It was so hard to just pick 10 films (here), that I had to crank out another
10, with them ranking just below the best 10 of the decade. Almost as painful.
No more this year I promise…
20. Arrival (2016)-
Director Denis Villeneuve’s intoxicating take on aliens landing on earth has the biggest embarrassment of riches for rewatchability and hidden meaning since E.T. Filled with scenes of capable scientists and paranoid military types alike, they give way to the tremendous gift that the visitors endow upon humanity. Villeneuve portrays an exotic but restrained feeling to the film, to enhance its life affirming depth of feeling in its round story.
Director Denis Villeneuve’s intoxicating take on aliens landing on earth has the biggest embarrassment of riches for rewatchability and hidden meaning since E.T. Filled with scenes of capable scientists and paranoid military types alike, they give way to the tremendous gift that the visitors endow upon humanity. Villeneuve portrays an exotic but restrained feeling to the film, to enhance its life affirming depth of feeling in its round story.
19. Mad Max: Fury Road
(2015)-
Director George Miller set out to make a sequel that would be both a continuation of his classic dystopian story about a drifter fighting strangers in a bleak resource deprived landscape, and a reboot of sorts, and submitted one of cinema’s greatest trojan horses ever. If Miller had merely set out to make a spectacularly glossy 2 hour car chase, packed with mind boggling (mostly) analogue stunts and hostile weirdos, he would have few equals. But Miller also has Charlize Theron’s character of Imperator Furiosa, with her group of bad ass women, hijack the film from Tom Hardy’s Max, and stealthily inserts the best depiction in the tetralogy of an imbalanced society and its rulers not wearing clothes. Stunning in its ambition, vision, and love of underdogs, Fury Road is one of a kind.
Director George Miller set out to make a sequel that would be both a continuation of his classic dystopian story about a drifter fighting strangers in a bleak resource deprived landscape, and a reboot of sorts, and submitted one of cinema’s greatest trojan horses ever. If Miller had merely set out to make a spectacularly glossy 2 hour car chase, packed with mind boggling (mostly) analogue stunts and hostile weirdos, he would have few equals. But Miller also has Charlize Theron’s character of Imperator Furiosa, with her group of bad ass women, hijack the film from Tom Hardy’s Max, and stealthily inserts the best depiction in the tetralogy of an imbalanced society and its rulers not wearing clothes. Stunning in its ambition, vision, and love of underdogs, Fury Road is one of a kind.
18. The Rider
(2017)-
Writer/Director Chloe Zhao’s modern western, based around the true story of actor Brady Jandreau’s conflict of will after an injury leaves him unfit for his true passion- competing in rodeos and riding horses. With Jandreau and the majority of actors playing themselves, combined with its sense of South Dakota setting, The Rider has an uncommon sense of place (save #3 on the top 10 list) and authenticity that make for an transcendentally perfect time at the movies. Its ending is one of my favourite closing scenes of all time.
Writer/Director Chloe Zhao’s modern western, based around the true story of actor Brady Jandreau’s conflict of will after an injury leaves him unfit for his true passion- competing in rodeos and riding horses. With Jandreau and the majority of actors playing themselves, combined with its sense of South Dakota setting, The Rider has an uncommon sense of place (save #3 on the top 10 list) and authenticity that make for an transcendentally perfect time at the movies. Its ending is one of my favourite closing scenes of all time.
17. Whiplash
(2014)-
Director Damien Chazelle’s love of music comes a close second in his tale of a young drummer (Miles Teller) being torturously inspired by a sadistic music instructor (J.K. Simmons). Simmons’ diverse methods of motivation and intimidation to his students highlight a charming but menacing arc that is exquisitely plotted like sheet music. In Teller’s character questioning what the depths of genius can look like and whether it’s worth it, Chazelle hits all the right notes.
Director Damien Chazelle’s love of music comes a close second in his tale of a young drummer (Miles Teller) being torturously inspired by a sadistic music instructor (J.K. Simmons). Simmons’ diverse methods of motivation and intimidation to his students highlight a charming but menacing arc that is exquisitely plotted like sheet music. In Teller’s character questioning what the depths of genius can look like and whether it’s worth it, Chazelle hits all the right notes.
16. The Florida Project (2017)-
Director Sean Baker’s tale of life on the margins is as desperate a portrait of getting by in America as it is a lovely story of community, and a glimpse through the eyes of a child. Possessing in equal measure an unblinking regard at poverty, and the magic of a type of Neverland for those too young to know the prudent charms of cynicism, it’s a film that sticks with you after its final images play out.
Director Sean Baker’s tale of life on the margins is as desperate a portrait of getting by in America as it is a lovely story of community, and a glimpse through the eyes of a child. Possessing in equal measure an unblinking regard at poverty, and the magic of a type of Neverland for those too young to know the prudent charms of cynicism, it’s a film that sticks with you after its final images play out.
15. Parasite
(2019)-
Director Bong Joon-ho’s tale of a
grifter family finding a wealthy family to sustain their scams is a whirring,
darkly hilarious, tense, and heartfelt social satire. The only 2019 entry in the list, despite not much time to
percolate- its impression is that strong. Roaring through various
genres with a deftness not seen since 2016’s The Handmaiden, Joon-ho creates something as funny and timeless as
it is disturbingly timely. Featuring my favourite sequence, and shot, of this
year. I wouldn’t dream of spoiling its charms- just see it.
