Dynamic Top Tens of 2019

Discussions of specific films and franchises.
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Re: Dynamic Top Tens of 2019

#51 Post by nitin » Tue Jan 22, 2019 9:10 am

1. The Irishman
2. High Life
3. Portrait of a Lady in Fire
4. The Souvenir
5. Bacurau
6. Long Day’s Jouney Into Night
7. The Invisible Life Of Eurydice Gusmao
8. Beanpole
9. The Wild Goose Lake
10. Pain and Glory

Honourable Mentions: Parasite, Marriage Story, In Fabric, The Nightingale, Hotel by the River, The Whistlers, Once Upon a Time In Hollywood

Others Seen: Us, Gloria Bell, Under the Silver Lake, Destroyer, Knives Out, Vice, Ad Astra, Joker, Judy and Punch
Last edited by nitin on Wed Dec 04, 2019 7:23 am, edited 25 times in total.

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Re: Dynamic Top Tens of 2019

#52 Post by Shrew » Tue Jan 22, 2019 1:15 pm

1. Knives Out
2. Parasite
3. Marriage Story
4. Missing People (Tarr)
5. Once Upon a Time... in Hollywood
6. Ad Astra
7. The Lighthouse
8. Booksmart
9. Ash Is Purest White
10. The Farewell

The Others: The Irishman, An Elephant Sitting Still, Sword of Trust, Under the Silver Lake, Spider-Man: Far From Home, Long Day's Journey Into Night, The Dead Don't Die, Captain Marvel
Last edited by Shrew on Tue Dec 10, 2019 12:46 pm, edited 8 times in total.

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Re: Dynamic Top Tens of 2019

#53 Post by Aunt Peg » Thu Mar 07, 2019 8:34 am

01. Parasite (Joon-ho Bong)
02. The Nightingale (Jennifer Kent)
03. Portrait of a Lady on Fire (Celine Sciamma)
04. Queen of Hearts (May el-Toukhy)
05. The Invisible Life of Euridice Gusmao (Karim Ainouz)
06. Downton Abbey (Michael Engler)
07. Les Miserables (Ladj Ly)
08. By the Grace of God (Francois Ozon)
09. Leaving Neverland (Dan Reed)
10. Ray & Liz (Richard Billingham)
Last edited by Aunt Peg on Fri Sep 13, 2019 1:51 am, edited 14 times in total.

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Re: Dynamic Top Tens of 2019

#54 Post by Mr Sheldrake » Fri Mar 22, 2019 7:55 am

01. The Irishman
02. Parasite
03. Mademoiselle de Joncquieres
04. Everybody Knows
05. Knives Out
06. Ash is Purest White
07. An Elephant Sitting Still
08. We Have Always Lived in the Castle
09. The Man Who Killed Don Quixote
10. Ad Astra

Favorite performances...
Javier Bardem- Everybody Knows
Ethan Hawke- Stockholm
Jonathan Pryce - The Man Who Killed Don Quixote
Brad Pitt- Ad Astra
Ian McKellen- The Good Liar
Matt Damon- Ford v Ferrari
Al Pacino- The Irishman
Daniel Craig- Knives Out
Tom Bateman- Cold Pursuit

Ana de Armas - Knives Out
Honor Swinton Byrne- The Souvenir
Julianne Moore- Gloria Bell
Selma Hayek- The Hummingbird Project
Sienna Miller- American Woman
Margot Robbie- Once Upon a Time...in Hollywood
Lupita Nyong’o- Us
Thomasin McKenzie- Jojo Rabbit
Tao Zhao- Ash is Purest White
Helen Mirren- Anna
Naomi Scott- Charlie’s Angels
Last edited by Mr Sheldrake on Mon Dec 09, 2019 4:28 pm, edited 30 times in total.

