A group of young people go out partying on Halloween night and come across a secluded haunted-house attraction where the psychological scares are evened out by real sadistic masked killers that threaten to pick them off one by one…
That is the intriguing premise of “Haunt,” the 2019 horror-thriller film from writing-directing duo Scott Beck & Bryan Woods, best known for writing the original draft of the groundbreaking horror success “A Quiet Place” (before director/co-writer John Krasinski took the reins). “Haunt” is more of a slasher horror film than the former film, but while many people will say they’re tired of the “slasher” subgenre because there isn’t much that’s added to it these days, those people tend to forget there are still new ways to make it good these days.
“Haunt” feels more like a “Saw” movie than the more tonally melancholy “A Quiet Place,” as the central characters move from one deadly contraption to the next in this claustrophobic literal house of horrors (and this isn’t necessarily a spoiler, but some of them don’t survive the traps). Most of the action takes place in this danger house, making “Haunt” worth watching again if only just to appreciate the production design at hand. The traps are elaborately staged and…well, let’s just say the killers don’t mess around. (Actually, they do play with their prey’s heads a little bit–THEN they go for the kills. They also sport neat, scary masks and heavy cloaks, like a club or a cult–who these people are is never explained, but it’s intriguing to think about what they’re all about.)
While the characters aren’t much to write home about, they are likable and played by good actors, including Andrew Caldwell as the comic-relief, Lauryn McClain as the sensible one, and Shazi Raja and Schuyler Helford as their partying friends. Will Brittain, an actor I liked in films such as “A Teacher” and “Everybody Wants Some!!,” does solid work as Nathan, a sensitive-jock type who makes friends easily and even has some funny moments during this horrific nightmare as well. But it’s Katie Stevens who shines as the would-be final-girl named Harper, who is suffering quietly from an abusive relationship with an alcoholic boyfriend (Samuel Hunt) and also has had her own traumatic experiences with a haunted house in the past. (Also, at one point, she refers to one of the mysterious masked figures by her boyfriend’s name, which makes room for thought-provoking angles.) After watching her go through some of the most torturous, injury-inducing antics in this place, you’ll want to applaud her for surviving even longer and root for her even harder to see the end credits.
Speaking of which, stay through the end credits–not because there’s an after-credits surprise (there isn’t), but because the song that plays over the crawl is musician Lissie’s acoustic cover of Rob Zombie’s “Dragula”–and it’s surprisingly (forgive the pun) haunting. I didn’t know I needed that in my life, but here we are.
Just about everything goes wrong from the moment the characters turn away their cellphones, sign consent forms, and are warned not to make physical contact with the “characters” in the haunted house–and while they do make your typical horror-movie mistakes (like splitting up when they shouldn’t), I’m not groaning so much as I’m having fun with the skilled mindset of Woods & Beck, who themselves embrace and have fun with cliches and conventions.
And the ending, which I won’t give away, is ultimately satisfying (and earns the aforementioned “Dragula” cover over the credits).
I actually want to say very little about “Knives Out” because I don’t know how many people have seen it by now. And to those people who haven’t yet, I say this: it is a perfect film to go into as cold as possible. All I’ll say about it is there’s a wealthy family, the patriarch is found dead, is it suicide (like the police determined) or is it murder (like Daniel Craig’s private-detective Benoit Blanc suspects)…and that’s all I’m going to say about the plot because believe me, it gets complicated. And fun.
You think you’ve seen it all in terms of “whodunnit” and “murder mystery”? I don’t think you’ve seen one quite like “Knives Out!”
This is a wonderfully crafted movie, so much so that as great as it is to see it for the first time, it’s surprisingly even better the second time. When you know all the secrets upon seeing this film again, it’s easier to admire and appreciate all the delicate care that went into crafting this BRILLIANT screenplay and the expert filmmaking that followed. Rian Johnson, who was on a lot of people’s sh*t-list for quite some time because of “Star Wars: The Last Jedi” (those people, Johnson rubbed off as “trolls” and “manbabies”), showed everyone his truest talent by working super hard.
Thankfully, it paid off. I haven’t met anyone who doesn’t love this movie.
