Best Picture 2019

Going into this race, 1917 was the heavy favorite before Parasite sort of stunned everyone and won the whole thing. Though maybe in retrospect the actual winner wasn't that huge of a surprise. It's a great overall lineup though and I can't wait to fully dive into these and experience what was a pretty enjoyable year for film.

2019 Best Picture

Parasite

I'm writing this the day after the Oscar ceremony, surprised and super happy that this film won Best Picture! What a stunning, historic outcome for the Academy. A foreign language film has never won Best Picture (and no, The Artist doesn't count as its only words were in English) before in the 91 previous years. Just an amazing achievement, especially given that this was South Korea's first foray into the Academy awards. That is particularly nuts because South Korea has been making a lot of great films recently, so it's awesome their contribution to world cinema was finally recognized. But this is a review about Parasite, which is an incredibly deserving winner and not some pity vote or something. Maybe it's a backlash against the milquetoast Green Book winning last year and people voting for something more inclusive, but I honestly feel this is one of the best films of the year hands down. It's probably going to be remembered as one of the best films ever going forward, on par with Roma from last year that was snubbed in favor of a film making white people feel good. Parasite, though. It's a film best enjoyed knowing nothing about it really. It's directed by Bong Joon-ho, who you probably know from Snowpiercer and Netflix's Okja. He's done some other Korean films that have been highly regarded but finally broke through with this one. It's about a poor family who sort of ingratiate themselves into the life of a rich family and it's all about that class struggle. But the interesting thing is that both sets of families (and the other people that we meet) have their moments where we despise them or where we root for them to succeed. The film is full of symbolism and gorgeously shot. I've read it described as a visual feast and I think it's such a well composed film. The acting is brilliant and it's a shame that none of the actors were nominated. There were some other possible Asian actors in other films this year that could have or should have been nominated, depending on who you ask. But the point is maybe a win for a film like this will finally usher in the full representation of actors from all around the world. Asian actors have been woefully under represented and maybe it takes a brilliant film like Parasite to loosen people's apprehensions about foreign films and foreign actors. One can hope, anyway. One thing I thought about after watching this film was just why did this film connect with so many people? Yes, it's well made and an almost perfect film, but it's also got the creepy, menacing tone to it. The film seems to start as a pebble rolling down and eventually taking the whole mountain with it as one comment online put it. Maybe it's a universal theme that everyone can relate to or maybe it's a smart look at a global issue that feels local. I think there's a lot to take away from the film and that depends on each person but I sure did enjoy it and that was even after all the hype surrounding it before it won Best Picture. This is hopefully a gateway film for casual audiences to find their way into the global film market and find this plethora of amazing films just waiting for them. Honestly, one of the most satisfying wins I've ever seen at the Oscars and I can't wait to see what Bong Joon-ho comes up with next.

1917

This is an incredibly well crafted film through and through. The directing is top notch and the cinematography is on another level. Roger Deakins won his second Cinematography Oscar for this film after losing like his first seventeen nominations or whatever it was. Truly one of the best who shows here that he's still got it. The single take idea has been done before to great effect like we saw in Birdman, but I think it serves the story so well in this film. Yes, there are obvious places where there were some cuts and edits but it still effectively moves along at such a great pace that you get so engrossed and don't realize the film is just under two hours long. It feels longer yet doesn't at the same time. I think that style also just fits following the character. So much would be lost in having static shots where we get someone talking and then a reaction and then a reaction of that shot and so on like you see in normal films. We feel that time is ever present and not stopping as the characters trudge on to deliver their message. Having them sit in a burned out farmhouse would kill that sense of urgency and stop all momentum of the story. The story is simple and one that we have seen time and time again where a man or men have to race the clock against all odds to do something. But the setting and the way it's shot and the acting of those involved really elevate the story into something much more than simple. There are moments that surprise and shock and moments that wear you down and make you feel for humanity. It can be a gut wrenching film at times and a film set in World War I is still somehow relevant in today's world. It's an incredible film and the one that was favored to win for most of the race and I think it's easy to see why.