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Re: Dynamic Top Tens of 2019

#55 Post by Glowingwabbit » Fri Mar 22, 2019 8:24 am

1. La Flor (Mariano Llinás)
2. Transit (Christian Petzold)
3. Genese (Philippe Lesage)
4. Marriage Story (Noah Baumbach)
5. Her Smell (Alex Ross Perry)
6. Beanpole (Kantemir Balagov)
7. Diamantino (Gabriel Abrantes / Daniel Schmidt)
8. Beach Bum (Harmony Korine)
9. Knife + Heart (Yann Gonzalez)
10. Atlantique (Mati Diop)

Honorable mentions: Grass (Hong Sang-soo), Zombi Child (Bertrand Bonello), The Dead Don’t Die (Jim Jarmusch)

Watchlist: Bread Factory (Patrick Wang); Portrait of a Lady on Fire (Sciamma); Bacurau (Filho); Just Don't Think I'll Scream (Beauvais); Vitalina Varela (Costa); I Was at Home, But (Schanelec); Fire Will Come (Laxe); First Cow (Reichardt); Technoboss (Nicolau); Hustlers (Scafaria); Long Day's Journey into Night (Bi); In Fabric (Strickland); An Elephant Sitting Still (Hu); The Lighthouse (Eggers); Sunset (Nemes); Where'd You Go, Bernadette? (Linklater), John Wick: Chapter 3 - Parabellum (Stahelski); Ready or Not (Bettinelli-Olpin, Gillett); Up the Mountain (Yang); Varda by Agnès (Varda); Asako I & II (Hamaguchi); Black Mother (Allah); CoinCoin and the Extra-Humans (Dumont);
Last edited by Glowingwabbit on Fri Dec 06, 2019 7:14 pm, edited 20 times in total.

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Re: Dynamic Top Tens of 2019

#56 Post by HJackson » Sun Mar 31, 2019 9:54 am

Per Letterboxd listed year...

1. Ad Astra
2. Once Upon a Time... in Hollywood
3. Ma
4. Booksmart
5. Joker
6. Five Feet Apart
7. Toy Story 4
8. Us
9. Spider-Man: Far From Home
10. Alita: Battle Angel

11. Knives Out / The Good Liar / Dumbo / Avengers: Endgame / Pokemon: Detective Pikachu / Shazam! / Last Christmas / Rocketman / The Lion King / The Perfect Date / Captain Marvel / Midsommar / The Aeronauts/ 24. The Last Summer
Last edited by HJackson on Sun Dec 01, 2019 12:51 pm, edited 19 times in total.

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Re: Dynamic Top Tens of 2019

#57 Post by Lost Highway » Sun Mar 31, 2019 10:48 am

1. Dragged Across Concrete

Not bad: The Reports on Sarah and Saleem
Disappointing: Us

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Re: Dynamic Top Tens of 2019

#58 Post by Newsnayr » Fri Apr 05, 2019 6:07 am

1. La Flor (Mariano Llinás)
2. Asako I & II (Ryusuke Hamaguchi)
3. Long Day's Journey Into Night (Bi Gan)
4. The Irishman (Martin Scorsese)
5. Transit (Christian Petzold)
6. Ash Is Purest White (Jia Zhangke)
7. Grass (Hong Sang-soo)
8. Parasite (Bong Joon-ho)
9. High Life (Claire Denis)
10. Her Smell (Alex Ross Perry)
Last edited by Newsnayr on Mon Nov 11, 2019 3:20 am, edited 4 times in total.

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Re: Dynamic Top Tens of 2019

#59 Post by BrianB » Mon Apr 29, 2019 9:29 am

1. The Irishman
2. An Elephant Sitting Still
3. Parasite
4. Midsommar
5. Toy Story 4
6. Kitbull
7. Once Upon a Time... in Hollywood
8. Transit
9. Rolling Thunder Revue
10. Non-Fiction
Last edited by BrianB on Fri Nov 29, 2019 12:24 am, edited 6 times in total.