Again, I don’t want to go into too much detail here, because it’s too good for me to spoil. This is going to be one of those films that will stay with me and fascinate me with each passing viewing.
My favorite scene: I’ll try to be as vague as possible…but it involves a lot of people talking down to each other…and they have no idea what’s coming to them soon after. (If there’s anything I love more than seeing horrible people get theirs, it’s seeing RICH horrible people get theirs!) I remember at the theater I work at, my coworkers and I would catch glimpses of that scene when the film screened–we giggled hysterically because we knew what was coming, having already seen the film.
There’s been talk of a spin-off film featuring a new mystery involving Benoit Blanc–I will happily see it!
I was talking with a friend recently about why I enjoy Jordan Peele’s films, and my reason for it just came to me–it’s because they represent the best of two different types of horror films we often see in terms of pure terror. Does he want to make a piece of mainstream entertainment in the horror genre? Or does he want to make a more sophisticated, artistic, allegorical film?
He does them both. If you want to analyze Get Out and Us, you can. If you want to be entertained, you can. It’s the best of both worlds.
“Get Out” was my favorite film of 2017, so I was excited to see how Peele’s next film would turn out. From the trailer, I could see that it was another horror film and details were left thankfully vague. I didn’t want to be like those people who were so excited to see M. Night Shyamalan’s “Unbreakable” because of how much they loved “The Sixth Sense,” only to be let down because, guess what, they expected another “Sixth Sense” and it wasn’t another “Sixth Sense” because it’s was freaking “Unbreakable” which is freaking awesome and– My point is I tried not to overhype myself for “Us” because I knew it wasn’t going to be “Get Out.”
If “Get Out” is in my top 100, then Us is probably in my top 200-300 (which still means I think it’s pretty great).
Peele knows the horror genre is perfect for the concept of allegory in fable, like a cautionary tale or a morality tale or a social commentary or whatever. What do the “Tethered” doubles in “Us” represent? I think it’s safe to deduce that it’s about the haves and the have-nots fighting themselves.
You have the father, Gabe (Winston Duke, amazing here), showing off his newly-purchased boat and pushing his family to go hang out on the beach with wealthier friends. You see the fancy devices of those same friends failing them in a darkly funny, ironic way. You listen to what the Tethered, particularly Red (who’s the only one that speaks), has experienced and how it’s a dark, twisted parallel to what all these people have experienced. And then, you put it all together after the remarkably brilliant ending and you have this beautifully twisted horror film that provokes thought and discussion.
Just like “Get Out.” But for different reasons, which I was more than thankful for.
My favorite scene: the entire home-invasion sequence that starts off the central terror for our key characters is wonderfully done. From Winston Duke’s hilarious attempts at trying to resolve the issue before it starts, to Red’s horrifying story she shares with the family, to everyone’s individual battles with their Tethered selves, to the resolution that makes you sigh with relief (except we know it’s far from over…). It’s all just an example of great filmmaking. If I had to pick an individual scene from this entire section of the film, I guess it’d have to be Red’s story because of how well Lupita Nyong’o plays it.
Now I want to tell this story:
I know a person (who will be anonymous) who is very picky about the movies she chooses to watch, meaning she doesn’t particularly care for horror films. The day after I saw “Us” in a theater, I told her about it and she didn’t care at all what I say and then proceeded to give her own theory about what she was so certain happened in it without having seen it…I then told her, “That’s not what happens at all.” Going against my better judgment, I gave away all the secrets of the film to her, and then to my astonishment, she replied, “Wow…that sounds really interesting!”
Later, she told me that she did see the movie and that it was one of her favorites of the year.
Just when we thought 2019 was his comeback year, he gets himself into more trouble in 2020. It’s a shame.
The guy is talented! And he has a bunch of issues he’s still working through…even after his therapeutic exercise in screenwriting, called “Honey Boy,” which is an intriguing and disturbing look into his psyche. (LaBeouf wrote the screenplay while he was in rehab.)
“Honey Boy,” directed by Alma Har’el, is LaBeouf’s semi-autobiographical account of dealing with his mess of a father, who depended on him financially when he was a child actor. LaBeouf’s fictional counterpart is a movie star named Otis (Lucas Hedges–because if it’s not Timothee Chalamet, it’s always Lucas Hedges). He’s a big-time actor with an extreme alcohol problem. After an accident due to drunk driving, he’s sent to rehab, where his counselor (Laura San Giacomo) diagnoses him with PTSD, and she wants him to write an account of his past memories that might have triggered certain violent behaviors.
