This is the second part of my Best Films of 2019 feature detailing my Top Ten films. Click here to read numbers 20 to 11 and the Honourable Mentions.

Without further ado, here are my Top Ten films of 2019:

10) Green Book

Green Book is a thoroughly enjoyable film with some outstanding performances from both Viggo Mortensen and Mahershala Ali. The script is sharp and provides some fascinating insights into America’s prejudice culture and racism of the time. The interplay and relationships between characters is also excellent, who I really got on board with from the start. It is well-directed by Peter Farrelly and fantastically paced. Green Book provided a controversial win at this year’s Oscars as it ultimately took the coveted Best Picture gong. Whilst I really like it as a film, the controversies surrounding how it represents race and ethnicity are valid. It is unashamedly a white saviour narrative and the film does perpetuate stereotypes. These are questions that come up after watching the film and although it does somewhat tarnish the quality of the film, I’d be lying if I said I didn’t really enjoy Green Book. (Full review here)

9) Boy Erased

Boy Erased is the sophomore effort from actor-now-director Joel Edgerton whose debut The Gift was a masterpiece. Boy Erased is a completely different film and is a drama about a teenager who is forced to undergo homosexual conversion therapy program. The cast are all excellent, Lucas Hedges gives a nuanced performance as the conflicted main character and Russell Crowe is a standout as his authoritarian and religious father. Joel Edgerton casts himself as the head of the program and he is a particularly sinister and nasty piece of work. The score by Danny Bensi and Saunder Jurriaans is fantastic and the film is visually dark and gloomy. Boy Erased is another success from Edgerton and it will be interesting to see where he goes next.

8) Extremely Wicked, Shockingly Evil and Vile 

Joe Berlinger’s feature film on Ted Bundy is the perfect companion to his Netflix docu-series on the notorious serial killer. The entirety of the cast are on top form here, Zac Efron continuing to prove his versatility in the lead role as the deranged murderer, as he continues to shake off the High School Musical stigma. Berlinger skilfully encapsulates the key facts in this biography into a feature film run time and all of the characters are developed well. By the time the film gets into its final act, the stakes are really well set. The critical reception to this film has been rather mixed with many arguing it is a watered-down version of the Netflix series, but for me the film does more than enough to act as a companion piece.

7) Once Upon A Time… In Hollywood

Quentin Tarantino’s latest is a multi-layered and a more mature effort compared to his previous back catalogue. For the most part, this film lacks the trademark ultraviolence and shocks and is a contemplative study of Hollywood in its golden age. On a first watch, the first two thirds do meander somewhat but it is all for a purpose and the final third really pays off. On subsequent rewatches, there is a lot more to appreciate. The performances across the board are top-notch here, Brad Pitt in particular a standout. That said, this is not Tarantino’s best work and he is being recognised for the wrong film in this year’s Oscar Awards but this is still a total blast from start to finish.

6) Triple Frontier

Triple Frontier is the latest from director J. C. Chandor, who previously made A Most Violent Year which I really liked when it first came out and upon further viewing, I now deem to be a masterpiece as it is a film rich with layers, a terrific narrative and conflicted characters. My expectations were very high for this film, a crime heist thriller with Ben Affleck and Chandor reuniting with Oscar Isaac. This is another excellent film by Chandor and it successfully takes what can be a rather conventional genre into a new direction in the way it explores certain themes and the repercussions the heist has on the group. The score by Disasterpeace is intense and the film looks visually sharp. I was engrossed by the film throughout and Chandor manages to sustain the tension throughout.

5) The Mule 

The Mule is a gripping film that ramps up the tension throughout its run time and has a commanding, grizzled performance from Clint Eastwood. Eastwood has played this type of gruff character many times throughout his impressive career but it still works, particlarly when paired with the fascinating story.  The film also teaches some well-intentioned messages and morals and there’s an admirable relationship within Stone’s family that felt authentic and also the relationship between Eastwood and Bradley Cooper’s DEA agent. I also really liked how Eastwood humanized the drug cartel members which results in some memorable characters for Eastwood to interact with. In fact, the script by Nick Schenk, who also wrote Gran Torino which is another excellent Eastwood film, is razor-sharp and efficiently paced. Much like The Old Man and the Gun, another recent release which tackles many of the same themes as this film, The Mule interrogates the existential themes of what makes Eastwood’s character work and why he continues to work for the cartel when he knows what he is doing. (Full review here)

