2019 Film Rankings

Possibly the best new release film I have ever seen, and it comes from the cracking South Korean film industry and the brilliant mind of Boon Jong Ho. I am so happy it has done so well at the box office, and maybe opened the door for other foreign language films to follow. The film itself is a masterful Shakespearean like epic, featuring tragedy, love, horror, drama and comedy. It switches between genres at will, all of them executed with perfection. The score is perfect and the imagery sticks with you. An all-time classic in the making.

Score: 10.0

Holy S*!t that was an experience! The Lighthouse isn't an easy watch, but is one of the most powerful, horrifying, mind-blowing films I have watched in years. The incredible black and white cinematography, the haunting score, and the Shakespearean performances from Defoe and Pattinson just bombards your senses with memorable cinematic moments. I haven't been able to shake 'The Lighthouse' since watching it. A terrifying, epic, myth-inspired, two-handed masterpiece, 'The Lighthouse' is one of the finest pieces of filmmaking this decade.

Score: 9.4

This would have been the perfect film for Quentin Tarantino to end his career on. A love letter to old Hollywood, the film follows a couple days in the lives of an out of favour Hollywood actor and his stunt double. It is a fantastic cinematic experience, that has you swept away with great music, visuals and authentic set designs. For much of its run time it feels like a hangout movie, but unsurprisingly it contains some Tarantino action and twists. Brad Pitt and Leo DiCaprio are both incredible in the lead roles, perhaps some of the best of their careers.

Score: 9.3

This is perhaps Noah Baumbach's most personal film yet: a retelling of his divorce with Jennifer Jason-Leigh. What impressed me most was how it manages to avoid being biased to either of the two parties. You walk away from this feeling sympathetic for both of the characters and hopelessly wondering what could have been if they had sorted out their differences. Scarlett Johansson and Laura Dern both put in excellent performances, but its Adam Driver's portrayal of the husband Charlie that is the most memorable. He plays a theatre director, which is interesting, considering how there are many scenes that feel theatrical and could have been done on stage. However, I'm pleased it became one of the best films of the year instead, so we got to see all the small moments that make this that bit more powerful.

Score: 9.2

Rian Johnson's name had been somewhat damaged after 'The Last Jedi' backlash, however he has surely redeemed himself following the release of 'Knives Out'. It is a masterfully written script, in which he has taken the classic who dunnit' genre, and not only given it a fresh new take, but has completely subverted the genre. While it uses some of the classical tropes, it does so by using it create even more tension and drama. It also needs to be noted what a fantastic cast there is here. Everyone is clearly having a blast making this and they are all given fantastic dialogue to chew on. When looking back at this year of film, this will be near the top of the list of films I want to watch again.

Score: 8.6

Anxiety inducing cinema seems to be the Safdie Brothers 'thing' and 'Uncut Gems' was about as stressful a watch as I can remember. The constant yelling, speaking over each other, bad decisions, threats of violence was too much to bare at times. But it paid off in moments, such as when the electric door to the shop gets stuck, or when Howie want to speak to the auctioneer. Seemingly unimportant moments still ratcheted up the tension to maximum. The film is like one long rollercoaster ride, which is great, but only if you know what you are getting yourself into. A special mention needs to be given to Adam Sandler who yet again demonstrates that there is more to him than his dumb comedies.

Score: 8.5

Greta Gerwig continues her seamless transition from Indie actress darling to female director powerhouse with her version of the much adapted novel 'Little Women'. What I loved most was how she has restructured the story by making it very non-linear. It added a lot to character development, tension and emotional peaks in the story. Everything about this film is wholesome and enjoyable. The score is terrific, the costumes and sets are stunning and the cast is perfect. The film is the perfect film to watch with all the family, and I'm sure will become part of the Holiday season film rotation.

Score: 8.5

This wonderful true story about a particularly curious Chinese tradition of not telling a family member if they have cancer or not is extremely charming and funny. At the centre is a culture clash between western libertarian individualism and Chinese family units, which is essentially the internal battle our Asian American protagonist is facing. The relationship that she has with her grandmother is extremely touching. And while it is particularly unique to them, there is a universality to it that will touch everyone.