This leads to flashback sequences that make up half of the movie, as we see 12-year-old Otis, now in his child-actor days (and played by Noah Jupe), and supervised by his father…and this is where it gets real interesting, especially when you know the behind-the-scenes story of this movie. The father, James Lort, is played by Shia LaBeouf himself. He’s portrayed as someone who is charming and funny…and someone who is clearly on-edge, as he tends to have manic and aggressive tendencies. He’s four years sober but he’s wildly unpredictable. He’s annoying on set of the TV show Otis stars in and an overbearing boor at the motel he and Otis are living in for the time being. (He also used to be a rodeo clown, hence his constant pressure on Otis to be better prepared before showing up on set.)
James is basically a terrible father, and I wonder how much of a wreck Otis’ mother (played in a voice cameo by Natasha Lyonne) must be if this guy is having to look after Otis. Maybe James is more financially dependent of his own son… Damn.
“Honey Boy” is a powerful, upsetting, and moving story about show business life and how abuse to younger talent can lead to adult consequences. Push too hard and deny them a childhood, and it doesn’t usually go over well. (Btw, check out the documentary “Showbiz Kids” on HBO Max for more about that topic.) That it was written as a cathartic expression of LaBeouf battling his own demons makes it even more intriguing.
Naturally, this moving independent drama was ignored by the Oscars, so…Indie Spirits to the rescue again! It was nominated for four Film Independent Spirit Awards: Best Director, Best Cinematography (Natasha Breier), and Best Supporting Male twice (for LaBeouf and Jupe). Good call, guys.
There just aren’t as many honest and brave movies as this one lately, and I admire “Honey Boy” for telling this story the way it fit…and I still have some hope for Shia LaBeouf.
For the “My Favorite Movies” series, I have a lot of films to write about…but some films from the past decade, I already talked about in my Looking Back at 2010s Films series. Because I love these movies so much, I should have more to say about them that I didn’t before–and when I do, I’ll make separate posts for each of them. But for now, here are the 2010s films I already covered before that I consider “new favorites”:
And there are many other films from the 2010s that I will talk about (or talk more about) at some point (such as “The Perks of Being a Wallflower, “Begin Again,” “Scott Pilgrim vs. the World,” and others)–and like I said, if I have more to say about each of these treasures, then I’ll say it–but until then, those are some of my personal favorite films of the 2010s.
There are movies that take time and many viewings to become one of my favorites–even if I praise it at the start, there’s a difference between “one of the best” and “one of my favorites.” But there are also movies that click with me right away so I already know it’s a new favorite.
The time I saw Lulu Wang’s wonderful, emotional comedy-drama The Farewell in a theater, I knew I was seeing something special.
It’s a comedy if you laugh because you recognize the reality and the honesty of the family dynamic and Awkwafina’s Chinese-American lead character feeling out of place in Changchun and the overall “lie” that drives the narrative. And it’s a drama because said-lie is a family reunion–a wedding that is actually a ruse for the whole family to see Nai Nai (Mandarin for “grandmother”), who doesn’t know (but the family knows) that she has terminal cancer. Naturally, the emotions are going to be there, especially since Awkwafina’s Billi doesn’t understand this is a typical Chinese family custom and feels the need to tell her beloved Nai Nai.
And like my favorite “dramedies,” like “50/50” and “Frances Ha,” “The Farewell” blends both the comedy and the drama flawlessly. Both work because the characters work–you have to laugh with them before laughing at them, and thus, you feel what they feel when something as serious as cancer troubles them.
If there’s anything more important than a comedy that makes you laugh, it’s one that makes you feel.
My favorite scene: There’s an extended dinner sequence in which the family talks about whether or not moving from China to America is the right thing. Is the American Dream a myth? Some think so, while others think it hasn’t been achieved yet.
