movies that we very much enjoyed. In fact, to even make this list, a movie had to have someone on our team who was ready to fight for its place. And that matters to us, as we spend the rest of the year scouring the world for great movies, hoping to share the best and most interesting with you through our work on this site. The end of the year is an opportunity to take stock, to fight for what we love, and to give you something that you can use: a list of 50 movies worth seeing if you want to get a taste of what was good in 2019.

For those of you who aren’t skipping to the end, we salute you. Enjoy our list of the 50 Best Movies of 2019.


50. Hellboy

Hellboy

The film opens on a shot of an upturned corpse having its eye ripped from its socket by a raven. As the jelly pulls free and a stream of puss flows down the knight’s cheek, we hear Al Swearengen, not Professor Bruttenholm (Ian McShane), announce the setting, “The year is 517 AD, known as the Dark Ages and for fucking good reason.” This is not Mike Mignola’s Hellboy. This is not Guillermo del Toro’s Hellboy. If you love either of those iterations than the Neil Marshall variety could be seen as offensive. What we get here is a crass, gross, and profane celebration of monsters where the lead character is a demon taught by humans to punch other demons. Hey, maybe that’s not cool. Maybe these demons have a right to life like HB does? The film makes time for the thought, which sputters up from the comics, but only for a minute or two, cuz then it’s time to get back to smashing monsters. Hellboy 2019 is the best Conan the Barbarian knock-off movie Roger Corman never produced. This is Deathstalker with a budget. This is Barbarian Queen with legit performers. I understand that the film is not for everyone, but it infuriates me that my fellow Beastmaster-bros are not championing Neil Marshall’s incredible monster-mash achievement. Guys! The final moments of the film are a Hieronymous Bosch come to life with hell-born titans wearing humans as shishkabob socks! You bet your ass you would have stolen this movie from Erol’s video back in the day…or begged your mom to rent it, promising an extra afternoon of chores in return. (Brad Gullickson)


49. Dark Waters

Dark Waters

While there hasn’t been overwhelming hype for celebrated director Todd Haynes’s latest movie Dark Waters, it is a masterful drama that should not be forgotten this year. Mark Ruffalo brings to life the story of a man burdened with the truth that he cannot fix the damage done to a small town in West Virginia but has the drive to do whatever he can. This important story may be forgotten in the eyes of many outside of Appalachia, but it is a devastating look at what is hidden from us by those in power. (Emily Kubincanek)


48. The Standoff at Sparrow Creek

Sparrow Creek

Cinestate has garnered a reputation for making movies about tough guys doing questionable things. S. Craig Zahler’s three directorial efforts are arguably the most popular films to be produced by the studio so far, but this airtight single-location thriller from Henry Dunham is one of the studio’s best. The story revolves around a group of militiamen who learn that one of their own members is guilty of shooting up a police funeral. What follows is an interrogation process within an isolated lumber mill, as the group tries to flush out the guilty party before the cops arrive and finish them all off.

Most viewers will disagree with the characters’ ideology, and the film doesn’t set out to endorse or condemn them. But there’s an authenticity to these alpha males that makes them compelling, and as the situation unfolds, their vulnerabilities are exposed. At its core, Standoff At Sparrow Creek is about lost people whose insecurities have led to them becoming self-destructive. The film is also packed with so much tension and suspense that it feels palpable, and Dunham manages to accomplish this with little action. Intense character interactions make for some uncomfortable moments, and it all leads to a twist that you won’t see coming. (Kieran Fisher)


47. For Sama

For Sama

Syrian activist filmmaker Waad al-Kateab created (with collaborator Edward Watts) one of the most powerful works of journalist art of the year. For Sama is a love letter from the director to her young daughter — hence the title — as well as to her country and specifically the city of Aleppo, its people, and her husband, an activist doctor. Through her elegiac narration, which is directed at Sama, Waad al-Kateab shares the story of how she and Hamza al-Kateab were friends who fell in love and had a child on the verge of war. The handheld, nonlinear film has a feeling of immediacy and is filled with harrowing moments as it chronicles a personal perspective on the bombing of Aleppo all the while suggesting the greatest casualty, more than even the innocent women and children, is collectively and physically this place, their homeland. For Sama can be a challenging work, not just in that it’s often hard to watch for obvious reasons but also in our question of the Kateabs decision to keep Sama in Syria when they could have easily removed her from the danger as they stayed behind to heroically report on the war and save what other lives they can. It’s the kind of art that can trigger conflict within yourself as your heart and your brain may react in opposition to each other. (Christopher Campbell)


46. Little Monsters

Little Monsters

“Shake It Off” should probably not play such a prominent role in another film again for a long time, but writer-director Abe Forsythe and star Lupita Nyong’o somehow manage to turn it into a pitch-perfect accompaniment to this story of a school field trip caught in a zombie outbreak. It’s campy. It’s charming. It’s the bloodiest romantic comedy you’ll find. It’s a touch formulaic, but that’s not a bad thing. Little Monsters combines the tropes of its many genres to redefine what both horror movies and romcoms can and maybe should be.

Lupita Nyong’o turned out three of this year’s best performances, but, between Little Monsters and Us, the former went largely ignored. That’s a tremendous shame because her zombie-killing kindergarten teacher was one of the most memorable characters of 2019. Josh Gad and Alexander England are phenomenal in supporting roles, but the most endearing aspect of the entire film is its band of child stars. Forsythe deserves some credit for the dialogue he gives them, running the gambit from hilarious to tear-jerking, but they provide the film with the electric energy it needs to succeed. It’s weird, wonderful, and available to stream now. (Cyrus Cohen)


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The 50 Best Shots of 2019

This article is part of our 2019 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from 2019.


As End of the Year lists go, this one is perhaps the most subject to change. The project of One Perfect Shot is an ongoing situation — we’ll be digging through the best movies and shows from 2019 for years to come, slowly uncovering those brilliant moments and the stories behind them. So while this list does represent our 50 favorites from the year, we reserve the right to find others in the future. This list is also a favorite of the One Perfect Shot team, as it allows us to take a moment to reflect on some of the brilliant things we’ve seen in the last year.