Score: 8.4

I am extremely supportive of celebrities, or anyone really, struggling with addiction going to rehab and seeking help. What I didn't expect was that in the case of Shia LaBeouf, we would get a raw, heartfelt and powerful film out of it, that he wrote as a form of therapy. As an autobiographical drama, there is always the risk bias and self indulgence, particularly when you cast yourself in the role of your father, but somehow, with the help of director Alma Har'el, this works. It's a tough and emotional depiction of a father and son, and how trauma, addiction, and anger can pass from father to son. I found the segments with Shia La LaBeouf and Noah Jupe worked slightly better than than the parts with Lucas Hedges, and don't know if they worked perfectly together to move the story forward. But still, and excellent movie.

Score: 8.3

The publicity department for this film clearly wanted everyone to know that it was made to look like it was all one take. And like all aspiring filmmakers would, I was looking out for the stitching together of all the long takes. However, it is testament to Roger Deakins' cinematography and Sam Mendes' direction that I very quickly stopped, and instead was taken along a journey with these two young soldiers. I believe 1917 uses the one-shot technique it to its fullest potential.The lack of cuts gives the audience no time to breathe, fully immersing you in the moment and making you feel like everything is happening in the present. It allows us to recognise the moments between the violence that often get forgotten in other war films. The accidental instants of heroism, the grieving following the death of a comrade, and the moments of brother hood and reflection.

Score: 8.2

This film is like an episode of Fred Roger's show made for adults. It is warm, compassionate, and soothes the soul. Tom Hanks does an incredible job at embodying the spirit of the late Mr Rogers. When he is on screen the movie truly soars. You feel simultaneously inspired and on the verge of tears every time he speaks. Unfortunately, when he is not on the screen the film is a little lacking. I also thought the direction was inconsistent. At times the visual choices were excellent. But then there were some dialogue scenes where I could feel the struggle over where to put the camera. PS. The screenplay is excellent.

Score: 7.9

Mark Duplass and Alex Lehmann are the team behind this film, which features their signature mumblecore, improvised dialogue. This style of filmmaking seemed to suit Ray Romano who was wonderfully funny and sympathetic as the middle-aged socially awkward man, losing his best friend to cancer. For the most part, the film is a funny and pleasant road trip movie with two well drawn out characters. But once it reaches the climax, a train of emotion hits you, with one of the saddest scenes I have ever seen in a movie.

Score: 7.8

A dark character study, the type of film that no longer gets a big budget, got an exception when Todd hillips decided to make a origin film about the most famous movie villain of them all. The Joker. Joaquin Phoenix plays the infamous role and brings it to life in a completely new way, full of depth and sympathy. The film has excellent craft. The direction, cinematography and score is excellent. The only thing holding this back from classics such as 'Taxi Driver' and 'King of Comedy' is the relatively weak script. There are some truly wonderful scenes, and the descent into madness was done fairly well, however when the film tries to provide some sort of social commentary or deeper meaning it fails to provide something of substance. There is also some serious handholding given to the audience at one the key points in the story.

Score: 7.5

In today's age of animation, it is very rare to see a major English language film that is visually interesting. Klaus' animation style is still modern, but very much borrows from the classic 2D style of animation that I hold much nostalgia for. It instantly gives this film a more timeless feel to it that the majority of new Disney movies. However, it's not just a visual treat. The story is beautiful heartfelt, and well and truly embodies the Christmas spirit. I have no doubt it will be a Christmas classic for years to come. Of course, it runs into many of faults Christmas films do (sentimentality, predictability, childish humour), but it can be forgiven for that at the right time of the year.

Score: 7.4

Man, Jordan Peele is a hell of a writer/director. For just his second film, the level of craft here is insane. The score, the cinematography, the performances and the way its dialogue blends horror and comedy is all fantastic. However.... I am hesitant to say it was a disappointment, because I still enjoyed it. But, it is a sizable drop off from 'Get Out'. It is not nearly as tightly written or as socially pertinent as his debut film. The first couple acts are great. But, once we get to the reveal, any logical thinking raises more questions than we are given answers. And while I enjoy thinking about Peele's intention and the many allegories it might possess, the hazy meaning behind the film diminishes the kind of impact it could have had.