Here’s an interesting piece of trivia: “The Farewell” won Best Feature at the 2020 Film Independent Spirit Awards, the same award that writer-director Lulu Wang’s boyfriend received from the Indie Spirits for his film just one year prior: Best Feature, Barry Jenkins, “If Beale Street Could Talk.” Maybe these two talented people should write/direct something together–I’d see it!
Wondering what else to watch on the streaming service Disney+ when you already revisited Disney movies/shows you grew up with? Believe it or not, there is some good, quality Disney+ Original content besides “The Mandalorian” (the “Star Wars” series that finally put divisive fans in perfect harmony). There are three Disney+ Original movies I can recommend for being just as solid and entertaining via streaming on a small screen as they would be via projecting on a big screen.
In chronological order of release, here are three mini-reviews of three solid movies available exclusively on Disney+.
Togo (2019)
Smith’s Verdict: ***
Reviewed by Tanner Smith
Hey, remember the Universal Studios animated 1995 film, “Balto,” supposedly based on a true story? Sure you do. Do you care about the TRUER true story that inspired it? Not especially. Do you know anything about musher Leonhard Seppala and his dog Togo who contributed even more to the 1925 serum run to Nome that inspired “Balto”? Well, whatever the case, “Togo” is an entertaining watch if just for a little insight into these two key figures in rescuing an Alaskan town from an epidemic.
Willem Dafoe stars as Seppala, who sincerely cares for his dog Togo. As a puppy, Togo is too small for mushing. But as Togo gets older, he proves his worth as he leads Seppala and other sled dogs on a treacherous trek to bring medicine to their small Alaskan town of critically ill children. This obviously means we get intense scenes of conflict upon this journey (and unlike the recently-released “The Call of the Wild,” I can tell they used actual canines instead of CGI for the most part), but what surprised me were the scenes that take time to show Dafoe and his lovable doggie companion forming what looks to be a genuine connection.
Those scenes are sure to make any dog lover happy, but there’s also a good deal of well-executed sequences of great danger, such as a highlight in which Togo and company must race their way across a quickly dissipating field of ice! (Good use of green-screen here, and again, I feel like the actual dogs are really there!)
Some of the pacing is a bit slow (and I’m sure it’s also not 100% historically accurate), but I forgive it because there are several great moments throughout the film that make “Togo” overall entertaining and heartwarming.
Timmy Failure: Mistakes Were Made (2020)
Smith’s Verdict: ***
Reviewed by Tanner Smith
One of the reasons I was interested in “Timmy Failure: Mistakes Were Made” was because it was a Disney movie that premiered at the Sundance Film Festival, which I thought was unheard of…even if the director/co-writer was Sundance favorite Tom McCarthy (“The Station Agent,” “The Visitor,” “Win Win,” “Spotlight”). (But to be fair, he was also one of the credited writers for Disney/PIXAR’s “Up,” so that automatically makes him a Disney favorite too.)
“Timmy Failure: Mistakes Were Made,” based on the book series of the same name, is about a wildly imaginative little boy named Timmy Failure (yes, that is his real name) who holds his own private-detective agency (the attic of his mother’s house is his office) and whose partner is an imaginary giant polar bear. (That polar bear, named Total Failure, will put a smile on any cynic’s face.) Timmy goes on many different misadventures when his mother’s Segway goes missing and races all about town (Portland) to find it. Along the way, he learns lessons about “normal” and “different” and…it’s actually a pretty heartfelt conclusion that the movie leads to.
The film is very funny, in the same grounded, character-driven way that McCarthy can direct a kid’s fable. But it also feels like it’s about something as well. In the way this environment is set up and seen through this wild child’s eyes, as well as how he sees the people around him who either want to scold or help him due to his self-destructive behavior, it’s a film that kids will enjoy just for the comedic deadpan nature of the wacky antics this likable kid embarks upon. But it’s also enjoyable for adults who remember what their childhood was like and what taught them to put at least one foot in the real world.
I like this movie. You did good, McCarthy—you can actually make a good fable (and make me forget about “The Cobbler”).
Stargirl (2020)
Smith’s Verdict: ***1/2
Reviewed by Tanner Smith
“Stargirl” is a coming-of-age high-school movie based on the novel of the same name by Jerry Spinelli. (I haven’t read yet, though strangely, many of Spinelli’s other works are no stranger to me.)
