I write about films, especially superhero films, and Hollywood. Votes: 515,139 | Gross: $142.50M. Read the latest music news on rock, pop, country, jazz, rap, hip hop and more, get ringtones and lyrics. High in the mountains of an unidentified Latin American country, a band of child soldiers (with names like Rambo, Wolf and Boom Boom) partake in intense physical training and unique aggro rituals – such as lashing a member for their birthday – while guarding their hostage, an American doctor (Julianne Nicholson). On a New England rock enshrouded in crashing-wave mist and bombarded with torrential rain, 19th-century lighthouse keepers Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson) tend to their duties, with the former manning the illuminated tower and the latter maintaining their domicile and coal-burning furnace. Still, Shadow is an aesthetic wonder, drenched in ash-gray hues and wielding serpentine cinematography to enrich its tale about a military commander’s “shadow” (Deng Chao) – i.e. The debut feature from Hu Bo (who died shortly after production was completed) concerns a collection of individuals whose lives intersect during the course of a single day: Wei Bu (Peng Yuchang), an angry high-school student who accidentally commits a catastrophic crime; Yu Cheng (Zhang Yu), the guilt-stricken gangster brother of Wei Bu’s victim; Huang Ling (Wang Yuwen), a classmate of Wei Bu’s who’s involved with her vice dean; and Wang Jin (Liu Congxi), a grandfather being coerced by his son and daughter-in-law to move into a nursing home. With a lyrical touch that invigorates his often-droll action, Talbot pays bittersweet tribute to San Francisco and the magic of true friendship. There you have it, my list of the top 20 best films I’ve seen in 2019. Kaili Blues director Bi Gan concludes his sophomore feature with a 56-minute single-take sequence shot in 3D, his camera trailing alongside (and above, and behind) his protagonist, Luo Hongwu (Huang Jue), as he navigates a rural dreamscape that he’s travelled to while sitting in a movie theater. James Mangold’s Ford v Ferrari may not redefine its field in the way that the Ford GT40 revolutionized auto racing, but it’s nonetheless a muscular example of big-budget, star-driven Hollywood entertainment. It’s been decades since Murphy has been this hilariously energized, his giant smile and brash talk elevating this underdog-makes-good effort from Craig Brewer (Hustle & Flow), which traces Moore’s transformative creation of both his famous alter ego, as well as the family of friends and collaborators who helped him realize his stage and screen dreams. Such was the profound existential crisis faced by 18-year-old Alex Lewis when, in 1982, he was injured in a car accident, lapsed into a coma, and awoke to find that he recognized no one save for his twin brother Marcus. Paired with its predecessor, it’s one of the finest Stephen King adaptations ever. This are the movies that I prefer to be on my top 40 picks .. An era-spanning tale that charts the intersections of the mob and domestic politics (including the election and assassination of JFK), Scorsese’s film is also a flashback-layered drama about the passage of time, and the impact – or chilling lack thereof – that regret, treachery and immorality have on a man’s soul. In a Europe that simultaneously resembles today and 1940, German expat Georg (Franz Rogowski) endeavors to escape Paris before the arrival of encroaching Nazi-esque fascists. Led by bravura turns from its leads (Pesci quiet and menacing; De Niro stoic and empty; Pacino fiery and charismatic), it’s an epic about American corruption and underworld dishonor. Led by a tour-de-force turn by Moore, whose expressive work is some of her finest to date, it’s a small-scale story with a profound understanding of life as it’s actually lived, and felt. Musician-filmmaker Blitz Bazawule’s feature debut is a spellbinding storybook fable about a young Ghanaian girl named Esi (Cynthia Dankwa) whose father Kojo (Joseph Otsiman) is convinced by his back-in-the-picture brother Kwabena (Kobina Amissah-Sam) to move their family from a village on stilts in the middle of a lake to the big city, where greater economic prosperity supposedly awaits them. As evidenced by his Hero and House of Flying Daggers, Zhang Yimou is no stranger to dazzling martial-arts action. Buoyed by a script attuned to the sorrowful rhythms of older age (and New England), Jones’ film rests on the shoulders of Place’s stellar, lived-in performance as Diane, a fallible woman whose selflessness is colored by anger and regret. Divorce is a cataclysm that destroys the past, present and future—as well as forces one to reconfigure their very sense of self—and Noah Baumbach’s Marriage Story captures that upheaval with stinging authenticity and insight. It’s the horror film of the year. John Wick dispatches adversaries in a frantic knife-throwing fight, on horseback through the streets of New York City, and with a library book (!) Epitomized by the yin-yang symbol on which many battles are fought, dualities (masculine and feminine, light and dark, real and imitation, mortal and ghostly) are rampant throughout. © 2021 Forbes Media LLC. More importantly, that revelation repositions the material’s focus onto the art of moviemaking itself, and the myriad headaches – caused by temperamental actors, budget constraints and unforeseen delays and obstacles – common to the process. That afforded Marcus an opportunity to rebuild his sibling with stories about their past – some of which omitted crucial events from their horrendous childhood. Costa's connection to her homeland's bifurcated history (via her revolutionary parents and wealthy