Ford v Ferrari

Sunglasses: The Movie. There are a lot of cool looking sunglasses in this film for real. But this is a hell of an entertaining film, even if you know nothing about racing like me. It's just pure entertainment through and through. It clocks in at just over two and a half hours yet it breezes by like the Ford GT40's in this film. It definitely earns it's Editing Oscar win as the action is tightly paced throughout and it never feels like it sags anywhere. Going into this one I was like I don't really care about racing so is this going to appeal to me at all? Yes, it did and I think any casual film goer and racing novice will enjoy this. It features two really great acting performances from Matt Damon and Christian Bale. Bale probably should have been nominated for his role as a guy who helps build the Ford racing car and drives it. It was a great job from him and the two guys get you invested in what's going on in the film. The car action scenes are pretty dope and I like that they don't spend too much time endlessly driving around the track with an inside the car look. It keeps the action short and sweet and we get to see plenty of the car racing around from afar so we can better take in all that's going on and better appreciate the driving and the race itself. It's got good humor and a little bit of drama but never milks one or the other for too long before getting back to what the film is about: the cars and the two men building it and racing it. There's no boring romantic side plot to try to appeal to women, it's just straight to the point delivering an entertaining thrill ride. It's a well made film and definitely belongs on this list purely for the entertainment factor. There's no hidden subtext or intense family issues or anything other than watching some guys build their dream and try to win against all odds. Good stuff here.

The Irishman

This is certainly classic Scorsese. His longest film so far is about Jimmy Hoffa and the mob and a hit man who is his long time collaborator, Robert De Niro. Stating it right off the bat, it's great to see Scorsese and De Niro work together again. It's even better to see Joe Pesci come out of retirement to work with his friends and deliver a flipping great performance. It's even more betterer to see Scorsese finally work with Al Pacino. It always felt like a match made in heaven and for some reason had never happened until now. Thankfully it has happened as Pacino also gives us a great performance. The thing I really enjoy about this film is the acting. Scorsese got the most out of all of his actors, but especially those three. De Niro and Pacino in a lot of their most recent films were almost caricatures of themselves, playing up what made them great actors. Pacino plays Hoffa and has those moments where the character gets loud and excited but it never becomes that wild man Pacino we've seen a lot of in his later work. The stuff where he looks wide eyed and shouts a lot and curses even more - none of that is here. Scorsese reigned everyone in and made them focus and give us great performances. I was worried Pesci might phone it in being out of acting for so long but even he toned it down and focused more. That was my pleasant surprise from the film but it maybe was to be expected because this isn't the typical mob film from Scorsese. It's more a rumination on the past as De Niro's character narrates from a nursing home almost like it's a confession. The music is still there but even that's toned down. The violence isn't as gratuitous and graphic. It seems to only be when necessary for the story. The language is cleaned up as it doesn't seem like they are going for some kind of f-word world record like in previous films. It all seems way more pensive and mature and like a grand final opus with his favorite actors. It does run a bit too long. The ending drags quite a bit and probably should have been cleaned up with tighter editing. But it didn't seem interminable as the pacing is pretty good. I like that the film opened with a signature Scorsese style with a song playing over a one shot that moves through a nursing home until we find De Niro. It was pretty cool to see. I do wish Scorsese would do something more with the women in his film, though. They are all just wives or daughters and do nothing. Even Anna Paquin who plays De Niro's daughter as an adult only says three small lines. That's something he should be working to fix, honestly. But overall I enjoyed the film. I think those going in expecting another Goodfellas are going to be sorely let down as this is way more of a retrospective of the mob era and this hit man's life than a slick genre film. Thank goodness Netflix stepped in to make this as it is a very good Scorsese film.