Directed by Julia Hart and also co-written by Hart and her partner Jordan Horowitz (they also collaborated together on wonderful indie fare such as “Miss Stevens” and “Fast Color”), “Stargirl” is about a 16-year-old student named Leo (played by Graham Verchere) who has spent years blending in with his classmates (after an incident involving his favorite necktie, which he wore at school when he was 9) in a school where nothing happens. (In fact, the school is so uneventful that the trophy case has always been empty.) He’s fine with his status until he’s attracted to a new girl in school, simply because she’s so…DIFFERENT. She dresses in rainbow-influenced wear and sings while strumming a ukulele—oh, and her name is Stargirl. (Her real name is Susan, but Stargirl is the name she prefers because it suits her identity.) But Leo’s not the only one turned on by her eccentricities—the moment she performs the Beach Boys’ “Be True To Your School” in the middle of the field at a football game, it raises everyone’s spirits, thus making her the school’s “good-luck charm.” Before too long, Leo engages in conversation with Stargirl, thus beginning an interesting relationship that of course changes his life forever.
Even though we’ve gotten many, MANY movies that contain messages about “being yourself,” we still need them. After all this time, most of us are still afraid of appearing even slightly foolish in front of large crowds—and this is especially true of high-schoolers, who need movies like this. As these movies go, “Stargirl” is one of the best to come around recently—and for a high-school movie released by Disney (and featuring musical sequences at that—don’t worry, it’s as far away from “High School Musical” as you could get), that’s especially impressive.
Leo is a genuinely nice and likable kid. Stargirl (played by Grace VanderWaal of America’s Got Talent—not a very polished actress, but with this role, that doesn’t matter) is charming and adorable but not without fears and vulnerability, which surface late in the film. I like Leo and Stargirl individually and I like Leo and Stargirl together.
The cinematography is lovely, the writing is solid, both our leads are appealing, we get some much-appreciated mature moments here and there, and I was invested throughout the whole film. Even when I wasn’t smiling at the film, I was still invested.
I didn’t expect to find a new coming-of-age high-school movie on the same level as John Hughes’ best-known works or “The Perks of Being a Wallflower” or “Love, Simon” brought to me by Disney+. But it’s here and it’s available to stream for your viewing pleasure.
I realize I haven’t done a lot of writing since concluding my Looking Back at 2010s Films series. (I guess you could say it took a lot out of me–I haven’t even reviewed any new movies in two months.) But now it’s that time…the time that should’ve come for me weeks ago: looking back at my favorite films of 2019!
Better late than never.
Some critics have said that 2019 was a particularly weak year for movies, and I would agree…if the cinematic year overall depended on your enjoyment of Glass, It: Chapter Two, Star Wars Episode IX, The Lion King, Super Size Me 2, and Where’d You Go Bernadette.
But first, my least favorite films of 2019 (in alphabetical order)–Annabelle Comes Home, Brightburn, In the Tall Grass, The Laundromat, The Lion King, Tall Girl, and Where’d You Go Bernadette. (“Bernadatte” was the most disappointing film of the year for me because until this year, I never saw a film from Richard Linklater I didn’t like. Not even his “Bad News Bears” remake.)
And what about TV seasons? Were there some I saw, let alone enjoyed? Yes, there were five (remember, I’m a movie guy)–5) Easy: Season 3 (Netflix), 4) The Chef Show (Netflix), 3) Stranger Things 3 (Netflix), 2) Mr. Mercedes: Season 3 (Audience Channel), and 1) The Mandalorian (Disney Plus).
Why is it that “Mr. Mercedes” always ends up at #2 on these year-end reviews?? I love this series–why isn’t a new season ever #1 for me?
Oh, did I forget something? No, I didn’t–Game of Thrones: The Iron Throne is an honorable mention for my favorite *films* rather than *series* this year………….*I* liked it!!
And, before I talk about all the films I liked this year, I have to mention some 2019 films I missed that I’ll most likely catch up with in the following year: Jojo Rabbit, Ford v. Ferrari, Fighting With My Family, Ad Astra, Hustlers, John Wick Chapter 3, Waves, Apollo 11, The Two Popes, and Judy.