Score: 7.3

Olivia Wilde's directorial debut 'Booksmart' unsurprisingly is drawing comparisons to 'Superbad', but in truth it's telling its own version of a movie we have seen done several times before. To its credit, it does have a freshness to it, not least because the leads are two young women. The dialogue is beautifully sharp and witty, and while I did not laugh out loud much, it had me lightly chuckling all the way through it. What impressed me was, while the humour was rude and gross out at times, it was never too crass or offensive. Unlike 'Superbad', it is not judgmental about any of its characters. It doesn't use them for any obvious gags. If I have one criticism, it is that the world felt so different to one I recognise, that the charm and nostalgia that lots of high-school movies have, was lost on me.

Score: 7.2

A film based off the legendary TV show Breaking Bad, 'El Camino' doesn't feel like any more than a double episode of the TV series. However, this doesn't mean its a bad thing. Two great episodes of Breaking Bad, following the escape of Jessie Pinkman after the series finale is still great cinema. I guess the only thing holding it back is the runtime. Normally on the show, season arcs for the character Jessie Pinkman are almost 10 hours long. In this film they got two hours, and had to find an arc for a character we have seen change plenty already.

Score: 7.2

An extremely sweet on the road movie, that avoids the sentimental trappings that it easily could have fallen for. The on screen relationship between Shia LaBeouf and Zack Gottsagen is so believable and endearing. It's a lot of fun getting to spend time with them. There were some unexplained elements of the plot that left me questioning things.

Score: 7.1

This film moves fairly well for the first two acts. We have a true and absorbing legal case being built against a terrifying corporate crime. We see Rob Bilott, played by Mark Ruffalo gradually becoming more paranoid as the defending company Dupont become more restless. And then the film loses all momentum and stumbles over the finishing line. It is unable to match the consistently building tension and drama of a legal thriller such as the 'Social Network'. As you would expect from a Todd Haynes movie, it is very well made. I've seen some criticism of the drab colour, but I would defend that by saying it is matches the film's tone and subject matter. One criticism I do have is actually of Mark Ruffalo. By no means is he bad. In fact, by all account the real lawyer is as understated as Ruffalo's performance. However, I didn't feel the repressed rage that I felt for instance with Steve Carell's character in 'The Big Short'.

Score: 7.1

As beloved as Pixar and the Toy Story movies are, I don't get the sense many people wanted a fourth instalment. The first three movies have such a complete arc, that cover all the stages parents and children go through when growing up. This story didn't need another entry, and you wonder where does this fit in? Well, the fourth film seems to be more about the toys themselves, focusing on emotional challenges a toy might face rather than the ones the audience might project onto the toys. Part of what makes this works is to do with how long we have known these characters. But it also has you questioning the logic of this world more than you have ever before. Additionally, for conflict to occur in this film, it ends up recycling many of the ideas of the previous films - ultimately for them to betray some of the moments and character growth that had taken place. For this reason, I am unlikely to revisit this film as part of any Toy Story watch throughs, despite it being a solid individual film.

Score: 7.1

Competently made true stories with major creative liberties taken is a bit of trend with modern Clint Eastwood movies, but they have the type of mass appeal that very few other dramas get. The real shining light of this movie are the performances of Paul Walter Hauser, Sam Rockwell and Kathy Bates, who are all superb. This makes the more caricaturish performances from Olivia Wilde and Jon Hamm stick out even more. A lot of the criticism around this movie is to do with Olivia Wilde's real-life character being given false narratives. I have to agree if that is the case. However, the movie does do some things really well, and I can see why it would be popular with a lot of people.

Score: 7.1

This is a proper heart-warming, feel-good film, that was able to take something something I have little interest in (wrestling) and make it fun and accessible. It's actually amazing how rigorously this sticks to the traditional structure of a sports movie; all the way down to the training montage. Which is why it is weird when you get to the climactic fight, because you know that the outcome is already fixed. My main takeaway from this is just how great Florence Pugh is. A natural leading actor.

Score: 7.0

'Rocketman' the life story of Elton John, told through his music, is undoubtedly going to draw comparisons to last year's 'Bohemian Rhapsody'. However, this would be a lazy comparison. While it still has some the beats you would come to expect from the story about a substance addicted musician, the film plays out as a fantasy musical and is not nearly the "paint by numbers" biopic that 'Bohemian Rhapsody' was. It also proved Dexter Fletcher to be a competent director. Some of the song sequences were just brilliant bits of cinema. The film wasn't perfect however. I felt the portrayals of Elton John's parents were too one dimensional and therefore never felt like real people.