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Re: Dynamic Top Tens of 2019

#60 Post by lzx » Wed May 01, 2019 2:34 am

  1. Ad Astra
  2. Long Day's Journey into Night
  3. Diamantino
  4. Transit
  5. Pain and Glory
  6. Give Me Liberty
  7. Honeyland
  8. Monos
  9. End of the Century
  10. Amanda
Last edited by lzx on Sun Oct 13, 2019 6:56 pm, edited 2 times in total.

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Re: Dynamic Top Tens of 2019

#61 Post by j99 » Sat Jun 15, 2019 12:01 pm

01. Sunset (Laszlo Nemes)
02. High Life (Claire Denis)
03. Once Upon A Time... In Hollywood (Quentin Tarantino)
04. Midsommar (Ari Aster)
05. Birds Of Passage (Cristina Callego/Ciro Guerra)
06. Out Of Blue (Carol Morley)
07. Amazing Grace (Alan Elliot/Sydney Pollack)
08. The Irishman (Martin Scorsese)
09. Rolling Thunder Revue (Martin Scorsese)
Last edited by j99 on Mon Nov 25, 2019 6:52 pm, edited 4 times in total.

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Re: Dynamic Top Tens of 2019

#62 Post by Cde. » Sat Jun 22, 2019 1:01 pm

1. Pain and Glory (Almodovar)
2. Parasite (Bong)
3. If Beale Street Could Talk (Jenkins)
4. So Long My Son (Wang)
5. The Nightingale (Kent)
6. Midnight Family (Lorentzen)
7. Synonyms (Lapid)
8. The Unknown Saint (Aljem)
9. The Souvenir (Hogg)
10. Under the Silver Lake (Mitchell)
Next: In Fabric (Strickland), Just Don't Think I'll Scream (Beauvois), Vox Lux (Corbet), Varda By Agnès (Varda), Dirty God (Polak), The Best of Dorien B (Blondé), The Great Pretender (Silver), Divine Love (Mascaro), Anthropocene (Baichwal, Burtynsky, de Pencier), Never Look Away (von Donnersmark)

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Re: Dynamic Top Tens of 2019

#63 Post by Altair » Sat Jun 22, 2019 1:09 pm

1. Once Upon a Time in Hollywood
2. The Irishman
3. Parasite
4. Vox Lux
5. Joker
6. Ad Astra
7. The Goldfinch
8. Knives Out
9. The Current War
10. Downton Abbey
Last edited by Altair on Sat Nov 23, 2019 3:42 am, edited 10 times in total.

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Re: Dynamic Top Tens of 2019

#64 Post by Calvin » Fri Jul 05, 2019 3:07 pm

The Irishman (Scorsese)
Pain and Glory (Almodovar)
The Souvenir (Hogg)
Parasite (Bong)
The Farewell (Wang)
High Life (Denis)
Apollo 11 (Miller)
Monos (Landes)
Marriage Story (Baumbach)
A Rainy Day in New York (Allen)
Last edited by Calvin on Mon Dec 09, 2019 1:24 pm, edited 4 times in total.

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Re: Dynamic Top Tens of 2019

#65 Post by menthymenthy » Mon Aug 05, 2019 5:00 pm

1. Zombi Child (Bonello)
2. Liberté (Serra)
3. Die Kinder der Toten (Copper/Liska)
4. The Dead Don't Die (Jarmusch)
5. Knives and Skin (Reeder)

6. Beanpole (Balagov)
7. Once Upon a Time... in Hollywood (Tarantino)
8. The Beach Bum (Korine)
9. Years of Construction (Emigholz)
10. Fire Will Come (Laxe)
Last edited by menthymenthy on Fri Aug 16, 2019 7:45 pm, edited 1 time in total.

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Re: Dynamic Top Tens of 2019

#66 Post by zedz » Sun Aug 11, 2019 7:03 pm

On my first pass, I had a bunch of animated shorts vying for inclusion here and in the supplementary list, so I decided to extract those and do a separate animation top ten later on. Everything is in rough, mutable order of preference.