grandparents) lends additional urgency to her survey of this tumultuous period of disintegration, in which corporate greed and power turn out to be more influential than the rule of law – or the will of the people. With both dynamism and comprehensiveness, Karim Amer and Jehane Noujaim’s infuriating documentary details the Cambridge Analytica scandal via the work of reporters and whisteblowers intent on exposing the company’s function as a tool of right-wing extremists both in America and abroad. From black-and-white nautical madness to Brad Pitt in space (and the '60s), this is the greatest cinema of the year. Reuniting him with his favorite stars (as well as Al Pacino), and clocking in at a whopping 209 minutes, The Irishman serves as Martin Scorsese’s grand closing statement on the gangster genre he helped elevate to greatness with 1990’s Goodfellas and 1995’s Casino. “I hate autofiction,” says the elderly mother of filmmaker Salvador Mallo (Antonio Banderas), a sly nod to the rooted-in-reality nature of writer/director Pedro Almodóvar’s somber, yet joyfully cathartic, latest. Convinced the three chalk pieces she received from her teacher grant her magical wishes, Estrella tries to survive her harrowing new circumstances on the streets, which are further complicated by two adult thugs intent on reclaiming their stolen property from Shine. The result is an aesthetic performance piece that feels like the psychosexual underworld dance extravaganza that Luca Guadagnino’s Suspiria wanted to be, replete with a finale that takes up residence in some hallucinatory ninth circle of Hell. A trifurcated tale split between the hand’s journey, Naoufel’s pre-accident life as a pizza delivery boy, and his early adolescence, Clapin’s two-dimensional gem is an arresting aesthetic experience, its daring visuals married to a soundscape of buzzing, barking and screeching that lends the action an immersive immediacy. That spells trouble for Sheila (Marianne Jean-Baptiste), a recent divorcée who discovers that wearing the garb leaves her body with strange burn marks, as well as its subsequent owners Reg (Leo Bill) and Babs (Hayley Squires), who also fall under its dark spell. Hu shoots each protracted scene in long, unbroken takes, habitually foregrounding his subjects in shallow focus while staging key action in the fuzzy background. God and the Devil are at war in rural Louisiana in Burning Cane, and the former doesn’t appear to be faring too well. In every category, you’ll have no trouble finding many more potential nominees than there are slots to fill for a given category. The number of award-worthy performances this year is likewise impressive. From young upstarts looking to take Bin’s position, to work along the Three Gorges (which will ultimately submerge towns), change is afoot. Preying upon the naiveté of corporate bigwig Mr. Park’s (Sun-kyun Lee) wife Yeon-kyo (Yeo-jeong Jo), teenage Ki-woo (Woo-sik Choi) cons his way into a job in their ritzy household as an English tutor for their daughter. Hogg depicts their affair with little concern for superfluous in-between stuff, cutting pointedly to the couple’s most crucial incidents together, and in the process she strikes an assured balance between realism and impressionism. While Moss doesn’t hold back in depicting Becky’s ugliness, she taps into the underlying hurt and vulnerability fueling her firestorm heart, peaking with a heart-rending single-take piano rendition of Bryan Adams’ “Heaven.”. There’s a vicarious thrill to watching this rocker spiral into the abyss, and then pull herself back out. Set free from the company of his remote skating-instructor father (Udo Kier), miserable Andy (Tye Sheridan) – desperate to reconnect with his institutionalized mother – sets out on a trip with Dr. Wallace Fiennes (Jeff Goldblum), who wants Andy to photograph the psychiatric patients he treats with his unique electroshock-and-lobotomy procedures. Erskine in particular is a revelation – a charismatically uninhibited riot, she seems destined for Hollywood’s A-list. MPAA Rating: R. Director: Joon-ho Bong. Reconfiguring noir’s fatalistic heart for our tangled modern condition, it’s a portrait of the surreal new bleakness, with everything part of a grander whole that offers no substance or solace – leaving only that eternal desire for truth, and togetherness. And with awards season in full swing, stop by our leaderboard to see who’s racking up the most gold. Marianna and Héloïse’s blossoming relationship is one of slow-burn amour, which Sciamma stages with a meticulousness and quiet (sans any soundtrack) that only enhances the atmosphere of aching ardor. One of the most awaited live-action films in our 2019 movies list is the tear-jerking “Dumbo.” If the trailer can already make grown men misty-eyed, how much more damage can the movie do? Samuel Maoz’s fierce nightmare vision of Israel, where loss and pain are randomly distributed, offers an urgent and witty picture of futility. Apollo 11 is a cinematic space event film fifty years in the making. Top40-Charts.com provides music charts with hot hits from all over the world, like US / UK Albums and Singles, Bilboard Chart, Dance charts and more. Petra Costa's harrowing and dismayingly timely Netflix documentary presents a country torn apart at the seams, split between citizens in favor of staying the thirty-year democratic course, and those eager to take a turn back into dictatorial extremism. Indebted, spiritually if not narratively, to Andrei Tarkovsky’s Solaris, Denis’ story concerns a space ship on which a doctor (Juliette Binoche) attempts to successfully conceive children through experiments with convicts – including Monte (Robert Pattinson), who’s