4) Joker

Joker is enthralling from start to finish and is one of the best films of the year. Joaquin Phoenix is mesmerising as the titular character and is strangely sympathetic as an individual who doesn’t know the difference between right and wrong and commits some despicable acts. Phoenix really becomes the Joker in the last 20 minutes of the film or so and this is particularly effective and it’s astonishing to chronicle the difference in the character from the start of the film to the wicked monster we get at the end. What also elevates Joker from more standard comic-book fare is how it proposes so many different meanings and interpretations. This is a film that requires multiple watches to really get the full picture. Phillips interrogates many interesting themes, the most interesting of which is his depiction of mental illness and the questioning of how society tackles this problem. The string-based score by Hildur Guðnadóttir is hypnotic and compliments the film beautifully, doing a lot of heavy lifting in places. It’s one of the best scores of the year. The film is also beautifully shot by Lawrence Sher, who manages to capture the grittiness of Gotham City and juxtaposes it with the neon, pulsating urbanisation.

The film isn’t quite perfect though. As is clear in all of director Todd Phillips’ career, he’s not the most subtle director and there are a few instances in which Phillips chooses to explain certain choices which were pretty self-evident. I’m also a little unsure of the film’s final scene tonally and thought the film could have ended a scene earlier but based on some critical readings that have been put forward, it is admittedly necessary. There are so many standout scenes in this film that are just stunning to behold and you have to admire the ambition. Joker is fully deserving of the praise it has received and is one of the best films of the year. (My review here)

Now into the top #3…

3) Glass 

Glass is an excellent end to this trilogy and mostly represents M. Night Shyamalan at his best – it is pretty much a knock-out. Shyamalan develops these characters extremely well, furthering their character arcs and subverts expectations, for better or worse for some viewers. It is very cine-literate and further deconstructs the generic constructs of the superhero genre and offers some fascinating commentaries on these. As is to be expected, there is a Shyamalan twist and it does undo the good work a little as it isn’t one of his best twists but if you can buy into the film’s central conceit beforehand, it really is excellent. As with a lot of Shyamalan’s filmography, it would be very easy for one to laugh and sneer at this film, as the film walks a fine line. The performances are uniformly excellent, with Bruce Willis and Samuel L. Jackson standing out. Technically, Glass succeeds in spades too. The score is outstanding, West Dylan Thordson returning from Split and successfully melding both past themes whilst creating some memorable new ones. DP Mike Gioulakis is also great and there are numerous shots which are just a work of art to look at. I sincerely hope that in a few years time, this film will be reassessed as it’s been really unfairly recieved. (Full review here)

2) Doctor Sleep

To my dismay and against all the odds stacking against it, Doctor Sleep is an enthralling sequel to The Shining that is refreshingly different from its predecessor but still has some spiritual connections. It is frequently mesmerising and has a fascinating narrative at its core. The characters are well-developed and Flanagan establishes some emotional narrative stakes. Of course, there does not need to be some connection to what has come before it and the third act returns to The Overlook Hotel. The film does dip a little into fan service here but not enough to derail the entire film. But it is the first 2 hours are so that are really, really strong. Speaking of the 152 minute run time, this is a film that earns its length. There are so many standout scenes here and Flanagan does an excellent job of conjuring dread. A scene with Rebecca Ferguson astral-projecting mid-way through is just stunning and a shootout at the end of the second act are the highlights. Overall, Doctor Sleep is a surprisingly great sequel that holds it own with Kubrick’s original.

So the best film of the year is…

1) Dragged Across Concrete

S. Craig Zahler does it again. His first film, Bone Tomahawk reached very highly in my 2016 list and his second, Brawl In Cell Block 99 took top honours in 2017. Dragged Across Concreteis another wonder from this top director. Mel Gibson and Vince Vaughn are both brilliant as two policemen who are suspended after brutally treating a suspect and take matters into their own hands. Tory Kittles is also great as a recently released man who reunites with his family and finds himself intertwined in this case. There are also small roles from Zahler-regulars Fred Melamed, Udo Kier and Don Johnson. The script is once again fantastic and the film deals with the themes of wealth and righteousness very assuredly. Dragged Across Concrete foregoes some of Zahler’s usual ultraviolence and there is nothing here that rivals the violence in his first two films – bear in mind though the film still has an 18 certificate. But instead, this is an equally well-developed narrative that is fascinating throughout and the third act is well-worth the interesting build-up. I think Brawl In Cell Block 99 remains Zahler’s best film but this is another winner and it will take quite a lot for something to top this.

So there we go, these films were in my opinion the best of 2019. What are your thoughts? Let me know in the comments or tweet @TheFilmMeister

Although cinema has come to a virtual stop as we know it in these pandemic times, having now had the chance to catch up on some 2019 releases, I can now share my Top 20 Films of the year. I know that I am very late in the game but there were quite a few films I didn’t get to watch in time and felt that it would be a disservice to generate a list that wasn’t truly reflective of the year. 