Jojo Rabbit

I wasn't sure what to think about this film before watching it. It had gotten some good reviews and then started getting awards buzz and then awards love, but I wasn't sure if this was some Springtime For Hitler kind of thing or what. I was for sure hoping it wasn't a Life is Beautiful kind of thing and thankfully it was not. It's about a little boy who is a staunch Nazi who looks up to Hitler and has an imaginary Hitler as a friend (played by director Taika Waititi, naturally). His mother isn't for the war and is hiding a Jewish girl in their home and we see the breakdown of Jojo's fanaticism into stark realism. This sounds like a downer of a film but it's hilarious, I promise. It's like if Wes Anderson made a Hitler film. The subject is treated warmly and is very touching at times when it comes to Jojo and his mother. Jojo himself is very innocent and only a Nazi because he has grown up in Germany during that time. There's all kind of hi-jinks and colorful characters and even more colorful sets. The film looks vibrant which is something Waititi wanted instead of the drab greys and browns we think of as being war torn Germany. The acting from everyone involved is great, but especially the kids. As you know, I'm not a big child actor fan but the lead, Roman Griffin Davis, and his fat little friend are both charmingly funny and affectingly sweet. I think what I do like most about the film is that a lot of its comedy is very understated. It's looks Waititi gives as Hitler or Scarlett Johansson opening an imaginary door or any number of little details that make this a fully funny film. When you make a Nazi film with an imaginary Hitler, you dance dangerously close to the line of being in poor taste but I think Waititi is able to make it all come off as being respectful, but also a big fuck you to Hitler and that era. Not that saying that in today's world is some wild notion or anything. It was a film that I was a bit apprehensive going into but quickly warmed to it because it is so funny and so emotionally affecting. Definitely worth checking out if you are/were apprehensive like me.

Joker

I loved this film a lot. This was the film I wanted to win until I saw Parasite. I actually saw this in theaters because I was so hyped for it and Joaquin Phoenix. And it definitely lived up to the hype. Forget all the stupid media crap surrounding the film because they were hoping that the film would incite violence and be more controversial than it was, which was barely at all and only manufactured by the media. It was all really weird that that's what got focused on instead of the story and acting. Which both are incredible. Phoenix deservedly finally won his Oscar. It's a beyond brilliant performance and should be held up there as an all time great in my eyes. But I also enjoyed that this was a different spin on the Joker and thought it being a somewhat origin story really gave it a different feeling. It wasn't Joker going against Batman and seeing a bunch of other enemies or the typical Gotham feel to the world. It's just about a guy that society doesn't care about and actively tries to keep down who finally has enough and does something about it. It's very relatable and not in a serial killer kind of way, but in a I feel overlooked and cast aside by the rich and powerful kind of way. I think there's lots of different ways you could interpret this film and what it means is based on how you feel. But I don't think this is just some white guy gets angry and decides to kill people kind of thing. That's missing the point on purpose and not trying to actively engage with the story and the choices the director makes. I think the film is supremely crafted by Todd Phillips who poured his heart and soul into this. I think too many people were dogging him because he made popular comedy films before this, but you can do Old School and The Hangover and still create a masterpiece. It's so well shot and composed and looks great with a tremendous cast and soundtrack and gave us an iconic shot of Joker dancing on the stairs that will be remembered forever. Even if I think the choice of Gary Glitter is awful and any number of other songs could have made that an even more iconic and brilliant scene. And a lot of people criticized it as too derivative of Scorsese which is never a bad thing. It does remind me of The King of Comedy (and we've got De Niro in the film) but this is its own thing. Anything gritty and depressing and violent in 70s NYC will be reminiscent of Scorsese, Joker is its own world, though. Obviously Joaquin is the reason this film is as good as it is because without his dedication to the role it would feel off, I think. He makes you feel so sad for Arthur Fleck and you end up rooting for him, even as he kills. I just think there is so much to like and admire about this film and I'm so glad the Academy recognized it. This isn't a comic book film. It's a deeply personal look into a man who is mentally worn down by society and it just happens to be a version of the Joker. I want more intense, personal dives into the lives of heroes and villains like this because it works so well in the right hands. I say just watch this film without anyone telling you how to feel about it (me included) and see how it affects you. Because I think there is so much to enjoy on a film level about this one and I'm happy that it came close to winning.

