2019 Films - Running Top Tens

[Samuel 'Plan]

So this is something I saw Doc and 205 Clive deciding to do on our Main Page for 205 Live matches throughout the year and I thought it would make for a neat thread here in the Movies forum! The idea is simple - list your top ten films, and update that list as you go throughout 2019 in a running scorecard! Not sure how well it'll work out but figured it was at least worth a go, right? For extra points I'm going to also keep a list of everything I've seen at the cinema too. I guess when there's a change to your top ten, pop up a new post and explain why you subbed one out for another!

There's but one rule: only post films that were released in theaters / on streaming services in 2019 (and remember some films are released considerably later in other countries!).

So I've only seen 9 thus far this year, but they are as follows, copied mostly from the General Discussion thread (then let me know yours too!):

1. Green Book - tremendous film, I can understand why some have criticised it but I thought the two central performances and that relationship between their characters was really delightful and made it so infinitely watchable. I also thought it was confident in challenging the themes it deals with.

2. Burning - saw this just last night and it's a tremendously dense, mercurial film with a sinister edge to it that's strangely intoxicating. It pulls you into this delirious atmosphere where you can't be sure of whether people are who they say they are or whether things are what they seem.

3. Beautiful Boy - a lot of people have been condemning this, especially because of its use of music, but honestly I thought it was fantastic. The story is performed in a deeply affecting way and I'm a huge fan of Timotheé Chalamet, who puts in a central performance almost on par with his effort in Call Me By Your Name. Deeply moving.

4. Destroyer - not quite the powerhouse I was anticipating, but Nicole Kidman is unrecognisable and pretty damn excellent. It's also got a really cool twist in it that totally took me by surprise, to the point of having me leaning forwards in my seat!

5. Stan & Ollie - quietly charming, is how I would describe it. It felt a little straight-forward with no real peak in the drama to push it to that next level for me, but the the way they weaved in comic routines as if they'd come straight out of one of the classic Laurel and Hardy films was ingenious. More sterling performances too.

6. Vice - a little disappointed with it, as I didn't realise it was Adam McKay, so finding it executed in a manner very similar of The Big Short took me by surprise. Was compelling for certain, but everything felt like it was trying a little too hard to really drive its nihilistic viewpoint home.

7. Can You Ever Forgive Me? - like Stan & Ollie, it's a pretty straight-forward film really, but it lacks the same great performances that gave Stan & Ollie its charm. I know it's gotten some awards buzz and I'm honestly unsure why. I found it to be little more than solid.

8. Glass - a fun new take on the comic book movie, but nowhere near the league of its Unbreakable originator. A couple of twists - one better than the other - aren't able to get it past that same issue every Shyamalan film has (perhaps except Unbreakable): he's just not a very good writer.

9. Mary, Queen of Scots - had high hopes and they were dashed in pretty almighty fashion. Drier than stale bread, I thought the entire thing just fell flat. Characterisation was handled poorly in the script I felt, and it built to a big scene that then just...sort of...happened. "Eh," was how I felt coming out, having been acutely aware of its two hour run-time.

[Gooner]

Ah, if only I watched new films as frequently as I wish!

I'll come back in a few months once I have seen more than... well, zero 2019 movies. Fun idea!

[Samuel 'Plan]

Look forward to it Gooner! No other uptake yet I see, but I've seen a couple more films - Alita: Battle Angel and All is True. So time for an update!

1. Green Book - tremendous film, I can understand why some have criticised it but I thought the two central performances and that relationship between their characters was really delightful and made it so infinitely watchable. I also thought it was confident in challenging the themes it deals with.

2. Burning - saw this just last night and it's a tremendously dense, mercurial film with a sinister edge to it that's strangely intoxicating. It pulls you into this delirious atmosphere where you can't be sure of whether people are who they say they are or whether things are what they seem.

3. Beautiful Boy - a lot of people have been condemning this, especially because of its use of music, but honestly I thought it was fantastic. The story is performed in a deeply affecting way and I'm a huge fan of Timotheé Chalamet, who puts in a central performance almost on par with his effort in Call Me By Your Name. Deeply moving.

4. Destroyer - not quite the powerhouse I was anticipating, but Nicole Kidman is unrecognisable and pretty damn excellent. It's also got a really cool twist in it that totally took me by surprise, to the point of having me leaning forwards in my seat!

5. All is True - it's a quaint and curious little film about the later days of William Shakespeare, but thanks to its inflections of humour and the relative restraint of its more powerfully emotional scenes I actually really ended up liking it. Quite a lot, thinking about it. Kenneth Branagh and Ian McKellen stand out from a raft of excellent performances.

6. Stan & Ollie - quietly charming, is how I would describe it. It felt a little straight-forward with no real peak in the drama to push it to that next level for me, but the the way they weaved in comic routines as if they'd come straight out of one of the classic Laurel and Hardy films was ingenious. More sterling performances too.

7. Vice - a little disappointed with it, as I didn't realise it was Adam McKay, so finding it executed in a manner very similar of The Big Short took me by surprise. Was compelling for certain, but everything felt like it was trying a little too hard to really drive its nihilistic viewpoint home.