But of course I can’t stop there. So here are some more films from this year that I enjoyed: Arctic, The Boy Who Harnessed the Wind, El Camino, It: Chapter Two, Midsommar, The Last Black Man in San Francisco, Rocketman, Star Wars Episode IX: The Rise of Skywalker, Harriet, Always Be My Maybe, I am Mother, The Man in the Trunk, Super Size Me 2: Holy Chicken, Yesterday, Paddleton, A Beautiful Day in the Neighborhood, High Flying Bird, Glass, Long Shot, Gloria Bell, Teen Spirit, Klaus, Captain Marvel, Isn’t It Romantic, and Extremely Wicked, Shockingly Evil and Vile.
Oh, but there’s also The King, Aladdin, Greener Grass, Beats, Family, Pet Sematary, Child’s Play, Dumbo, Sweetheart, Let It Snow, Wine Country, I’m Just F*cking With You, The Perfect Date, and Someone Great.
Now which 20 (or 21–there’s a tie in here) films did I enjoy more than those? Here we go–these are my Top 20 Favorite Films of 2019!
20. The Lighthouse–Funny, when I first saw this film, I “admired” it more than I “liked it.” There was something very alienating about it in execution and performance…but in hindsight, that’s what I love about it.
19. How to Train Your Dragon: The Hidden World–This was the year I came around to fully appreciating DreamWorks’ “How to Train Your Dragon” franchise. If the beautifully animated, emotionally powerful The Hidden World is the end of a trilogy, it’s definitely a strong swansong.
18. Shazam!–This one’s just a whole lotta fun! I had a big smile on my face throughout most of this highly enjoyable romp from DC.
17. Dolemite is My Name–Eddie Murphy is BACK! Welcome home, Eddie, I’ve missed you so. This is a hilarious, raunchy, even heartfelt film about the making of the blaxploitation-era classic “Dolemite” and the rising star of Rudy Ray Moore, the comedian who made it happen. And it’s a fun, heartfelt biopic with a highly charismatic lead. Available on Netflix.
16. Luce–Whoa. I’m glad I knew very little about this one going in, because it surprised the hell out of me. To say this film is “powerful” and “effective” doesn’t describe my feelings towards it–I was terrified.
15. Knives Out–Boy, was I glad this wasn’t a traditional (read: predictable) murder mystery. Rian Johnson’s “Knives Out” is fresh, new, and pure entertainment–and I loved that I didn’t know how it was going to play out. And as a plus, seeing it a second time made the film even more enjoyable. I will happily see a spin-off film with Daniel Craig’s private eye Benoit Blanc!
14. Booksmart–Sometimes, all I need is raunchy fun. And it all comes down to the writing, which puts a fresh take on the last-day-of-high-school-movie subgenre. It’s funny and clever and just my cup of coffee.
13. Once Upon a Time…in Hollywood–What I liked most about Tarantino’s latest is its laid-back tone. This film is about nothing and yet about something at the same time, not unlike the Coen Bros’ “The Big Lebowski.” Will this film have as much staying cultural power? Time will tell. But “Once Upon a Time…in Hollywood” is one of my favorite films of the year.
12. Love, Antosha–This documentary about the late young actor Anton Yelchin sort of broke me. Everything I learned about this talent was a lot to take in. But at the same time, I was delighted to know him a little better this way. Because of that, this was one of the most emotionally affecting films of the year for me.
11. The Irishman–Martin Scorsese’s “The Irishman” is a VERY long movie, and yes, I think a lot of it could have been trimmed. But perhaps if it was, some of its power brought on by its atmosphere, environment, and characterization that was brilliantly set up might have been taken away…but MAN I’m glad this was available on Netflix where I could pause, rewind, and take a break every now and again!
10. The Farewell–This represents the kind of film I love to watch again and again–a “dramedy” (comedy-drama) that is appealing, emotionally honest, witty, and compelling all at the same time. If there’s anything more important than a comedy that can make you laugh, it’s a comedy that can make you feel. Lulu Wang’s semi-autobiographical “The Farewell” is a beautiful film that handles both the comedy and the drama flawlessly.