One change for this year’s list that might look different from our work in 2016, 2017, or 2018: some additional credits, celebrating more of the people whose work is essential to making every Perfect Shot. We hope that your favorite shots made the list and if they didn’t, you know how to reach us: tweet @OnePerfectShot.


Dolemite Is My Name

Dolemite Is My Name

  • Cinematography by Eric Steelberg
  • Directed by Craig Brewer
  • Costume Design by Ruth E. Carter

The Two Popes

The Two Popes

  • Cinematography by Cesar Charlone
  • Directed by Fernando Meirelles
  • Production Design by Mark Tildesley 

Good Omens

Good Omens

  • Cinematography by Gavin Finney
  • Directed by Douglas Mackinnon
  • Costume Design by Claire Anderson
  • VFX Supervision by Jean-Claude Deguara

The Farewell

The Farewell

  • Cinematography by Anna Franquesa Solano
  • Directed by Lulu Wang
  • Production Design by Yong Ok Lee
  • Starring Awkwafina 

The Man Who Killed Hitler and Then the Bigfoot

The Man Who Killed Hitler

  • Cinematography by Alex Vendler
  • Directed by Robert D. Krzykowski
  • Production Design by Brett Hatcher
  • Costume Design by Michael Bevins and Carol Cutshall

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The Year We Lived in Someone Else’s House

A handful of films in 2019 showed heightened anxiety regarding the idea of squatting. Storylines have protagonists living in a house that’s not their own, but what exactly does this show about the current state of homes and property ownership? While the world in which these characters live is in no way a utopia, the houses of these films serve as the only way out — herein lies the gut-wrenching fear of hierarchies, as they’re presented through one’s living space.

Paul Downs Colaizzo’s debut feature, Brittany Runs a Marathon, hides this anxiety within a subplot. When Brittany (Jillian Bell) grows tired of her roommate’s rude behavior, she decides it’s time to move out. There’s one huge problem: Brittany has no money. She’s a millennial in New York City, too busy filling the stereotypical needs of endless social media binges and clubbing. Brittany tries her hand at the job market, finally earning a dog-sitting position at a wealthy couple’s house. After she figures out that the owners have pretty much abandoned the house, she moves in.

The house squatting in Brittany Runs a Marathon speaks to both the flighty spending habits of the American millennial and anxieties towards the steep cost of living, especially as a young person with college debt and a lower-paying job. Brittany’s inability to pay for a new apartment, much less a fully-furnished house, is a highly relatable issue for younger generations.

While it’s only a subplot in that film, Bong Joon-ho’s widely celebrated Parasite is devoted to wealth and the dreadful costs of living. Though Parasite’s tale of class warfare is mainly between the Kims and their rich employers, the Parks, it equally involves ex-housekeeper Moon-gwang (Jeong-eun Lee) and her husband Geun-se (Myeong-hoon Park). As the Kim family begins to infiltrate and adapt to the Park family’s rich way of life, they find an estranged Geun-se taking shelter in the Parks’ hidden bunker. Moon-gwang, who has come to retrieve her husband from the basement after being replaced by the Kims, reveals that he’s been living under the Parks for the entire four years in the house. Under the shroud of the Parks’ mansion, Geun-se is protected from debt collectors, participating in the workforce, and the cost of living.

Brittany Runs a Marathon isn’t in the same thrilling vein of Parasite, but both are pretty horrifying. The horror really comes into play when characters are forced to cope with the hopelessness of their finances and its effect on their living spaces. Brittany has no way out, which is scary, until she can seek solace in someone else’s house, and inherently, their life. Both the Kim family and Geun-se are perturbed by their penniless lives, but everything becomes much easier in the Park household. Geun-se even sends morse code messages to Mr. Park through the light fixtures, sending his “respect” to the incredibly wealthy patriarch of the house.

Generational wealth and classism come into play in the visually-dazzling The Last Black Man in San Francisco, a collaboration between director Joe Talbot and actor/writer Jimmie Fails. Fails, who plays himself in the film, is obsessed with the Victorian home his grandfather built in San Francisco. Though he believes the beams, archways, wooden floors, and painted sidings belong to him, a wealthier couple owns the home. When they must move out, the house sits, unsold and empty, on the lot.

Jimmie moves in, almost as an instinct. Like the squatters of Parasite and Brittany Runs a Marathon, he is prancing on a thought-dormant territory, running upstairs and shouting out of windows in a house that isn’t his. None of the listed films are horror films, none loaded with jump scares, but when the actual owners of these houses return home, it’s hard not to gasp. It’s horrifying to watch these scenes, in which characters are discovered and tossed out like a bag of trash. What do they do after they’re seen? In the words of Kim daughter Ki-jung (Park So-dam), they run like cockroaches under a light.

Taika Waititi’s Jojo Rabbit is a film with only slight ties to this bunch, as a political satire set during the Holocaust. Jojo Rabbit is about young Jojo (Roman Griffin Davis), a boy training to be a Nazi, his imaginary friend, Adolf Hitler (Taika Waititi), and Elsa (Thomasin McKenzie), a Jewish teenager seeking refuge in the walls next to his bedroom. But it still falls in line with these anxieties of being seen and of trying to forge an identity through someone else’s house. Elsa hides in the house, but she also attempts to blend into Jojo’s Aryan-looking family when the authorities arrive.

Living underneath the confines of another creates a warped sense of intimacy. In Parasite, Ki-woo can’t help but crack into his student-turned-girlfriend Da-hye’s (Ji-so Jung) diaries. He hops on her bed with her journal as if he, himself, were a rich teenage girl. When Ki-Jung cracks down on her brother’s ignorant invasion of privacy, he claims it’ll only benefit their relationship. 

As Elsa and Jojo of Jojo Rabbit grow as companions in their quarters, they share a similar kind of connection. The pair grow to know each other through the relics they hang on walls, the journals they scribble emotions into, and the literature left sitting on desks. The sibling-like bond between Elsa and Jojo is not only contextualized by their conversations and arguments but also painted in the quarters they share. 