Although my Mid-Year Report only included ten films, this list will include 20 films with some honourable mentions. The rank order has changed a little from the Mid-Year Report on account of rewatching a lot of these films multiple times and some I have found to be more rewatchable than others. So just because a film ranked higher earlier on last year doesn’t necessarily mean this will be the case now – that’s just the nature of the art of film I guess. 

Here I rank numbers 20 to 11. The Top Ten will be detailed in a separate post.

Note

I am following the UK release date calendar from January 1st to December 31st hence why a lot of the Awards films do not feature here and why there are some from what may seem like last year. 

Honourable Mentions

Here are my honourable mentions, films that didn’t quite make it into the Top Twenty but I feel that they should still deserve a mention. Please note I have listed them in alphabetical order – this is not a ranking of them. 

Vox Lux 

A jarring yet hypnotic effort from actor-director Brady Corbet, Vox Lux tells the story of Celeste Montgomery, a young girl who survives a school shooting rampage who then embarks on a singing career but she is always haunted by this terrifying event. Both Raffey Cassidy and Natalie Portman who portray the singer at two stages of her life are terrific. Technically, this film is arresting but the two main acts to the story feel like two different films. A very interesting but flawed effort and it is always better when a filmmaker takes a risk.

Beautiful Boy

Based on two memoirs, Beautiful Boy is the story of a relationship between a father and a son, with the son’s life spiralling out of control as he becomes more dependent on crystal meth. Steve Carell continues to prove that he is a versatile actor outside of comedy and he conveys his despair and hope as his son’s life yo-yos. Timothée Chalamet is equally excellent as the son, Nic. There’s not much hope in this story and whatever hope the film builds up is often swiftly removed but this is a raw and real story of addiction and the detrimental effects it can have on life.

Birds of Passage

The lastest from Colombian director Ciro Guerra, this is a sprawling drama about a generation of family and how their lives intersect, a complete U-turn from the linear but magical Embrace of the Serpent. There’s a lot to like here with Guerra painting a grim and arid world which is frequently hard-hitting on his characters.

Fighting With My Family

The first film on this list to feature Florence Pugh, I really didn’t expect to like this. But Fighting For My Family is a gripping, often hilarious and emotionally involved directorial debut from Stephen Merchant about a young female boxer in Norwich and her efforts to go pro. The performances all round are great, particularly Florence Pugh and Nick Frost. Merchant deftly balances the humour with emotional heft, even if the film follows a hegemonic sports-drama narrative.

Ford v Ferrari

Ford v Ferrari pedals an entertaining and gripping story of its source material that is bolstered by some strong performances and good racing sequences. This is despite a lengthy 152 minute run time which is impressive as it always sustains the pace. The characters are well-developed, particularly Matt Damon and Christian Bale’s leads and the interplay between them is heartfelt yet entertaining. Bale is particularly effective as British World War II veteran / professional race driver as he is constantly let down by his peers who do not appreciate his genius. Tracy Letts is also a standout as the CEO of Ford who is able to balance the authoritarian, no-nonsense but a little dim side with the sheer thrill of race driving. There is a particularly effective scene when he is driven in the car that bears his name around a race track where he breaks down in tears. Visually, the film is sharp with Mangold-regular Phedon Papamichael’s photography showcasing the scope of the race. There are also some sound themes from another Mangold-regular, Marco Beltrami who co-scores the film with Buck Sanders.

As entertaining as the film is, Mangold is surprisingly rather slavish to the biopic formula, something which he managed to subvert beautifully in Logan. The plot is mostly predictable in terms of the character beats needed to serve the genre and there aren’t many surprises to the formula. But ultimately, despite its reliance on formula, there is more than enough in Ford v Ferrari to enjoy and this is an above average effort in a genre that can often isolate audiences that aren’t car enthusiasts. (My review here)

Now onto the Top Twenty:

20) The Good Liar  

A real surprise from director Bill Condon whose work has been more miss than hit over this decade. This is a taut, riveting mystery with two excellent performances by Ian McKellen and Helen Mirren, both as devious and deceptive as each other. The script is razor-sharp with plenty of twists and turns, infused with humour. Perhaps the end reveal is lacking a little but for the vast majority, this is excellent and Condon’s best film in a very long time.

