Who is right in this debate? Are comic book movies cinema? What was the state of cinema in 2019? To me, there isn't anything artistic about comic book movies. They are essentially CGI extravaganzas. Some have compared them to video games. Scorsese and Coppola are trying to say comic book movies have no soul. The characters don't touch our hearts. There is nothing personal about watching Hollywood "events" with hundreds of millions of dollar budgets ever so reliant upon special effects. Is great cinema a thing of the past? Good movies are out there, but they are the movies audiences shun. And that was even before there was a pandemic! It's the chicken or the egg paradox. Do mainstream audiences simply have "bad taste" or does Hollywood lack originality? Is Hollywood feeding the public with what it wants, or have the masses been brainwashed and conditioned to accept what Hollywood has to offer?
Lets take a look at the top five highest grossing movies of 2019. In order: "Avengers: Endgame", "The Lion King", "Frozen II", "Spider-Man: Far From Home" and "Captain Marvel". Three comic book adaptations, two of which are part of an on-going series. Another is a sequel and one is a remake. When we branch out and look at the top ten movies, seven of them were released by Disney. What does this tell us? For one thing, one studio dominates the box-office. Two, franchises appear to be popular. The movie-going public likes recognizable faces and familiar stories. Each of these movies grossed more than a billion dollars world-wide. Movie making is big business. Any debate about artistic merit in Hollywood versus commercial mainstream appeal is a debate only among college film majors. The discussion is over.
That's not to say 2019 was a bad year for the movies. It wasn't great, there have been better years, but good movies were out there. It took some hunting. Curious cinematic appetites. But, they were out there.
Critically, the most praised movie of the year, in terms of its appearance on year end "top ten" lists, was the South Korean movie, "Parasite". A darling of the political left. Their profuse admiration was a bit head scratching to me. Spoiler - it will not appear on my list. It became the first international film to win the best picture Academy Award. Other highly praised movies included Quentin Tarantino's "Once Upon A Time... In Hollywood", Scorsese's "The Irishman", "Marriage Story" and "Uncut Gems". The most nominated movie at the Oscars was "The Joker" - yet another movie dealing with a comic book character - that scored 11 nominations.
As I always say, cinema is a reflection of the world around us. For some, the last couple of years have been trying with Herr Chancellor Trump in the White House. Have the movies caught up to Trump yet? Meaning, has Hollywood been making movies critiquing Trump, in the same way they went after George W. Bush? Sort of. In a more subtle way. The only direct attack that instantly comes to mind was Michael Moore's documentary, "Fahrenheit 11/9" (2018). Instead, we have gotten movies addressing the issues of the Trump era without saying his name. Movies about social unrest, corporate corruption, racial tension, police brutality, etc. Every movie on my list, in one way or another, is a critique of the world we live in. The ways in which the working class are being taken advantage of. Movies have become increasingly political in the last 20 years. A movement that seems to have started with documentaries, which aren't even documentaries as previously defined, but political essays. Everything is politics. Even those comic book movies.
The unrest and divide in our society is real and reflected in our movies. Not since 2015 (see my top ten list here) have movies been as angry. Politics has a lot to do with that. As well as the miserable state of our media (it's not "fake news", it is just bad corporate controlled news). But, again, is it a chicken or the egg paradox? What came first? The anger or the bad politicians and the distorted news? Where would cable news be if it didn't stir up anger? If it didn't take political sides (which is much different than reporting facts)? What would happen if the news networks didn't take their orders from the corporations that owned them? What would happen if the news anchors didn't regurgitate DNC (Democratic National Committee) or RNC (Republican National Committee) talking points? What would happen if we held the news analyst responsible, you know, like we always say about the meteorologist? Why are these people invited back on TV after their predictions are wrong and they don't have to publicly admit it? What would happen to the Sunday morning talk shows?
This isn't a political rant. It has festered into our movies - the lies, manipulation, corruption. We aren't quite at the peak as we were in the 1970s, when filmmakers and the studios were more socially conscious, but it is all bubbling. When will it explode? If movies are a true reflection of our world, I have a feeling the upcoming presidential election will be contentious.
Lastly, I'd like to mention the sad goodbyes of the year. There are fewer and fewer names left of the giants of cinema's past. Some of the artists we said goodbye to in 2019 included: Doris Day, Stanley Donen, Tim Conway, filmmaker Dusan Makavejev, Ingmar Bergman regular Bibi Andersson, Bruno Ganz, Albert Finney, filmmaker Franco Zeffirelli, Danny Aiello, Rip Torn, Peter Fonda, composer Michel Legrand, filmmaker Agnes Varda, Seymour Cassel, Robert Forster, Carol Channing, filmmaker John Singleton and Robert Walker Jr.
Here is my list of the best films of 2019!