Little Women

Initially I didn't really care about this as a film when it was announced it was Greta Gerwig's next project. I mean, it's been done a few times before and I already watched Winona Ryder's version that she was nominated for back in 1994. But then the cast started coming together and I love me some Saoirse Ronan, so I was on board especially given what they had just done with Lady Bird. Gerwig is becoming this supremely talented all around film maker and writer. It's only a matter of time before she finally gets nominated for Director and wins for Screenplay. The Screenplay mention is important because she took a much beloved classic book from 150 plus years ago and gave us this fresh retelling of the story. It's got a modern sensibility to it while retaining it's classic feel. The use of the two different timelines at the same time worked great to me, even though some people were confused about what was taking place when. I didn't think it was difficult to follow at all and really added to the film. The pacing was tremendous as we kept moving back and forth and it ratcheted up the tension of what was going to happen in the story even though we already know what happens. That's amazing that Gerwig can get us so invested in the story just by tweaking the format. It also helps that we get some wonderful sisterly chemistry between all the girls, with Florence Pugh the standout. Chris Cooper was actually the one who I liked the most because his presence was so sad but hopeful and he just nailed that role. Laura Dern felt a bit out of place, almost too modern for the story, but maybe that's what Gerwig was going for. I also appreciated that the film never felt stuffy or stale. It's essentially a costume period piece that we've seen before, but Gerwig managed to make it feel fresh and vibrant and made it more compelling than any of the other films of this story. I'm just really impressed that Gerwig took on a classic and made it distinctly her own and made it worth watching and up for Best Picture.  I hope her next work is just as good as this one.

Marriage Story

I do love Noah Baumbach films. I said earlier in Scarlett Johansson's review that he makes these New York films that feel very specific but once you watch them they have such a universal theme to them. This film is no different. It's about divorce, which a ton of people can relate to, whether they have married and divorced or been a child of divorce. This is a more positive outlook on divorce despite how brutal the proceedings can be. It's a seemingly great couple in New York who are divorcing and we find out Johansson is moving to LA for a TV pilot that gets picked up and Adam Driver is a super successful theater director. They hope for an easy, amicable split but then lawyers get involved and it gets nasty and ultimately things are decided and family is still stronger than all. The lead performances are amazing but the supporting performances are equally up to the task. Laura Dern won a deserving Oscar, but Alan Alda and Ray Liotta should have been in the discussion as well and never really were. Both are great as Driver's lawyers. The film presents this story as trying to keep a family together and it ends up fracturing but the spirit stays alive and I think that's the big takeaway. It gets nasty but in the end they still care for each other and want the best for their son. Driver moves to LA at the end to take some UCLA residency and it's a good look at compromising. I think if this were the early 80s this film would have cleaned up at the Oscars because it does remind me of those adult drama films that did so well like Ordinary People and Kramer vs. Kramer (1979, I know it's not the 80s) and that's a compliment. It's this super serious adult drama that speaks to so many people in a way that is natural. Yeah, they may be artists in LA and NYC, but we can all relate to their difficulties. I do feel Driver's banging his assistant isn't delved into fully and it even being there makes him look like a scumbag but his defense is it was when they were already separated. I feel it's only natural that we take sides when watching this film as I felt for Driver being railroaded but maybe women will side with Scarlett branching out on her own. It's a really strong film that is so universal that it will stand the test of time as a great film.