Ten Best:

La Flor (Mariano Llinás) – A brilliant, multi-faceted experiment with narrative that was hugely entertaining from the earnest opening director’s notes to the majestic forty-minute closing credits. So much great storytelling and delightful reflexive and structural gags (some are momentary; some take ten or more hours from set-up to pay-off). There’s a Cronenbergian sci-fi conspiracy; cheesy horror; experimental cinema; an awesome, intricate five-hour globe-trotting spy movie; a Godard film (if Godard were smarter and funnier); musical duels . . . I could have happily sat through another fourteen hours of this stuff.

Genesis (Philippe Lesage) – Like the director’s previous Les Démons, this is a scarily perceptive study of the perils and joys of youth. What he does at the end of the film is so audacious that I can’t even talk obliquely about it without spoiling it, and I can’t even think about it without smiling.

Song Without a Name (Melina Léon) – An intense, black and white Peruvian debut that has much of the narrative depth and formal classicism of Lav Diaz. The film’s dramatic hook could have (and probably already has, in a lesser film) yielded dreary heart-in-the-right-place melodrama, but Léon instead uses it as a window into a more wide-ranging examination of the bad old days which are always with us.

Up the Mountain (Zhang Yang) – How, in 2019, does one reinvigorate an antique medium? Zhang Yang flips the academy ratio on its side and comes up with one ravishing and surprising composition after another. The film is a semi-documentary study of the lives of folk painters in a Chinese village (it’s a lightly scripted drama enacted by local people), and the 3:4 aspect ratio echoes the framing of most of their paintings. Thus the film’s (gorgeous) landscapes evoke Eastern pictorial traditions rather than the default Western landscapes of cinema that we’ve been seeing for 120 years.

Koko-Di Koko-Da (Johannes Nyholm) – Can you remember the last time you saw a truly original horror movie? This Scandinavian puzzle-box managed to outdo even In Fabric in that respect by taking one of the most tired clichés of the modern horror movie and turning it into the entire structure of a film. The film has a queasy comic tone punctuated with moments of despair and cruelty that helps sustain its nightmarish momentum. The film’s structural gimmick is so strong and engaging that any kind of resolution would be anti-climactic, but that’s the price of admission to this kind of cinematic ride.

Long Day’s Journey into Night (Bi Gan) – Already discussed in its dedicated thread.

Portrait of a Lady on Fire (Céline Sciamma) – A period drama that is so intensely still and quiet that its two big musical set pieces are genuinely overwhelming. Impeccable filmmaking from start to finish.

Fire Will Come (Oliver Laxe) – Probably the best opening sequence I’ll see this year. I would love to see a monster movie that began so effectively. In the middle there’s a nicely observed drama about an arsonist returning to his small village after his release from jail, and the final third is largely occupied with the bravura action sequence promised in the title. It’s a relatively simple film all in all, but Laxe’s filmmaking chops are really impressive.

Bacurau (Kleber Mendonca Filho / Juliano Dornelles) – When it comes to South American arthouse directors tackling genre material, Mariano Llinás takes the cake this year (and probably for many years hence), but this mixture of dystopian science-fiction, survivalist thriller and splatter movie is an amazing artefact in its own right. The filmmakers invest concepts that could, and have, fuelled the sleaziest of pulp and treats them with seriousness, imposing them on a fully realized community and teasing out their inherent political subtexts. At the same time, they deliver the requisite pulp thrills by the bucketload.

Non-Fiction (Olivier Assayas) – Yeah, it’s talky, but Assayas’s nifty trick with this film is that beneath the veneer of garrulous erudition is a complex, fully realized relationship drama, going on in the actors performances even as they’re talking about anything else. And Assayas’s gift for pacing and eye for performance keep the whole film moving lightly and briskly.

Ten More Too Good to Miss:

Beanpole (Kantemir Balagov) – Good old-fashioned Russian grimness set in post-WWII Leningrad. Two women bound by circumstance and tragedy struggle to lead decent lives. Excellent sound design (we begin the film in the middle of the lead character’s seizure) and a distinctive look that mixes yellow light with deep signature greens.