But this sense of shared intimacy is flawed — this is someone else’s house. These belongings belong to someone else, and these memories are written in another’s handwriting. Elsa discovers Jojo’s anti-semitic comic book, and she also figures out that he’s been lying to her through his forged letters meant to be written from her boyfriend. In Parasite, Ki-woo later announces that reading the diaries will help him fulfill his long-term plan to marry Da-hye, and therefore actually infiltrate the Park Family. Ki-woo isn’t trying to be a better boyfriend. He’s trying to become a Park.

Ultimately, the protagonists of these films attempt to build some sort of identity within the walls of another. The Last Black Man of San Francisco finds Jimmie at a turning point in his life when he’s crushed to learn that the house was never actually built by his grandfather. For years, he’s left his identity within the confines of a meaningless piece of architecture. Without a place to pinpoint as home, nor an identity to tag along with it, Jimmie leaves the Victorian painted lady and sets out on a small boat in the ocean. 

In Parasite, a few of the squatters leave their identities in the confined quarters of the house. Moon-gwang and Geun-se are killed as they try to escape. After Ki-jung is pronounced the oxymoronic rich member of the Kim family, she is just as soon trapped within the walls of their household. Her luxurious style fits in too-well with the Park family and their house, claims her brother. Entirely unknown to her employers, she has been the one controlling almost every aspect of their house. She dies next to Mr. Park — but which one died as the true owner of the house?

These films show the loss of identity that comes with the loss of ownership. By the end of each film — Parasite, Brittany Runs a Marathon, Jojo Rabbit, and The Last Black Man in San Francisco — the squatters step out of the house that is the “other” in their life. They may not know, like, or accept where they’re living, but they’ve removed themselves from some separate identity. Anxiety towards architecturally structured hierarchies may still exist, but the characters must move out in order to start anew.

The Box Office Hits and Misses of 2019

This article is part of our 2019 Rewind. Follow along as we explore the best and most interesting movies, shows, performances, and more from 2019.


Disney dominated the box office in 2019, just as we’d already noticed in our midyear report. But even though the studio has seven of the top 10 movies both domestically and worldwide (plus an invested interest in an eighth title), not all was lost for the rest of cinema. Considering Greta Gerwig‘s Little Women — a remake, sure, but hardly the sort people groan about — and Rian Johnson‘s original mystery movie Knives Out are big stories at the end of the year prove that audiences are still looking for alternatives to the Mouse House brands.

Disney’s lock came in the form of two installments of the Marvel Cinematic Universe, two live-action-style reimaginings of their animated classics, one Star Wars sequel, and two animated feature sequels, one of those being from Pixar and one of them being from their main animation studio. They also co-produced but did not distribute the MCU entry Spider-Man: Far From Home. Rounding out the top 10 grossers of the year at home were the DC comic book movie Joker and the horror sequel IT: Chapter Two, both of which are Warner Bros. releases. Globally, IT: Chapter Two was replaced by Universal’s spinoff Fast & Furious Presents: Hobbs & Shaw.

Here’s a look at the 10 biggest movies in North America in 2019 by attendance:

1. Avengers: Endgame (Disney – Marvel): 94.5 million
2. The Lion King (Disney): 59.9 million
3. Toy Story 4 (Disney – Pixar): 47.8 million
4. Captain Marvel (Disney – Marvel): 47 million
5. Frozen II (Disney): 44.6 million
6. Spider-Man: Far From Home (Sony – Marvel): 43 million
7. Aladdin (Disney): 39.2 million
8. Joker (Warner Bros. – DC): 36.7 million
9. Star Wars: The Rise of Skywalker (Disney – Lucasfilm): 31.9 million
10. IT: Chapter Two (Warner Bros.): 23.3 million

And here are almost all the same titles on the worldwide box office chart for 2019:

1. Avengers: Endgame (Disney – Marvel): $2,797,800,564
2. The Lion King (Disney): $1,656,713,458
3. Frozen II (Disney): $1,217,590,889
4. Spider-Man: Far From Home (Sony – Marvel): $1,131,927,996
5. Captain Marvel (Disney – Marvel): $1,128,274,794
6. Toy Story 4 (Disney – Pixar): $1,073,394,593
7. Joker (Warner Bros. – DC): $1,062,994,002
8. Aladdin (Disney): $1,050,693,953
9. Fast & Furious Presents: Hobbs & Shaw (Universal): $758,910,100
10. Star Wars: The Rise of Skywalker (Disney – Lucasfilm): $724,796,816

As you can see, eight of the 10 made more than a billion dollars worldwide, with one of them nearly reaching three billion dollars. Only five movies reached more than a billion dollars last year. And only four titles did so in 2017. Moviegoing is definitely still a big deal on this planet (with an all-time global high of $41 billion) even if the domestic story is that attendance continues to decrease. Disney may have broken its own studio record with a $3.72 billion year and claimed about 40 percent of the domestic market while releasing 33 percent of the movies, overall ticket sales were down 4 percent compared to last year.

Original Movies

Here are this year’s top movies with original screenplays, by domestic attendance:

1. Us (Universal): 19.3 million
2. Once Upon a Time…in Hollywood (Sony): 15.5 million
3. Ford v Ferrari (Fox): 11.5 million
4. Knives Out (Lionsgate): 9.9 million
5. Good Boys (Universal): 9.2 million

That list excludes other non-franchise or branded releases such as The Upside, which is a remake of a foreign-language film, and Hustlers, which is based on a magazine article. The musical biopic Rocketman, based on the songs and life of Elton John, might also fit that list just above Knives Out, while the musical rom-com Yesterday, centered around songs by The Beatles, was a surprise original hit and falls just short of Good Boys. Although two of the top five listed above are historically based rather than fully conceived originally, Quentin Tarantino’s Once Upon a Time…in Hollywood is almost entirely made up. Between that and Yesterday, perhaps Hollywood will be looking to do more alternate-universe stories.