Once Upon a Time in Hollywood

I really enjoyed this film. I mean, I've liked all of Tarantino's films, but this one felt a bit different than all the rest of his output. Yes, it's heavily stylized like only Tarantino can do and it has his penchant for rewriting history in a favorable outcome. But this feels like a love letter to Tarantino's youth. I think it showcases LA and the Hollywood area well and makes me feel really nostalgic for a time and place I've never been to. It's got unbelievable acting all around and the story is actually less heavy and frantic like some of Tarantino's other films. It's also, mostly, less violent which I actually prefer for this story. His other films have lots of violence and rapid fire cuss words all over the place. This one feels more measured and toned to fit with such a laconic stunt man in Brad Pitt and a self doubting cowboy in Leo DiCaprio. There are some great individual scenes but the film doesn't just feel like a collection of cool scenes thought up by Tarantino. Those quiet in between moments add to the depth of the characters and establish a continuity in the story. That's what I love about this one. It's not just about the craziness of killing Hitler or guys all pointing guns at each other and saying motherfucker every third word. It's respectful of the time and place it's covering yet can still give us crazy scenes like the ending. I also like that Tarantino had fun shooting the TV shows as if they were real. Seems like it was something he really wanted to do and I heard they were wanting to do an actual series of Bounty Law, though I don't know how likely that is. I really love how great he made old LA look and how alive and real it felt. I could have just watched two hours of Brad driving around LA and been entertained.  The one thing I wasn't too fond of is how little Margot Robbie matters in the film. She just seems there so Tarantino can film her feet and ass. She's mostly just dancing in her scenes and I wish Robbie could have more to do with the character. But even with that, this film is so good and I just love how laid back it feels. A lot of his stuff has this tension and intensity that just keeps ratcheting up as we go along. This felt mellow by those standards and I was really digging it. I think this will eventually be considered one of Tarantino's best and it would be up there for me.



A year after we get such a lame choice for the Best Picture win, we get one of the best choices ever in my opinion for Best Picture in Parasite. It's just such a great, great film and indicative of the amazing foreign work that is out there waiting to be watched by American audiences. I think it helps when the director is super likeable and already involved a little with Hollywood, but this is the start to how the Academy should be. I would have also been extremely happy if Joker won, which was a slight possibility. The fact that it gained so much traction and respect even though the media wanted it to cause problems is amazing. But it's a well made film and a great combo of director and actor. 1917 was the front runner for most of the race. But it deserved to be up there because it is so technically well made and a very good film to boot. It will become a classic war film but I liked that the story was so singular and small and not covering a bunch of battles and historical points. It's a personal film that reaches beyond its own simplicity. Marriage Story wowed me. I flipping love the two leads in it and in another, weaker year would have been all about it winning. Just a brutal look at marriage and relationships that again is a personal story. You should be noticing a theme by now. Once Upon a Time is classic Tarantino yet also different, which I enjoyed. I love how laid back it feels and its reverence to older Hollywood. The Irishman kinda, sorta surprised me. I think a lot of people were expecting a typical gangster film from Scorsese but this was a contemplative, ruminating film about the past and getting older. It's long as hell but worth a watch for sure. Little Women was very good for being the 40th iteration that we've seen. That comes off as an insult but I mean that this film breathed new life into the source material and made it something worth watching with great directing and acting. I enjoyed Ford v Ferrari on a pure entertainment level and feel this is where we could have trimmed the fat and maybe added some other films possibly instead. But it's here and though it will be completely forgotten about except on some trivia night 10 years or less from now, it's a fun film. Jojo Rabbit is interesting. I liked it and felt the humor was respectful of the subject but also feel like this will probably be looked at down the line as not belonging on the list. Maybe I'll be wrong and history will judge this film better, I just am not sure a couple months later that this film belongs. But if this is the worst of the group, then we had a pretty awesome group overall. Couldn't be more happy with this year and all of the films I watched. I am highly looking forward to how crazy 2020 will be given all that has gone on in under 6 months and if there will even be a ceremony. Here's hoping there is and it's a great one like 2019.


Oscar Winner: Parasite
My Winner:  Parasite
Joker
1917
Marriage Story
Once Upon a Time in Hollywood
The Irishman
Little Women
Ford v Ferrari
Jojo Rabbit