9. A tie between Joker and Uncut Gems–Cheating, you say? Well, it’s my list, and I’ll do what I want with it. Both character-based dramatic thrillers are as effective as they are brilliantly acted. And while I’m happy for “Joker” getting so much Oscar recognition, I agree with (almost) everyone else that “Uncut Gems” was badly snubbed.
8. Us–A very clever commentary on the haves and the have-nots (one of two–the other’s coming up on this list), with a very intriguing premise and beautiful execution from writer/director Jordan Peele, who proves yet again that he’s one of the most talented filmmakers working today. A satisfying horror film.
7. 1917–One of the best cinematic experiences I had [last] year comes from one of the best World War I films ever made. (I think both DP Roger Deakins and director Sam Mendes have outdone themselves with this one!)
6. Little Women–I saw Greta Gerwig’s beautiful adaptation of the popular Louisa May Alcott novel twice, and I’ll definitely be seeing it many more times in the near future. There have been many different adaptations of this book–I think I like this one even more than the wonderful ’94 version!
5. Doctor Sleep–Mike Flanagan, the best director working in the horror film genre today, had a major challenge with this sequel to “The Shining”: respect and appeal to the legacy of not only filmmaker Stanley Kubrick but also novelist Stephen King. He pulled it off big-time.
4. Toy Story 4–Nine years after a satisfying conclusion with “Toy Story 3,” I get a “Toy Story” sequel I didn’t know I wanted. And it was as moving as reuniting with old friends (in the best possible way).
3. Marriage Story–Yes! Another Netflix film! (God bless Netflix!) Noah Baumbach’s “Marriage Story” contains some of the best acting (from Adam Driver, Scarlett Johansson, and Laura Dern–all of whom are currently nominated for Oscars for this) and writing (from Baumbach, also nominated) of 2019. Emotionally powerful and true, this is a film I won’t forget anytime soon.
2. Avengers: Endgame–It’s amazing when I think of how far the Marvel Cinematic Universe has come since its origin over 11 years ago. Once it was going, we knew it was building up to something huge, and thankfully, it didn’t disappoint. For a long while, this was my favorite film of 2019. But there’s one better. Which is it…?
My absolute personal favorite film of 2019 is…
Parasite–I went into this crushing commentary of the haves and the have-nots almost completely cold … I came out of it excited to tell everyone about it. Bong Joon Ho’s “Parasite” was one of the best films of the decade.
I love this time of year! Let’s see what the start of the new decade has for us…
This is a tricky one for me. I saw Bong Joon Ho’s “Parasite” only once a couple of weeks ago, and I’ve had the rough draft of this decade-end top-20 list for several months…am I *positive* I want to include it so soon? Isn’t there another 2019 film I’ve seen more than once that I hold in high regard? (“Avengers: Endgame,” perhaps?)
I had to think long and hard about this choice before I realized…I’m fairly certain there won’t be a better film for the rest of this year than this.
Having seen some of Bong’s other works, such as “Snowpiercer” and “Okja,” what I admire about this director is his ability to layer each key character and scenario with brilliant effectiveness. I think back to Roger Ebert’s quote, “It’s not what a movie is about, it’s how it is about it.” I can’t walk into a Bong Joon Ho film and expect anything predictable. (Even the trailer for “Parasite” was thankfully vague.) To say he thinks outside the box would be an understatement–that’s how creative he is as a filmmaker and as a storyteller.
I love everything about “Parasite.” The commentary. The satire. The filmmaking. The acting. The characterization. The story. The buildups. The resolutions. The script!! This is some of the most brilliant writing of the decade!
Is it a horror? A drama? A thriller? All of the above? Yes.
And seeing as how “Parasite” is still in theaters as of the writing of this post, I still can’t bring myself to even give away the slightest spoilers. So…I’m going to stop here. I know it’s lazy, and I’m sincerely sorry. But I still need to be fair.
Hooray! Spider-Man’s back after being “snapped” from existence in “Avengers: Infinity War” and brought back to kick some spidey ass in “Avengers: Endgame!” Speaking of which, spoilers for “Avengers: Endgame!” (Not just that Spider-Man is back, obviously—that’s kind of a given.) You’ve been warned.