Original movies out of Hollywood don’t tend to do as well overseas, so while Us was the 11th biggest movie in the US, it was only number 28 on the worldwide chart. Once Upon a Time…in Hollywood did the best for an American original. Other originals that rounded out the chart overseas include Knives Out and Ford v Ferrari, so it’s still mostly the same titles hitting biggest (some in reverse order). Original sci-fi action flick Gemini Man did much better overseas, however. As did Ad Astra, Escape Room, and Parasite, though the last of those did pretty well in the US for a foreign-language release. That said, interestingly enough, the mostly Chinese-language drama The Farewell did more than 90 percent of its box office domestically.

Women Directors

Here are this year’s top movies directed or co-directed by women, by domestic attendance:

1. Captain Marvel (Disney – Marvel): 47 million
2. Frozen II (Disney): 44.6 million
3. Hustlers (STX): 11.6 million
4. Abominable (Universal): 6.7 million
5. A Beautiful Day in the Neighborhood (Sony): 5.8 million

Speaking of The Farewell and original movies, women filmmakers had a strong year with regards to accolades and/or box office achievements — the latest incarnation of Charlie’s Angels excluded, sadly. The Farewell, which is an autobiographical film from Lulu Wang, and Olivia Wilde’s Booksmart, which shocked the industry with its disappointing box office, are among the best movies of 2019. Same with Gerwig’s Little Women, which just opened very well and has a shot at becoming one of the top five best-sellers by women released this year. The only completely original movie on the above chart is Abominable, an underrated and under-grossing DreamWorks Animation feature written and directed by Jill Culton.

The other animated feature on that list is Frozen II, co-directed by Jennifer Lee. Not only was it one of the top five highest-grossing movies in the US this year but it’s now the third biggest movie from a woman director ever, having just passed the original. The big story for 2019 and women directors, though, is about Captain Marvel. The MCU entry, co-helmed by Anna Boden, became the highest-grossing movie from a woman filmmaker ever. Frozen II could wind up passing it when all is said and done, however. But for the calendar year, Captain Marvel is the winner. Looking ahead, we could be seeing a lot more women directors in the main chart since the four most anticipated movies of 2020 are blockbusters helmed solely by women.

Live-Action Franchises

Here are this year’s biggest live-action movie franchises, by domestic attendance:

1. Marvel Cinematic Universe (Disney – Sony – Marvel): 184.5 million
2. Star Wars (Disney – Lucasfilm): 31.9 million
3. DC Extended Universe (Warner Bros. – DC): 30.5
4. IT (Warner Bros.): 23.3 million
5. Fast & Furious (Universal): 19 million
6. John Wick (Lionsgate): 18.8 million
7. Maleficent (Disney): 12.5 million
8. Unbreakable (Universal): 12.22 million
9. Godzilla (Warner Bros.): 12.17 million
10. Jumanji (Sony): 12.1 million

This year, we saw some movie franchises intentionally conclude — specific storylines at least as in the cases of the MCU, the Star Wars Skywalker Saga, and the Unbreakable trilogy — and once again, we saw some movie franchises unintentionally die horrible deaths. Men in Black and Charlie’s Angels attempted spinoff reboots with Men in Black: International and Charlie’s Angels, respectively, and nobody cared. Terminator tried to write its past wrongs with Terminator: Dark Fate, and unfortunately it was too little too late. Happy Death Day 2U didn’t capture enough magic for there to be a potential third entry. And the X-Men series went out with a fizzle with X-Men: Dark Phoenix.

Sequelitis hit everything from The LEGO Movie 2: The Second Part and Maleficent: Mistress of Evil to Godzilla: King of the Monsters and the documentary 63 Up as new franchise installments failed to perform as well as previous entries. Fast & Furious didn’t do as well with its spinoff Hobbs & Shaw as Universal would have liked. Not even Star Wars: The Rise of Skywalker was immune, though it does seem to be leveling out alongside the last movie in the long run. Of course, the MCU continued to be infallible at the box office, and the DCEU is now starting to make up for past disappointments — movies based on DC comics add up to attendance of 67.2 million when non-DCEU hit Joker is included (the figure above is for Shazam! and Aquaman). But a few lower-tier franchises proved strong enough for continued production, especially John Wick, probably Jumanji, and maybe even IT, despite its adaptation of the Stephen King novel being done with just the two chapters.

R-rated Movies

Here are this year’s biggest R-rated movies, by domestic attendance:

1. Joker (Warner Bros. – DC): 36.7 million
2. IT: Chapter Two (Warner Bros.): 23.3 million
3. Us (Universal): 19.3 million
4. John Wick: Chapter 3 – Parabellum (Lionsgate): 18.8 million
5. Once Upon a Time…in Hollywood (Sony): 15.5 million

For only the second year this decade, two R-rated movies landed in the top 10, and fittingly enough they’re equivalent to the two from 2017. One of them, Joker, is like that year’s Logan, another R-rated comic book movie (note: when looking at in-year titles, Logan doesn’t land in the top 10, it’s only when looking at the calendar year). The other, IT: Chapter Two, is a sequel to that year’s IT. This year’s third-biggest R-rated hit, Us, falls just outside the top 10, in 11th place. And all five of the titles ranked above landed in the top 20 for the year.

That’s the best we’ve seen since the early 2000s, before the industry became stricter with admission policies. In 2003, there were a few R-rated movies in the top 10 but not five in the top 20. Three years earlier, in 2000, a few movies landed in the top 10 and five landed in the top 20. Go back further and you’ve got years like 1992 when 14 of the top 20 were rated R. Could we be seeing another uptick in Hollywood going for more adult-oriented fare? We’ve already heard Warner Bros. and DC are aiming for R ratings for some of their upcoming comic book movies following the success of Joker, including next year’s Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn). But we might not see such a repeat as early as 2020.

Non-Disney Animation

Here are this year’s biggest animated features not made by Disney, by domestic attendance::

1. How to Train Your Dragon: The Hidden World (Universal – DreamWorks Animation): 17.7 million
2. The Secret Life of Pets 2 (Universal): 17.4 million
3. The Addams Family (United Artists): 10.7 million
4. Abominable (Universal): 6.7 million
5. Wonder Park (Paramount): 5 million

As usual, Disney had the highest-grossing animated features, and this year it could kind of include one of its latest “live-action” remakes among the bunch alongside the obligatory Pixar release and yet another Walt Disney Animation sequel. The rest of the industry’s family-friendly offerings continue to struggle on the big screen. That includes live-action fare such as The Kid Who Would Be King as well as output from other animation studios. One of the top animated hits of 2019 was actually 2018 holdover Spider-Man: Into the Spider-Verse, which benefits in being a superhero movie. The familiar dominated for 2019 titles as well, with sequels to How to Train Your Dragon and The Secret Life of Pets top the list above while still falling behind their predecessors.