Score: 7.0

It's a Taika Waititi film, so it's always going to contain some laugh out loud moments. However, in the case of 'Jojo Rabbit', his silly brand of comedy always felt at odds with the story he was trying to tell. There is a couple of really powerful moments in the film, that get undermined by the camp cartoonish depiction of Nazi Germany. While watching, all I could think about was how much better this could have been, if it was in the hands of someone like Armando Iannucci. Satirical comedy set in the territory of a tyrannical dictator isn't easy to do. If you don't get it right, it can easily fall into the realm of parody, as it does here. This being said, it is still a good time.

Score: 6.9

This comedy, with it's 'what if the Beatles never existed, but I knew this songs concept' feels like as much of a Danny Boyle film as it does a Richard Curtis film. The script is a bit cliché and corny, but you can't help but fall for the characters and enjoy spending time with them. As for the direction, Danny Boyle gets every ounce of style out of the script and really makes it a strong cinematic experience. However, while fun to think about, the film's premise is what ultimately lets it down. It doesn't really delve into the effects that the Beatles had on musical culture, nor does it exhibit their music in a way that would suggest it was timeless.

Score: 6.8

This delightful animation from the brilliant Laika studio is full of charm and the comedic sensibilities that remind of the British animation studio Aardman. I have a soft spot for stop motion animation and this was no different. Although it isn't quite as nice looking as 'Kubo and the Two Strings'. One thing I would say is the film loses some momentum as it approaches the third act. I also believe that the bigfoot character that names himself Susan had potential to be more endearing.

Score: 6.8

The direct sequel, but not the first Lego film to be green-lit since the success of the first Lego Movie is enjoyable, but doesn't quite match the first of this new franchise of films. The novelty has worn off a little by this point, but we are still treated to delightful animation and top notch voice acting from an esteemed cast. It suffers from an overly convoluted plot that is trying to tell one too many stories. This resulted in the start of the film lacking a clear direction, and at the end of the film left them desperately trying wrap up several plotlines and ideas. It is still good fun and ideal film for family viewing.

Score: 6.7

A family friendly adventure film that will certainly freak out those afraid of heights. Although the film is sold as being one long balloon ride, we do get flashbacks throughout our protagonist's journey. Unfortunately, these always slow down the pace of the film and don't really add much substance to the plot. The best parts of the movie take place within the basket, where there really are some heart in mouth moments. I felt like it could have looked a little better, but it was always going to be difficult to make me forget this is all shot in front of a green screen. It is solidly written and directed, but I do think there was a little more juice of tension that could have been squeezed out by a top director.

Score:6.7

The second Spider-Man film of the Marvel Cinematic Universe had a lot to live up to after the success of the first film. I liked Tom Holland's Peter Parker and a lot of the supporting characters they set up. However, this movie almost felt like an episode of television designed to set up further movies that come next. The villain's motivation is practically lifted from another superhero movie. The visuals are lacklustre, even by Marvel's standard. The only time I really had fun was when the characters were doing the usual high school teen stuff. One of the weaker Marvel movies in my opinion.

Score: 6.6

A political thriller based on the UK and USA's declaration of war with Iraq, 'Official Secrets' is one of the first films I have seen use the noughties as a period setting and it makes me feel old. The film itself is an easy watch and moderately well made. Structurally it is quite generic and there were moment that felt very on the nose. The three lead actors Kiera Knightly, Matt Smith and Ralph Fiennes and all solid. However, the rest of the supporting cast are uneven, with several of them putting in quite jarring and over the top performances. As a political thriller it is adequate, but it didn't leave me feeling as angry as something like Spotlight, which is ultimately one of the emotions that this film is trying to evoke.

Score: 6.6

This version of 'The Lion King' is a live action remake as in it uses traditional filmmaking methods within a computer generated world. While the film is a huge technological achievement and innovator, the tale is a complete remake and so it is difficult to judge it on the strength of the story. The film is certainly an enjoyable watch, but I question the reason this film was made. By making all the animals true to life, we lose a lot of the expression and emotion that can be put across in a more traditional animation.

Score: 6.4