19) The Nightingale

A real surprise addition to this list. I really didn’t like director Jennifer Kent’s debut feature The Babadook, which received rave reviews. I didn’t find it scary or sophisticated in the slightest. But The Nightingale is excellent in that it starts at a very low point for Aisling Franciosi’s main characterm, Clare, and doesn’t let up with its depressing and dour tone. After everything that she has is taken away from her, Clare embarks on a dangerous journey to enact her revenge. This has a lot to say on a lot of topics such as the Aboriginals and the performances are all excellent, Franciosi impressing and Sam Claflin being uncharacteristically nasty compared to his other roles. This is a film that really earns its 18 certificate and many viewers have expressed unease at some of the sexual violence.

18) Official Secrets

Official Secrets is another political thriller from director Gavin Hood, his previous being the note-perfect Eye In The Sky. Official Secrets isn’t quite as good but this is a very timely and riveting docudrama on the UN involvement in the 2003 invasion of Iraq. This is one of the performances of Keira Knightley’s career, who portrays the courageous Katherine Gun.

17) Midsommar

After impressing with Hereditary, Midsommar is writer-director Ari Aster’s sophomore effort. Hereditary really impressed in its perfect first half before a controversial twist half-way through which changes direction. Midsommar is a much more consistent film but doesn’t match the first half of Hereditary. Florence Pugh is fantastic as the titular character who has gone through a tough time and although she is needy on her boyfriend, Aster wildly succeeds in us sympathising with both situations. They take a trip to Norway to meet a cult where one of their friends belongs. Partly inspired by The Wicker Man but more sophisticated and rich, Midsommar furthers the horror genre again with its disregard for jump scares. It’s also impressive how the horror is all set in crystal white daylight.

16) Ma

Ma seriously took me by surprise. After the disappointment that was The Girl On The Train, Ma is a lean and mean horror by director Tate Taylor. Octavia Spencer is phenomenal as the titular character and Taylor always keeps the audience second-guessing. What propels this from average fare is the strength of the group of teenagers that are tormented. Diana Silvers is excellent and there is a real emotional core to her story.

15) Polar

Perhaps one of the most controversial choice on this list, Polar got absolutely trashed by critics in its reviews. A Netflix Original, Polar is a revenge thriller in the vein of John Wick and Taken with Mads Mikkelsen playing the action hero with spectacular results. The film is utterly bonkers and what is impressive how it manages to balance sheer grittiness, often at the same time. The decision to cast Matt Lucas as the over-the-top villain is a stroke of genius and the result is a film that I really got on board with.

14) Can You Ever Forgive Me?  

I generally can’t stand Melissa McCarthy but this is the film for me where she proves herself and she is just magnificent as a down-for-luck author who starts forging letters by famous writers and selling them. Richard E. Grant is also brilliant as her new friend who is battling his own demons. Director Marielle Heller clearly has respect for these characters and deftly balances laugh-out-loud moments with some touching and emotional character development too. The script is really sharp and allows both McCarthy and Grant to play off each other consistently.

13) Us 

Us is an ambitious sophomore effort from Jordan Peele and although it doesn’t reach the heights of Get Out, this is a cryptic and atmospheric horror film that is full of originality. Peele deals with some heady themes of duality and race and intentionally makes some of the metaphorical meanings in this film ambiguous. The film can be interpreted in a number of ways and further viewings allow this film to be unpacked even more. This is a really interesting film from Peele and even if it doesn’t always succeed, one has to admire the ambition.

12) John Wick: Chapter 3 – Parabellum 

John Wick: Chapter 3 – Parabellum is a very strong entry in the franchise. Chapter 2 was good but it did feel a little repetitive and lost some of the charm from the first film. This third chapter is a step-up that almost reaches the heights of the first film. The fight choreography is wonderful and particualrly in the first half, it is amazing how much variation in the types of action Stahelski portrays. Keanu Reeves is on top form again and the film furthers the mythology the first two films explored in the criminal world the titular character finds himself tied in. Visually, the film is gorgeous as well, cinematographer Dan Laustsen capturing the neon, visceral quality beautifully. The film ends in a place where further sequels could happen but if the series stopped here, this would be a great trilogy.

11) Sorry We Missed You  

Sorry We Missed You is another knockout from director Ken Loach. Like I, Daniel Blake a few years ago, this film also is concerned with the struggles of the lower class. This is about a family where the husband joins a delivery company who have strict targets to meet and he has to finance his own van. The children are also developing and the wife has to take public transport to her job as a carer. This is all touching stuff and the film succeeds in portraying a grim decay into a vicious cycle.

So there we go, numbers 20 down to 11. Stay tuned for the Top Ten in a separate post…

What are your thoughts? Let me know in the comments or tweet @TheFilmMeister