At least neither of those performed as poorly as The Angry Birds Movie 2, which attracted a small fraction of the original’s audience and didn’t even make the top five non-Disney animated releases. Fox’s Spies in Disguise doesn’t seem too promising as a latecomer, either. Then there are the animated features that rank among the biggest bombs of the year. Animation is expensive, and many animated features fail to make a significant profit if any. But Laika’s latest stop-motion adventure, Missing Link, had a reported deficit, between worldwide gross and its production budget, of $74 million. Arctic Dogs was next with a worldwide take of just $8.5 million against a cost of $50 million. And the relatively cheap animated feature Playmobil: The Movie had a deficit of $26 million. Hey, if even the LEGO movies aren’t doing well, other toy-inspired movies aren’t going to fare very well.


Cats

Here are this year’s biggest movies starring cats, by domestic attendance:

1. The Lion King (Disney): 59.9 million
2. Captain Marvel (Disney – Marvel): 47 million
3. The Secret Life of Pets (Universal): 17.4 million
4. Pet Sematary (Paramount): 6 million
5. Cats (Universal): 1.4 million

As a hit new Netflix series tells us, don’t f**k with cats. Unless they’re surreal musical cats, of course. While Disney had one of its biggest hits with lifelike computer-animated African cats, Universal had the biggest flop of the year with bizarre part human, part computer-generated domesticated cats. In between, Disney also triumphed with Marvel’s first movie focused on a female superhero, Captain Marvel, which co-starred a feline alien, and while Universal did have the third biggest movie on the list above, the Secret Life of Pets sequel was a disappointment compared to the original. The same goes for Paramount’s Pet Sematary remake.

Even Toy Story 4 received praise for its realistically rendered store cat, and the “live-action” version of the tiger Rajah in the Aladdin remake was a lovable kitty. The lesson here is that Disney should have made the Cats musical. Or maybe just make more cats movies of their own (remakes of Aristocats and The Cat From Outer Space, for starters?) and all other studios should just stick to dogs — not that Sony’s A Dog’s Way Home, Universal’s A Dog’s Journey, Fox’s The Art of Racing in the Rain, and Entertainment Studios’ Arctic Dogs weren’t that big either this year. If any dog movie won this year — and it really did win with its scene-stealing pooches — it was John Wick: Chapter 3 — Parabellum.


Indies

We see fewer and fewer indie film hits these days, so it’s not surprising that one of the highest-grossing specialty releases of 2019 was from a very familiar property: Focus Features’ Downton Abbey continued a popular long-running TV series and drew its fanbase. Small studios like STX and United Artists had some decent players (The Upside and Hustlers for the former, familiar animated feature The Addams Family for the latter). But A24 remains a promising little distributor, even if Midsommar failed to do the kind of business that the company’s biggest movie, Hereditary, managed last year. Their current hopeful is Uncut Gems, which just opened and is killing it following a shining start in limited release.

The biggest story on the indie front, however, has to be that of Neon. Its highest-grossing movie of 2019 was the awards favorite Parasite, coming in at 97th place for the year, and hopefully, further Oscar buzz will keep it chugging along. Then there are the many hit documentaries Neon released this year, most of them also award contenders: Apollo 11, Amazing Grace, and The Biggest Little Farm each grossed more than $5 million, which is incredible, and the foreign-language Honeyland performed well for what it is, thanks to high marks from critics (three of those four films cleaned up at the Critics’ Choice Documentary Awards, too). Unfortunately, Neon’s The Beach Bum is considered one of the biggest flops of 2019.


An Imperfect Disney

Despite Disney dominating the box office in 2019, the studio was far from perfect. After all, when you’re such a figurehead and yet attendance is down, that’s not a great look. But there were also specific disappointments for the company, and not just in certain releases they acquired through their buyout of Fox (see X-Men: Dark Phoenix and Spies in Disguise). Sure, Star Wars is still a moneymaking machine but it fell short of expectations with The Rise of Skywalker and after last year’s bigger concern with Solo: A Star Wars Story we know that the franchise is not as foolproof as their Marvel brand.

The studio also saw the biggest “live-action” remake yet this year with The Lion King, but Disney still can’t seem to get the sequels to these movies down, as evident in the performance of Maleficent: Mistress of Evil. Also, not every animated feature translates to gold in live-action form, as seen with Dumbo. Ironically, The Lion King most closely resembles another one of Disney’s brands, the Disneynature documentary franchise, yet the real thing can’t seem to cut it anymore. The studio also experienced a discouraging box office gross for its latest Disneynature release, Penguins (though it was still the third biggest doc of the year). Perhaps Disney doesn’t need to try to make all the movies?

The Lost Jedi

The STAR WARS saga is over. Following THE FORCE AWAKENS and THE LAST JEDI, director J.J. Abrams and writer Chris Terrio have delivered the final chapter of the saga and brought closure to the billion-dollar franchise that began 42 years ago.

However, all is not well. Following from press tour comments, audiences have become divided over what many see as retcons of elements from Rian Johnson’s film after the reaction to that film from a small band of “fans”, especially concerning the parentage of the character Rey.

As moviegoers continue to flock to say goodbye to Luke Skywalker and co., fans and critics alike have begun to deconstruct this final episode to debate on whether or not it has acquiesced to the wishes of a small minority of the internet…

To much rejoicing or endless whining, The Rise of Skywalker is here, and it’s already more divisive than The Last Jedi, which is ironic considering how much it tries to apologize for that film. Perhaps the divisiveness is due to viewers that aren’t happy with the treatment of Rian Johnson‘s picture, which we’ve been constantly told since 2017 that everybody hates it and it’s the worst Star Wars movie ever. But exactly how and why does The Rise of Skywalker shout a great big “Maclunkey!” at Episode VIII?