8. Can You Ever Forgive Me? - like Stan & Ollie, it's a pretty straight-forward film really, but it lacks the same great performances that gave Stan & Ollie its charm. I know it's gotten some awards buzz and I'm honestly unsure why. I found it to be little more than solid.

9. Glass - a fun new take on the comic book movie, but nowhere near the league of its Unbreakable originator. A couple of twists - one better than the other - aren't able to get it past that same issue every Shyamalan film has (perhaps except Unbreakable): he's just not a very good writer.

10. Mary, Queen of Scots - had high hopes and they were dashed in pretty almighty fashion. Drier than stale bread, I thought the entire thing just fell flat. Characterisation was handled poorly in the script I felt, and it built to a big scene that then just...sort of...happened. "Eh," was how I felt coming out, having been acutely aware of its two hour run-time.


UNRANKED

Alita: Battle Angel - an ill disciplined mess with a plot that can't decide what it wants to be about and a series of poorly drawn characters in a world that feels half-cooked. I found it really rather boring, actually. The visuals were distracting more than they were impressive, it was much too long and the whole exercise was laden with cliche.

[meandi]

I wish I had the time and patience to be able to do this. I don't think I've seen a combined 10 new movies from 2016-2018, let alone being able to see 10 new movies in a single year. I'll be keeping up with this thread, though, so I know what I need to check out come 2021 or so.

[Samuel 'Plan]

The thread's always here if anyone else, including yourself meandi, do get to a 10-film or more point! Saw another couple this weekend so figured I'd drop another update - new entries at 10 and 1!

Look forward to it Gooner! No other uptake yet I see, but I've seen a couple more films - Alita: Battle Angel and All is True. So time for an update!

1. A Private War - saw this one last night and while I'd been looking forward to it I didn't quite expect it to leave as much of an impression on me as it did. It's not so much gritty as it is just hard and unflinching. Rosamund Pike is spectacular in it and the way it shows the realities and impact of modern warfare is so powerful, because it does it with near photo-realistic restraint. I loved it.

2. Green Book - tremendous film, I can understand why some have criticised it but I thought the two central performances and that relationship between their characters was really delightful and made it so infinitely watchable. I also thought it was confident in challenging the themes it deals with.

3. Burning - saw this just last night and it's a tremendously dense, mercurial film with a sinister edge to it that's strangely intoxicating. It pulls you into this delirious atmosphere where you can't be sure of whether people are who they say they are or whether things are what they seem.

4. Beautiful Boy - a lot of people have been condemning this, especially because of its use of music, but honestly I thought it was fantastic. The story is performed in a deeply affecting way and I'm a huge fan of Timotheé Chalamet, who puts in a central performance almost on par with his effort in Call Me By Your Name. Deeply moving.

5. Destroyer - not quite the powerhouse I was anticipating, but Nicole Kidman is unrecognisable and pretty damn excellent. It's also got a really cool twist in it that totally took me by surprise, to the point of having me leaning forwards in my seat!

6. All is True - it's a quaint and curious little film about the later days of William Shakespeare, but thanks to its inflections of humour and the relative restraint of its more powerfully emotional scenes I actually really ended up liking it. Quite a lot, thinking about it. Kenneth Branagh and Ian McKellen stand out from a raft of excellent performances.

7. Stan & Ollie - quietly charming, is how I would describe it. It felt a little straight-forward with no real peak in the drama to push it to that next level for me, but the the way they weaved in comic routines as if they'd come straight out of one of the classic Laurel and Hardy films was ingenious. More sterling performances too.

8. Vice - a little disappointed with it, as I didn't realise it was Adam McKay, so finding it executed in a manner very similar of The Big Short took me by surprise. Was compelling for certain, but everything felt like it was trying a little too hard to really drive its nihilistic viewpoint home.

9. Can You Ever Forgive Me? - like Stan & Ollie, it's a pretty straight-forward film really, but it lacks the same great performances that gave Stan & Ollie its charm. I know it's gotten some awards buzz and I'm honestly unsure why. I found it to be little more than solid.

10. If Beale Street Could Talk - like Mary, Queen of Scots this is one I went into really looking forward to seeing only to emerge bitterly disappointed. The first ten minutes are outrageously good, but then it's like the film forgets what made them good and starts laying foundations for a dozen more interesting films that then never take shape. Nothing seems to progress and its underlying point is made weakly for it. A shame.


UNRANKED

Alita: Battle Angel - an ill disciplined mess with a plot that can't decide what it wants to be about and a series of poorly drawn characters in a world that feels half-cooked. I found it really rather boring, actually. The visuals were distracting more than they were impressive, it was much too long and the whole exercise was laden with cliche.

Glass - a fun new take on the comic book movie, but nowhere near the league of its Unbreakable originator. A couple of twists - one better than the other - aren't able to get it past that same issue every Shyamalan film has (perhaps except Unbreakable): he's just not a very good writer.

Mary, Queen of Scots - had high hopes and they were dashed in pretty almighty fashion. Drier than stale bread, I thought the entire thing just fell flat. Characterisation was handled poorly in the script I felt, and it built to a big scene that then just...sort of...happened. "Eh," was how I felt coming out, having been acutely aware of its two hour run-time.