Even with more Marvel Cinematic Universe movies in the works, “Avengers: Endgame” worked wonderfully as a finale for all the MCU material we’ve seen in the past eleven years. But even so, “Spider-Man: Far From Home,” which takes place after those events, works as an effective epilogue to “Endgame.” (It’s also much lighter than the heavy epic scale of “Endgame”—not that there’s anything wrong with that.)
Directed by Jon Watts (who also directed “Spider-Man: Homecoming”) and led by Tom Holland (the best live-action Spider-Man representation), “Spider-Man: Far From Home” is more practical and refreshingly so—lighthearted with a down-to-earth, humorous touch (I mean, for a Marvel superhero movie).
Peter Parker (aka Spider-Man) and his high-school friends, including his best buddy Ned (Jacob Batalon) and potential love interest M.J. (Zendaya), are “blipped” back to existence after Thanos finger-snapped half the Earth’s population away in “Avengers: Infinity War” (and the Avengers brought them back in “Avengers: Endgame”)—how convenient; most of their old classmates have already aged five years in their absence. (There’s a funny bit when we find out Peter’s Aunt May (Marisa Tomei) mentions she vanished as well before she was suddenly brought back into her old apartment, which is now rented by someone else.)
I personally would like to see more of what that must be like for others who were “blipped” away for five years. Think about it—if you were 16 and your little brother was 13, and you were suddenly blipped while time went on for everyone else including your brother, if you came back after five years, your brother would suddenly be older than you. How would that sibling dynamic work for you nowadays? That’d be an interesting story to follow.
But I digress.
Peter is still mourning the loss of his mentor, Tony Stark aka Iron Man (Robert Downey Jr.), who died in the final battle of “Endgame.” He still wants to prove himself worthy of being Iron Man’s protege—a friendly neighborhood Spider-Man, if you will—but he also wants to have somewhat of a social life as a high-school kid as well. He joins his classmates on a trip to Europe, and he couldn’t be more excited, mostly because he hopes to get closer to his crush, M.J.
But uh-oh! Something serious is happening here. Venice is being torn apart by a mysterious, huge, seemingly water-based monster, causing Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders) to recruit him to save the day. They also brought in someone else to help: Quentin Beck (Jake Gyllenhaal), who has his own supersuit as well as his own skills, resources, and charisma that match Peter’s late mentor. He even gets a hero name: Mysterio.
Is it really a spoiler to say Mysterio isn’t really on the up-and-up?
I have a complicated relationship with the “Spider-Man” movies—whenever a good one comes out, I always tell people it’s “the best ‘Spider-Man’ movie.” Sam Raimi’s “Spider-Man 2,” Marc Webb’s “The Amazing Spider-Man,” “Spider-Man: Homecoming,” and especially the wonderful, animated, highly energetic “Spider-Man: Into the Spider-Verse.” Well, I was perfectly satisfied to say that “Spider-Man: Far From Home” was “a good Spider-Man movie.” But then…we get the mid-credits scene. Every MCU movie has something extra to keep audiences through the end credits to tease the next adventure. This particular one made me drop my jaw before I exclaimed to myself, “Holy cow, WAS that the best Spider-Man movie??” I won’t give it away here, but I will say that now I’m REALLY curious to see the next Spider-Man movie, just to see what happens!
Maybe I’m overreacting. But still, “Spider-Man: Far From Home” is a solid Spider-Man flick. Tom Holland is still a highly charismatic Peter Parker and the film goes deeper into the anxieties that comes with the responsibility of being Spider-Man. Whenever the film deals with Peter trying to have a social life as himself while still doing what he can as Spider-Man, it’s great. My favorite scene is when, without giving much away, he literally ends up in a maze of illusions that present his own fears and insecurities.
I’m not a huge fan of Jake Gyllenhaal’s Mysterio, because he’s more interesting before he reveals his true nature and then he just becomes another villain. But that’s really more of a nitpick because the reveal does lead to some cool action and also some nicely-done character moments (including my favorite scene I just mentioned).
The overall focus of “Spider-Man: Far From Home” is still where it should be: with the burden of being Spider-Man getting heavier and heavier for this kid who’s becoming a man in the process. And I’m always going to be interested in seeing the journey progress…especially after that mid-credits scene. (Seriously, I have to know! That was a hell of a cliffhanger!)
Smith's Verdict 