It’s important to establish how this trilogy has been created in terms of story structure and cohesion. Much has been made of this in the discourse, where the lack of an overall arc for the three films led to much of the criticism about The Last Jedi, arguing that Johnson took what J.J. Abrams had done in The Force Awakens and torn it all up. It’s worth noting that George Lucas and friends did the same for the original trilogy, where Darth Vader wasn’t Luke’s dad until a couple of drafts into The Empire Strikes Back, and Leia wasn’t a Skywalker until the writing of Return of the Jedi, but it’s easy to see that perhaps having a singular voice (even if that’s made up of several people) overseeing the three films might have helped, and probably wouldn’t have hindered.

Because of that lack of oversight, what this means is that Abrams has basically picked up on the threads he created for The Force Awakens, while presumably listening to cast members who grumbled about their arcs in the previous films. One such change in The Rise of Skywalker is for Finn, played by John Boyega. Much has been made of comments he has made about not being happy at being split up in The Last Jedi for the Canto Bight subplot, so here he and Poe and Rey are back together for their space shenanigans. Except, Finn has transitioned back to the person he was in The Force Awakens, obsessed with Rey and following her everywhere. Finn’s arc did in The Last Jedi made him an independent fully-fledged member of the Resistance and finally gave him his own motivation for why he was fighting against the First Order, along with a hint at a relationship with Rose. In The Rise of Skywalker, Finn abandons her so he can get to know Jannah, who happens to also be a previous stormtrooper, as well as pine for Rey again.

As for Rose… well, she’s in the film for maybe five minutes. This is where the choices of the film seem to suddenly veer into something more insidious, given the abhorrent treatment Kelly Marie Tran received from “fans” over Rose’s character, much of it based on racism, which eventually saw Tran leaving social media based on the abuse. Rose was unique in Star Wars as she was a character that mirrored us – She wasn’t a crack pilot or a handy warrior, she was a mechanic, a lowly grease monkey who showed in The Last Jedi that the ability to save the universe wasn’t limited to people with lightsabers, and the fact that her appearance was so limited could easily be seen as submitting to that vocal minority, whatever Abrams and Lucasfilm’s intention.

Of course, the democratization of heroism was a central theme of Johnson’s film, especially where Rey was concerned. After The Force Awakens had suggested that there may be a super-mystery about the identity of Rey’s parents, The Last Jedi explored that further before concluding that they were nobodies, which was a refreshing viewpoint in a series dominated by bloodlines. That an orphan scavenger from a faraway desolate world could rise to be a powerful Jedi without needing to have someone equally powerful as a parent was inspiring and felt like a throwback to the original Star Wars: A New Hope, where despite having a Jedi for a father, it still felt like Luke was being driven by his own agency rather than his heritage.

This is ripped apart by Abrams and co-writer Chris Terrio deciding that not only should she have a family strong in the Force, but it should be the seemingly most powerful Sith ever, Emperor Palpatine. So now this turns again into Vader 2.0, right down to a repeat of “strike me down with all of your hatred and your journey to the dark side will be complete”, which not only makes Return of the Jedi meaningless but also turns Rey nobody into Rey granddaughter of the most powerful guy ever, less missing the point of The Last Jedi but more annihilating it in favor of a repeat of the bit in Revenge of the Sith when Mace Windu reflects lightning into Palpatine’s face, only more extreme. So we can forget about wanting to be anyone of note, we’ll just sit in our cubicle watching the world go by while someone with a famous parent takes over the world. If you want a real-world example of this, just google a chap named Fred Trump.

A further consequence of this is Rey deciding that, instead of keeping the Palpatine name, she decides to be Rey Skywalker. This is revealed in a hilariously contrived scene where an old woman pops up to ask her name just after she moves into the old Lars homestead to live alone as an old hermit (I thought only Jedi going into exile did that). There’s your rise of Skywalker. It’s not about kindness, it’s not about ability, it’s about your name. Presumably, no one ever told Madonna this.

There are a couple of other weird moments that seem to exist purely to piss off fans of The Last Jedi. There’s a moment when all the Resistance crews are gathered together talking about ideas to knock out the new Sith Fleet, and Dominic Monaghan‘s character pipes up saying they should carry out some “Holdo maneuvers,” only to be ridiculed by Poe. You’ll remember the scene in The Last Jedi where Laura Dern‘s character Admiral Holdo takes out Snoke’s giant star destroyer by going to lightspeed, an event that took flak from some quarters, not least because Holdo was a woman. Snoke himself was always a contentious figure, with fans again upset because we didn’t learn about him before he was sliced in two by Kylo Ren. Well, don’t worry because it’s immediately explained in The Rise of Skywalker that he was created by Palpatine.

There’s one more moment that again feels like a direct response to The Last Jedi, and it was something that some people really hated. Remember when Rey gave the lightsaber to Luke on Ahch-To, and he threw it away? This caused outrage on message boards, with people saying it disrespected Luke’s character and was something he would never do. Well in The Rise of Skywalker, Rey returns to Ahch-To wanting to exile herself and attempts to throw the lightsaber into a fire only to be stopped by the Jedi spirit of Luke. His resulting line: “A Jedi’s weapon deserves more respect.”

The overall result of Abrams’ attitude to The Last Jedi results in a film that feels like it wants to tip the balance in an attempt to win back the “fans” who hated Johnson’s film. The problem is that it not only creates a precedent for the potential of all kinds of groups rioting if they don’t like something in the franchise, but it spoils the trilogy and feels like the wrong people are being rewarded, especially where the absence of Kelly Marie Tran comes into play. And where Rey is concerned, it feels like a big contrivance designed to tie the film into the saga as a whole, especially given the final sequence, which is presented as an echo of the most famous scene in the saga but feels empty and somewhat nonsensical. Thus, instead of having a coherent ending with actual meaning, it just feels like a sequel to The Force Awakens, with a seeming last-minute decision to bring back the villain of the first six episodes in an attempt to connect it all, therefore ignoring the real villain, Kylo Ren.

Maybe it’s a good thing it’s all over.