Angelo (Markus Schleinzer) – Something of a cousin to Portrait of a Lady on Fire. The director of Michael finally returns with his second film, a pitiless portrait of an African child raised in 18th century Vienna as a curiosity, or walking allegory, or pet. He ultimately attains his independence and . . . Meticulous, austere, with a gentle use of anachronism that seems derived from Straub / Huillet.

Carmine Street Guitars (Ron Mann) – One of those films you choose as a gap-filler in your festival schedule but which turns out to be a gem. This is a lightly dramatized documentary about a Greenwich Village guitar shop. The lovely proprietor, Rick Kelly, fashions guitars out of salvaged wood from old New York buildings, and an array of music luminaries drop by to chat. A tremendously warm and engaging film (from an idea by Jim Jarmusch, who appears as a customer).

Aquarela (Victor Kossakovsky) – Not as great as Kossakovsky’s previous Vivan las Antipodas!, but magnificent nevertheless. The idea this time is the power of water, which we follow from the treacherous melting ice in the Artic (basically a short documentary on how to salvage a car that crashes through thin ice), to raging seas and storms, to Angel Falls. Sensory overload abounds, and there’s a common denominator of the impact of climate change unstated throughout.

Nina Wu (Midi Z) – A bracing head trip of a film that leaves us unmoored in terms of knowing what is real and what isn’t from moment to moment, but which works because it has a steely emotional coherence throughout. Nina, a struggling actress, lands the lead role in a slightly sleazy film, but her subsequent fame arouses memories of the people she left behind and the furious envy of a rival starlet, who seems to know more about what’s going on behind the scenes than Nina does. A Lynchian nightmare for our times. There is a solution to the narrative conundrums this film throws in our faces, but it’s a bleak one.

Hale County This Morning, This Evening (RaMell Ross) – A beguiling mixture of the banal and the visionary, shot under the sign of Weerasethakul. The lives of a black family in Alabama are documented in a lightly experimental mode (with pretentious intertitles that are at times self-mocking) that neither aggrandizes nor sentimentalizes the subjects. It’s quite a high-wire act, but I was sold.

The Wild Goose Lake (Diao Yinan) – Great-looking noirish thriller with some beautifully staged action set pieces.

In Fabric (Peter Strickland) – Could have been simply silly, but Strickland’s complete stylistic vision for the film (and strategic borrowings from the Brothers Quay) make this genuinely unnerving and genuinely hilarious. In the first part, Marianne Jean-Baptiste gives a superb performance that provides a necessary anchor in reality. Consequently, the second story loses its moorings a little, but has enough bizarre gags to keep the momentum going.

Les Miserables (Ladj Ly) - Kind of a more incendiary Parisian version of The Wire, but that’s no bad thing. As a first feature, this is a tremendous achievement, juggling a large cast and a wide range of moods and exhibiting a sophisticated sense of space and geography.

High Life (Claire Denis) – Superb filmmaking on all fronts, but I missed the intimacy and sensuality of Agnes Godard. Yorick Le Saux is no slouch, and the film looks fabulous, but I can only imagine what Godard would have brought to several key sequences. As it is, this is a fascinating and original take on the science fiction genre, and more evidence that Denis is not only one of the greatest working directors, but one of the least complacent.

Five Bad Films:

Seventy-plus features later, there were plenty of really good films that were ultimately disappointing for one reason or another (such as the new Poromboiu and Suleiman), but only a handful of genuine duds. So, in the interest of a public health warning:

Who You Think I Am (Safy Nebbou) – Glib, modish French drama. Apparently it’s easy to deceive people with fake online personae. Who'da thunk it? Binoche does what she can with a dumb script. Notable for featuring a psychiatrist who’s even more brazenly unprofessional than Justine Triet’s Sybil (a much better film that thematically falls somewhere between Non-Fiction and this potboiler): a plot twist (spoiler, if you can be bothered) depends on a shrink discussing her client’s therapy with one of the client’s ex-boyfriends. Yikes!