1. DARK WATERS (U.S.; Dir. Todd Haynes) - Based on the true story of a corporation (DuPont) contaminating a town's water supply. The movie seemed to be an early award favorite and critical darling. And then everything suddenly cooled off. The movie, starring Mark Ruffalo, Anne Hathaway and Tim Robbins, never found an audience. Before any right-wing critics try to pollute the conversation with their RNC approved talking points, of this being nothing more than a liberal Hollywood fantasy, I would like to turn your attention to a recent Chicago Tribune article on the EPA's lack of enforcement of clean water laws (click here). As reported, "U.S. Steel dumped a plume of cancer-causing metal into a Lake Michigan tributary 20 miles away from a Chicago drinking water intake." Trump's EPA will not punish the company. In fact, per the article, there has been a systematic decline in cases filed since Trump took office, despite "the number of chronic violators in heavy industrialized states skyrocketing". This story was published in yesterday's paper.
Events like the ones depicted in "Dark Waters" are not the stuff of liberal Hollywood pipe-dreams. They are a daily reality, many choose not to pay attention to. No one is held accountable. The government won't help. They have been bought and paid for by these corporations. DuPont even wanted to take legal action against the movie.
Haynes is best known for films' reflecting on and challenging social conventions - "Far From Heaven" (2002) and "Carol" (2015), which both received multiple Oscar nominations. Here he has created a real rabble-rouser. No film released this year got me quite as worked up. A real shame the sheep (movie critics) and the studio didn't push it for award recognition.
2. LES MISERABLES (France; Dir. Ladj Ly) - A timely story revolving around the vicious cycle between police brutality and the working class. Do police monitor these areas because that's where the crime and violence is, or does their presence invoke it?
This French drama, directed by Lady Ly in his feature-length debut, was the country's official Oscar entry. Unfortunately losing to the over-hyped "Parasite".
While the film borrows its title from Victor Hugo's famed novel it is not really an adaption. Although both stories deal with a working-class uprising.
The film ends on a chilling image, capturing the seemingly pessimistic nature of the environment.
3. OFFICIAL SECRETS (U.K.; Dir. Gavin Hood) - Government lies and media manipulation are at the center of director Gavin Hood's fact based drama.
Starring Keira Knightly as a GCHQ (Government Communications Headquarters) employee who leaks a memo regarding the United States wanting to put pressure on the UN to secure votes for a resolution on the Iraq War in 2003. The US was going to spy on foreign diplomats.
Like Haynes in "Dark Waters", Hood uses the thriller genre to address social issues and tells an extremely important and unfortunate story (only because so many seem to have forgotten recent history). It becomes an important reminder and wake-up call. Never forget, when it truly matters, the media works at the behest of the government to consolidate their lies. To this day, society is dealing with the repercussions of this deliberate policy failure. Has anything been learned? The presidential nominee for the Democratic Party is a man who voted for the war and the Patriot Act (legislation allowing government surveillance).
Gavin Hood previously directed the Oscar winner Tsotsi (2005) and the politically charged thriller, Rendition (2007). Once again the sheep (movie critics) didn't push the movie. "Avengers: Endgame" made more top ten lists than this movie. Its award recognition was limited and weak. No Oscar nominations or Golden Globes. This despite a truly powerful performance from Knightly and a makes-your-blood-boil screenplay.
4. A BEAUTIFUL DAY IN THE NEIGHBORHOOD (U.S.; Dir. Marielle Heller) - The story of Mr. Rogers meeting Esquire journalist Tom Junod is painstakingly heartfelt. In a year when many complained about the lack of female representation in the best director Oscar category, Ms. Heller, was wrongly overlooked. Tom Hanks however earned his Oscar nomination. In today's angry times, here is a nice reminder there are still good people in the world.
5. SHADOW (China; Dir. Zhang Yimou) - One of my favorite filmmakers working today, Zhang Yimou, rarely fails to impress. This "Prince and the Pauper"-ish story is no exception with its breathtaking visuals!
The movie is a return to form for Yimou, whose previous efforts included English language dramas; "The Great Wall" (2016) and "The Flowers of War" (2011).
6. AMERICAN FACTORY (U.S.; Dirs: Steven Bognar & Julia Reichert) - A "political essay", produced by Barack and Michelle Obama's production company, Higher Grounds. Quick, cue right-wing hysteria and complaints about a liberal media.
Hitting on themes addressing culture clash, globalization and outsourcing, "American Factory" is an honest representation of the times and the frustration of the working class. In many ways that led to the rise of Bernie Sanders and Donald Trump. How strange that conservatives wouldn't like it. For me, this was far more effective than "Parasite", showing the vicious cycle of the economy's toll.
It was quite the year for Netflix, distributing titles like this one, "The Irishman" and "Marriage Story"; showing how the movie business is changing.
7. THE IRISHMAN (U.S.; Dir. Martin Scorsese) - The old gang is back together again in this Martin Scorsese crime drama starring Robert De Niro, Al Pacino, Joe Pesci and Harvey Keitel. Do I seriously have to say more to get you interested to watch this?