Looking Back: Adam Frazier Picks His Top 10 Favorite Movies of 2019

Top 10 Favorite Movies of 2019

Over the last 12 months, I've seen more than 125 new releases — that's over ten days in total spent watching movies — and I'm happy to report that it's been another exceptional year at the multiplex. This year, we got to see vital new work from visionary filmmakers like Bong Joon-ho, Martin Scorsese, Greta Gerwig, Quentin Tarantino, Jordan Peele, Lulu Wang, and Shin'ichirô Ueda, whose zombie comedy One Cut of the Dead is one of the most unique and refreshingly original horror movies of the year. We witnessed great performances from Awkwafina, Adam Driver, Lupita Nyong'o, Scarlett Johansson, Eddie Murphy, Florence Pugh, Leonardo DiCaprio, Jennifer Lopez, and Adam Sandler. And we were all left in awe by stunning cinematic art like 1917, Portrait of a Lady on Fire, and The Lighthouse – works of impeccable craftsmanship by the cinematographers, production designers, and costume designers alike.

If you're into genre movies, 2019 brought us many impressive horror, science fiction, and fantasy titles like James Gray's Ad Astra, Mike Flanagan's Doctor Sleep, Claire Denis' High Life, Julia Hart's Fast Color, Ari Aster's Midsommar, Issa López's Tigers Are Not Afraid, and Jordan Peele's Us. If popcorn flicks are your thing, there were blockbuster spectacles like Avengers: Endgame, Godzilla: King of the Monsters, and Star Wars: The Rise of Skywalker, the kick-ass action movie John Wick: Chapter 3 - Parabellum, and delightful whodunnit Knives Out. And for fans of documentaries, we were engaged and inspired by Apollo 11, Horror Noire: A History of Black Horror, What's My Name: Muhammad Ali, Hail Satan?, The Black Godfather.

Below are my ten favorite films from 2019. Please note that this does not mean they are the year's "best" films – you can also visit GoldDerby for a complete list of Best Picture predictions if that's your thing. No, these are the movies that affected me most – the ones I cannot wait to watch over and over again. Also included is a formidable list of honorable mentions (found at the bottom of the post) that reflects just how strong of a year it's been for cinema. So what did I enjoy the most? Which are my favorites? Let's find out.

To read all of Adam's reviews from 2019, click here. Follow Adam on Twitter at @AdamFrazier, too.

#10. The Irishman

The Irishman

Adapted from Charles Brandt's 2004 book I Heard You Paint Houses, Martin Scorsese's gangster epic The Irishman features a trio of spectacular performances by – Robert De Niro, Al Pacino, and Joe Pesci. The biographical crime thriller follows Frank Sheeran (De Niro) as he recalls his time working for the Bufalino crime family and his involvement with Jimmy Hoffa's disappearance in 1975. While Scorsese's 2016 film about priests in Japan, Silence, was his most personal and deeply affecting work, The Irishman is the summation of everything the director – known for Taxi Driver, Goodfellas, and The Departed – has learned and done in his career to this point. It's often humorous, occasionally profound, and extremely entertaining, making its lengthy runtime (209 minutes) an enjoyable and undemanding experience.

#9. 1917

1917

Co-written and directed by Sam Mendes (of Road to Perdition, Skyfall), 1917 is the year's most stunning technical achievement in filmmaking. Based on a story told to Mendes by his grandfather, the film follows two young British soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) who, at the height of the World War I in northern France, are given a seemingly impossible mission to deliver an important message across enemy lines. Using long takes and elaborately choreographed camera moves, 1917 feels more like an immersive virtual reality experience than just a film; you are inside the narrative, pushing forward alongside the characters through one continuous take. Mendes, cinematographer Roger Deakins, and editor Lee Smith capture the horrors of trench warfare with devastating effect, and MacKay delivers an emotional payload with his stirring, shell-shocked performance.

#8. Little Women

Little Women

Despite being the seventh film adaptation of Louisa May Alcott's 1868 1868 novel, Greta Gerwig's new take on Little Women is as high-spirited, effervescent, and as relevant as any of this year's more original offerings. Gerwig, who wrote and directed the Academy Award-nominated 2017 comedy-drama Lady Bird, delivers a warm, sensitive, smart retelling of Alcott's timeless story with an incredible ensemble including Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Timothée Chalamet, Meryl Streep. With polished direction and strong writing, splendid performances, and elegant costuming and production design, Little Women is one of the most positively charming movies of the year. Gerwig's film has all the bells and whistles of an awards season period piece with the heart and personality of a contemporary indie.

#7. The Peanut Butter Falcon

The Peanut Butter Falcon

The Peanut Butter Falcon is unquestionably the feel-good movie of 2019. Co-written and co-directed by filmmakers Tyler Nilson and Michael Schwartz, both making their feature debut, the film follows Zak (Zack Gottsagen), a young man with Down syndrome, who escapes from his assisted living facility in North Carolina to pursue a dream of becoming a professional wrestler. He befriends Tyler (Shia LaBeouf), an outlaw on the run, who promises to take the young man to the wrestling school of his hero: "Salt Water Redneck" (Thomas Haden Church). An absolute joy to watch, Nilson & Schwartz's uplifting modern-day Mark Twain story has an Andre the Giant-sized heart and soulful performances by LeBeouf, Gottsagen, and Dakota Johnson and fun cameos by wrestling legends Jake "The Snake" Roberts and Mick Foley.

#6. Star Wars: The Rise of Skywalker

Star Wars: The Rise of Skywalker

Co-written and directed by J.J. Abrams (Star Trek, Super 8, Mission: Impossible III), Star Wars: The Rise of Skywalker has proven to be as divisive & controversial as its predecessor, The Last Jedi. For me, however, the fast-paced, action-packed final chapter of the Skywalker Saga brings the series to a satisfying and emotionally resonant conclusion. Daisy Ridley, Adam Driver, John Boyega, and Oscar Isaac are all excellent, and supporting turns by Star Wars veterans Ian McDiarmid, Mark Hamill, Anthony Daniels, and Billy Dee Williams are equally strong. With dazzling visuals conjured by cinematographer Dan Mindel, special effects and make-up artist Neal Scanlan, and the jaw-dropping work of Industrial Light & Magic, The Rise of Skywalker is a thrilling cinematic experience for fans of that galaxy far, far away.