The Day Shall Come (Chris Morris) – Morris is a genius in certain contexts, but his limitations really come home to roost in this mess. Although fitfully funny (but not funny enough), it’s hard to make a satire work when every last character is an idiot. Ianucci had a gift for verisimilitude that balanced Morris’s take-no-prisoners approach work beautifully on The Day Today, and in The Thick of It this manifested as a complex cast of characters, with differing levels of intelligence, competence and good or ill will, even if they were all ultimately caricatures. In this film, there’s no such nuance, and so you don’t really care what happens to anybody. This could be fine if Morris were happy to just work on a joke-by-joke basis, but he tries to pull a switcheroo into poignancy / genuine outrage at the end of the film that is grotesquely misconceived.

Sorry We Missed You (Ken Loach) – In which I am reminded why I should stop going to see Ken Loach films. Maybe it’s Paul Laverty’s fault, but this is such a transparently contrived ‘tragedy’ that I couldn’t care less about the plight of the characters. They make every possible bad decision they can to ensure their tidy fate, and approach the big bad world with unbelievably wide-eyed naivety. We’re even expected to feel sorry for the arsehole teenage son. Moral of the story (spoiler?): if dad had run him over with his new van in the first act, everything would have turned out just fine. The most telling scene is when the big baddy is given a long speech to explain his motivations and comes off as even more of a pantomime villain. The two leads do fine work with what they’re given, but everyone else is a cipher.

One Child Nation (Nanfu Wang / Jialing Zhang) – A great, but hardly surprising, subject for a documentary – the dark underside of China’s “one child” policy – but this is possibly the most irritating and self-aggrandizing way to approach it. Nanfu Wang makes it all about her, her family history (although she wasn’t from a single child family and they weren’t subject to the abuses documented in the film), and her new status as a mother (which apparently gives her a special insight into human rights abuses). It’s frustrating that such a strong subject has now been spoiled for better filmmakers. Hilla Medalia and Shosh Shlam’s Leftover Women is a much better film on an obliquely related topic.

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Re: Dynamic Top Tens of 2019

#67 Post by Clarence » Mon Oct 28, 2019 11:10 am

01. I Heard You Paint Houses (Martin Scorsese)
02. Pain and Glory (Pedro Almodóvar)
03. Knives Out (Rian Johnson)
04. Parasite (Bong Joon-ho)
05. Once Upon a Time...In Hollywood (Quentin Tarantino)
06. Waves (Trey Edward Shults)
07. The Lighthouse (Robert Eggers)
Last edited by Clarence on Sat Dec 07, 2019 12:29 pm, edited 2 times in total.

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Re: Dynamic Top Tens of 2019

#68 Post by Nasir007 » Sun Dec 01, 2019 11:15 pm

I will attempt a first Top 10 for 2019

1. Parasite (Bong Joon Ho)
2. Pain and Glory (Pedro Almodóvar)
3. Synonyms (Nadav Lapid)
4. Asako I & II (Ryûsuke Hamaguchi)
5. The Traitor (Marco Bellocchio)
6. The Lighthouse (Robert Eggers)
7. Transit (Christian Petzold)
8. 3 Faces (Jafar Panahi)
9. Diamantino (Gabriel Abrantes & Daniel Schmidt)
10. Portrait of a Lady on Fire (Céline Sciamma)

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Re: Dynamic Top Tens of 2019

#69 Post by dda1996a » Fri Dec 06, 2019 6:28 pm

Long Day's Journey into Night
Our Time
Married Story
Young Ahmed
Light of my Life
It Must Be Heaven
The Irishman
Once Upon a Time in...Hollywood

1. Tree of Life
2. Paterson
3. It's Such a Beautiful Day
4. A Separation
5. Social Network
6. Phantom Thread
7. Her
8. Princess Kaguya
9. Stray Dogs
10. Nocturama

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