14. Before Midnight
(2013)-
19 years in the making, Richard Linklater’s conclusion to his Before trilogy is a treat to behold, as we get to see actors Ethan Hawke and Julie Delpy’s physical aging, as much as their beloved characters of Jesse and Celine metamorphosis into middle age. With romance in their rear window, the 2 of them have to work through their slights and grievances, not just with life- now starting to take almost as much as it gives- but also with each other. Despite its charms of taking place in Greece, this is the setting where they must choose to work on each other, as the sun sets on their romance and the night time of their relationship begins.
19 years in the making, Richard Linklater’s conclusion to his Before trilogy is a treat to behold, as we get to see actors Ethan Hawke and Julie Delpy’s physical aging, as much as their beloved characters of Jesse and Celine metamorphosis into middle age. With romance in their rear window, the 2 of them have to work through their slights and grievances, not just with life- now starting to take almost as much as it gives- but also with each other. Despite its charms of taking place in Greece, this is the setting where they must choose to work on each other, as the sun sets on their romance and the night time of their relationship begins.
13. The Master
(2012)-
Writer/Director Paul Thomas Anderson continues his trend of
making films that are so hyper focused on the pathologies of individual
characters (graduating from his earlier works based on whole ensembles) that a
microscope would be jealous at the level of clarity he is able to convey about
Joaquin Phoenix’ and Philip Seymour Hoffman’s characters. What’s special about The Master is his having 2 people of
such specificity go head to head, their molecules merging to create something
different and constantly unexpected- and rarely with any insight for those
involved. Packed with an incredible cast, Anderson creates something that is as
ambiguous as it is foggy in its meaning and latent potency.
12. Zero Dark Thirty (2012)-
Director Kathryn Bigelow’s exploration of obsession through international acts of torture in war time takes no prisoners. Set in the Middle East throughout the Aughts, its story of the hunt for Osama Bin Laden is so captivating and told so well that those looking for confirmation of their beliefs (such as the justification of torture, American imperialism, terrorism in the name of security, and the end justifying the means) will find just that- for either side. Strap in for the film’s magnificent final third, a strike on the administration’s ultimate target.
Director Kathryn Bigelow’s exploration of obsession through international acts of torture in war time takes no prisoners. Set in the Middle East throughout the Aughts, its story of the hunt for Osama Bin Laden is so captivating and told so well that those looking for confirmation of their beliefs (such as the justification of torture, American imperialism, terrorism in the name of security, and the end justifying the means) will find just that- for either side. Strap in for the film’s magnificent final third, a strike on the administration’s ultimate target.
11. A Separation
(2011)-
Set in present day Iran, director Asghar Farhadi’s masterpiece plays as a more nuanced version of Kramer vs. Kramer. The film’s reality (estranged couple damaging their child in a strange custody battle based in a somewhat oppressive society) can be a difficult watch for some. But it’s a pleasure to see such an authentic portrayal of interconnected human beings in a impossibly complicated situation. Packed with intimate camerawork to showcase the 2 parents struggle to reconcile the difference between what is right for their family, what is legal, what is pious, what is best for their child, and what is actually happening. As real as it gets, and as well made as it gets.
… and I have to trump for them even if they didn’t make the top 20,but for sure top 30, err top 100:
Set in present day Iran, director Asghar Farhadi’s masterpiece plays as a more nuanced version of Kramer vs. Kramer. The film’s reality (estranged couple damaging their child in a strange custody battle based in a somewhat oppressive society) can be a difficult watch for some. But it’s a pleasure to see such an authentic portrayal of interconnected human beings in a impossibly complicated situation. Packed with intimate camerawork to showcase the 2 parents struggle to reconcile the difference between what is right for their family, what is legal, what is pious, what is best for their child, and what is actually happening. As real as it gets, and as well made as it gets.
… and I have to trump for them even if they didn’t make the top 20,
Edge of Tomorrow/Live.Die.Repeat (2014)-
The studio can’t figure out what to call it, but this delightful mash up of science fiction and war is a winner. Gifted with a terrific premise and a typically charismatic performances by Tom Cruise and Emily Blunt.
Margin Call (2011)-
The best drama based around the great financial crisis of 2007. There’s no better way to show how a company, who’s main product of service to the public is fraud, bails when the music stops playing- and the party’s over when the check is due.
The studio can’t figure out what to call it, but this delightful mash up of science fiction and war is a winner. Gifted with a terrific premise and a typically charismatic performances by Tom Cruise and Emily Blunt.
Margin Call (2011)-
The best drama based around the great financial crisis of 2007. There’s no better way to show how a company, who’s main product of service to the public is fraud, bails when the music stops playing- and the party’s over when the check is due.
Columbus (2017)-
Director Kogonada’s take on a platonic couple guiding each
other through an architectural mecca while experiencing real personal growth is
a masterpiece of composition and framing, while it's tough not to love its
protagonists Jin (John Cho) and Casey (Hailey Lu Richardson). The scene of an explanation at a bank is an all timer.
20th Century Women (2016)-
A cinematic ode to writer/director Mike Mills’ past and the
people who inspired him. One of my favourite scores of all time, and an elegiac ending that features minimal tragedy- but maximum effect.
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