Based on Charles Brandt's memoir, "I Heard You Paint Houses" the movie is a fitting addition to the Scorsese cannon, addressing themes of redemption and guilt.
8. BOMBSHELL (U.S.; Dir. Jay Roach) - "Liberal Hollywood"'s contribution to the #MeToo movement and a good excuse to criticize Fox News, the film focuses on the sexual harassment culture, seemingly (secretly) approved by the network.
The film features an incredible performance from Charlize Theron. I always over-look Theron as one of our great actresses and then I see a movie like this. Theron plays journalist Megyn Kelly and as far as I am concerned, gets lost in the role. Theron becomes Kelly. She should have won an Oscar. She might have too, in a year that didn't have Renee Zellweger as Judy Garland.
But credit must be given to the rest of the cast, including Nicole Kidman, Margot Robbie and John Lithgow as Roger Ailes. Like "The Irishman", the performances across the board are excellent.
Unfortunately, Charles Randolph's script wasn't nominated for an Oscar. He also co-wrote "The Big Short" (2015), for which he did win the Oscar. The director, Jay Roach, may be known for the comedies, "Austin Powers" (1997), "Meet the Parents" (2000) and "Meet the Fockers" (2004). He has dipped his toe into the political waters, with varying success - "The Campaign" (2012) bad, "Recount" (2008) and "Trumbo" (2015) better.
9. TOY STORY 4 (U.S.; Dir. Josh Cooley) - The toys are back for one more adventure.Somehow it doesn't feel like a cash grab from Disney / Pixar, even though it is. Perhaps it has to do with this being an emotional, well told story. Yet, the magic of Pixar seems to have worn off for the sheep (movie critics) who don't trip over themselves in their praise. Luckily, it still won the best animated film Oscar.
You might say it is overreaching, but we could interpret this story as the story of workers, learning our place and value in the world and coming to the sad realization when we are no longer needed and must let go.
A sad, final (?) goodbye to the toys that have touched us, real and animated.
10. THE TWO POPES (U.K. / Italy; Dir. Fernando Meirelles) - Another Netflix gem, brought to us by the gifted Brazilian filmmaker, Fernando Meirelles, best known for "City of God" (2002).
This Oscar nominated movie stars Anthony Hopkins as Pope Benedict XVI and Jonathan Pryce as Pope Francis. A fascinating conversation ensues on the role of religion and which direction the Catholic Church should go in. Somehow religion and politics seem to be connected. Which direction should the church go in, which direction should the country go in? Which ideology (theology) should we be ruled by?
Finally, I have to give HONORABLE MENTION to some titles that didn't make my list, but, I really wanted to celebrate in some way.
11. BE NATURAL: THE UNTOLD STORY OF ALICE-GUY BLACHE (U.S.; Dir. Pamela B. Green) - A fascinating documentary about a forgotten pioneer in the early days of cinema and perhaps the first female director ever.
There is so much being written and rewritten regarding the history of cinema. Within this story we hit on larger social themes. Who writes history? How is it compiled? The role and acceptance (or lack) of women in a male dominated industry.
12. ANNABELLE COMES HOME (U.S.; Dir. Gary Dauberman) - Another entry into the "Conjuring Universe" and the "Annabelle" franchise. Is it a coincidence "Toy Story 4" and this movie are on the same list?
A tightly constructed horror movie.
13. PETERLOO (U.K.; Dir. Mike Leigh) - A historical drama based on the Peterloo Massacre of 1819, released on the 200th anniversary of the horrific event in which the British government violently reacted to a peaceful protest of workers standing up for representation. A reminder that the powerful are cruel and violent and will use any means necessary to stop the working class.
Some things never change.
14. QUEEN & SLIM (U.S.; Dir. Melina Matsoukas) - A "road movie" not about reaching a destination, but the journey of life.
Like "Les Miserables" an examination of police brutality in black & brown communities. It is also a study of identity.
The director, Matsoukas, is another female that could have been nominated for an Oscar.
15. THE FALL OF THE AMERICAN EMPIRE (Canada; Dir. Denys Arcand) - A satirical look at the U.S. economy and the ways in which the rich and powerful "protect" their money.
16. THE NIGHTINGALE (Australia; Dir. Jennifer Kent) - Kent's follow-up to "The Babadook" (2014) looks at motherhood, colonialism and race. At times deeply emotional and raw, it is a roller-coaster of a movie.
17. A RAINY DAY IN NEW YORK (U.S.; Dir. Woody Allen) - Unfortunately not released in the U.S. (thanks to today's token liberalism) I was still able to see a copy of the film. "A Rainy Day In New York" is an old-fashion love story set in a modern world. A surprisingly effective performance from Selena Gomez is a highlight (I never thought I'd ever write such a thing). Hopefully one day American audiences will be able to see the movie (it has been released in Europe).
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