#5. Knives Out

Knives Out

Written and directed by Rian Johnson (Brick, Looper), Knives Out is simply delightful. With its star-studded cast, impeccable production design, and clever wordplay, this whodunnit mystery is one of the most entertaining movies of the year. It's the kind of movie where you can just tell that everyone involved had a total blast making it; the relaxed nature of the set and the enthusiasm for the project give the filmmaking and performances a confidence and charm that few movies have. The energy created is infectious, making for an engaging film-going experience where you're completely invested in solving the case while taking tremendous satisfaction in watching the assorted weasels, vipers, and sycophants of the Thrombey family get what they deserve. The only thing more satisfying is having a master storyteller like Rian Johnson reveal everything to you in a way that makes you kick yourself because you didn't see it coming from the start.

#4. The Farewell

The Farewell

Filmmaker Lulu Wang's second feature, The Farewell, follows a Chinese-American family who, upon learning their grandmother (Zhao Shuzhen) has cancer and only months to live, decide not to tell her and travel to China for a family gathering before she dies. At the heart of the story is Billi (Awkwafina, seen in Ocean's 8 and Crazy Rich Asians), an aspiring writer living in New York City who is extremely close with her Nai-Nai and considers exposing the family's lie while there. Wang's film, based on her own personal experiences, is a poignant examination of family dynamics and cultural traditions, exploring the Eastern concept of collectivism — allowing the family to bear the emotional burden of the diagnosis, rather than Nai-Nai herself — versus the individualism of Western culture. Exquisitely crafted by Lulu Wang and her cinematographer, Anna Franquesa Solano, The Farewell is sweet, hilarious, and intensely touching, with award-worthy performances by both Awkwafina and Zhao Shuzhen (as Nai-Nai).

#3. Avengers: Endgame

Avengers: Endgame

With Avengers: Endgame, directors/brothers Anthony Russo and Joe Russo, along with co-writers Christopher Markus and Stephen McFeely, have delivered an emotionally satisfying and viscerally thrilling movie that works not only as a follow-up to Avengers: Infinity War but wraps up over a decade's worth of character arcs and story threads, making for a gratifying and cathartic experience for fans of the Marvel Cinematic Universe. "Epic" doesn't really do this movie justice – it's like Star Wars: Episode VI – Return of the Jedi, Lord of the Rings: Return of the King, Harry Potter and the Deathly Hallows, and The Dark Knight Rises combined into one massively entertaining feature, with Marvel's signature blend of perfectly balanced humor, action, and gravitas.

#2. Once Upon a Time… in Hollywood

Once Upon a Time... in Hollywood

Set in 1969 in Los Angeles, Tarantino's Once Upon a Time… in Hollywood tells the story of Rick Dalton (Leonardo DiCaprio), former star of the western series Bounty Law, and his longtime stunt double Cliff Booth (Brad Pitt), as they struggle to make it in a Hollywood they don't seem to recognize anymore. The film, written and directed by cinematic provocateur Quentin Tarantino (of Inglourious Basterds, Django Unchained, The Hateful Eight), blends reality and revenge fantasy to create a vibrant and delightfully unrestrained love letter to Hollywood's golden age that features Roman Polanski (Rafał Zawierucha) and Sharon Tate (Margot Robbie), the Manson Family, and even Bruce Lee (Mike Moh). Tarantino's ninth feature film is simply a blast from beginning to end with an amazing soundtrack, gorgeous cinematography, incredible performances, and the most satisfying ending I've seen all year.

#1. Parasite

Parasite

Bong Joon-ho has made a number of fantastic films, including The Host, Mother, and Snowpiercer. With Parasite, the South Korean filmmaker makes his first masterpiece. A pitch-black comedy thriller laced with social commentary, Parasite tells the tale of two families: the wealthy Parks and the street-smart but destitute Kims. The two groups are brought together when members of the Kim family install themselves as skilled workers, unrelated to each other. As the Parks' English tutor (Choi Woo-shik), art therapist (Park So-dam), chauffeur (Song Kang-ho), and housekeeper (Chang Hyae-jin), the Kims form a symbiotic relationship with the affluent family, but when a parasitic meddler threatens the Kims' newfound comfort, a savage battle for control breaks out, threatening to destroy the fragile ecosystem between the two families.

Bong Joon-ho's scathing satire refuses to stay one kind of movie for long, displaying a kind of genre fluidity that very few movies can pull off. The filmmaker's masterful use of framing and composition, combined with the strength of cinematographer Hong Kyung-pyo's visual language, makes for a gorgeous and energetic but uneasy film, where there are filth and decay under every lovely, painstakingly polished surface. Parasite is the most timely and original film of 2019. And my favorite film of the year.

Honorable Mentions: Uncut Gems*, Apollo 11, Us, Midsommar, Dolemite Is My Name, One Cut of the Dead, The Lighthouse, Rocketman, Doctor Sleep, It: Chapter Two, Tigers Are Not Afraid, Horror Noire: The History of Black Horror, The Art of Self-Defense, Spider-Man: Far From Home, Booksmart, Ready or Not, Marriage Story, Jojo Rabbit, Ford v Ferrari, A Beautiful Day in the Neighborhood.

*Uncut Gems is, without question, one of the best films of the year but, considering it's a nerve-shredding 135-minute anxiety attack, I can't place it in my Top 10 favorites because I can't imagine ever revisiting it, though I'm sure I'll recommend it anyone who will listen. I should’ve learned my lesson with Good Time – I’m never watching another Safdie Brothers feature again without taking two Xanax beforehand.

Recommended Streaming Series: True Detective (Season 3), Watchmen, The Mandalorian, The Dark Crystal: Age of Resistance, Who Killed Garrett Phillips?, Los Espookys, Mindhunter (Season 2), Stranger Things (Season 3), Leaving Neverland, Netflix's Glow (Season 3).

What do you think of Adam's Top 10 films of 2019? Do you agree or disagree with his picks?

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