introduced caring for an infant, alone, in what’s soon exposed as a flash-forward – as they all hurtle toward a black hole whose energy they seek to harness. Upon release, Qiao strives to acclimate herself to a modernizing world that doesn’t care about the collateral damage left in progress’ wake. These titles prove that while the streaming arguments rage and the medium may be a mess, the art form is as healthy as ever. The story of two friends who, like their hometown, are in a state of uneasy transition, The Last Black Man in San Francisco affords narrative and aesthetic surprises around every corner. Arriving in Marseilles, he befriends the African son (Lilien Batman) and wife (Maryam Zaree) of a former comrade. Read the full review. Lists of recent good movies and award winners. Matthew McConaughey is the king of bongo-drumming laissez-faire cool, and in The Beach Bum, he assumes the role he was born to play. in Chad Stahelski’s latest go-round – and that all happens in the first twenty minutes. In this saga about the self-destructiveness of war, the kids aren’t alright. Led by his own interior-thought narration, Roy’s saga is at once awe-inspiring and poignant, intimate and majestic. Follow me on Twitter and add me on Google . In his debut, the critic-turned-writer/director cuts efficiently, so that no gesture or expression is wasted, and yet he also tends to linger – on a notepad’s to-do list, or a face trying to hide the reality behind a recent utterance – in order to evoke greater unspoken truths. That imagery boasts breathtaking scale, conveying the literal and figurative enormity of everything involved with the Apollo 11 – making it ideally suited for IMAX. Far more subdued than its summer-blockbuster brethren, it’s a showcase for Hart’s vibrant visuals and Mbatha-Raw’s heartfelt performance as a woman finding strength not from independence but, instead, from bonds of blood. Shin’ichirô Ueda’s cult classic-in-the-making is about a couple fending off a zombie plague. Every product was carefully curated by an Esquire editor. Overall Rating: 3.6 out of 4 stars. and I tried to consider a variety of genres and types of filmmaking in my selection process. Haenel and Golino are both phenomenal, the latter particularly so as a Mona Lisa smile-flaunting beauty engaged in a process of uncharted self-definition. Through it all, Keanu Reeves strikes a dashing pose as the increasingly harried (and bloodied) Wick, his trademark designer suits and walk-softly-and-carry-a-big-gun demeanor once again employed to expert effect in a series that continues, like Reeves himself, to improve with age. A semi-clandestine drug habit eventually becomes a complicating factor for the duo, but the real heart of this enthralling film is Julie herself, whose interior state is brought to vivid life by the director’s intimate, aesthetically diverse approach. Alongside their doting mother (Laura Dern), unpleasant rich aunt (Meryl Streep) and dreamboat neighbor Laurie (Timothée Chalamet), the siblings attempt to make their way in a world where, per Amy and Jo, female sovereignty is only achieved with money, and marriage is both an economic transaction and a bond forged by love. Premiering on the 50th anniversary of that momentous event, it utilizes a treasure trove of recently discovered 65mm footage and audio recordings to afford an up-close-and-personal view of the preparations for launch, the men and women toiling behind the scenes to ensure its safety, the crowds gathering to witness history, and the outer-space flight itself, shot by cameras accompanying (and sometimes manned by) Neil Armstrong, Buzz Aldrin and Michael Collins. From euphoric in-motion beginning to pitch-perfect self-referential end, it’s a time-honored tale made new, and enchanting, once more. Their laborious toil is compounded first by interpersonal tensions over Wake’s possessiveness regarding the lighthouse itself, and then by run-ins with squawking gulls (vessels for dead sailors’ spirits, says Wake) and visions of slimy tentacles and inviting mermaids. The end is here, at least for the cinematic year, which has gifted us with a bounty of audacious dramas, documentaries, comedies, thrillers and action-adventures. “This isn’t going to end well,” warns Ronnie at regular intervals, which he knows because he’s read Jarmusch’s script – just one of many instances in which the film indulges in goofy self-referentiality. Better still, this blistering ode to rubber-burning independence and individuality also gives Miles – a wheelman of unparalleled audaciousness and skill – the rightful due he was denied decades earlier. In Parabellum, Wick teams up with Laurence Fishburne, Ian McShane, and Halle Berry (and her two crotch-fixated German shepherds) in order to stave off death at the hands of the world’s assassins, all of whom seek a bounty on his head. That only bolsters his suspenseful storytelling, characterized by formidable set pieces – involving perilous aquatic races against, and bone-crunching tussles with, the wild beasts – that further reflect Haley and Dave’s strained father-daughter dynamics. 2019 Is really proving a great year for movies, here are the top 7 movies to make this year more special. You may be able to find more information about this and similar content at piano.io, The 60 Best Movies to Stream on Amazon Prime Video. How much or how little a factor weighs depends on the film and the other factors. Long-suffering but resolutely defiant, she’s the embodiment of female perseverance in the face of the unholy. Movies and myths collide, both mirthfully and mournful, as Sam strives to uncover the knotty conspiracy-theory connections linking everything and everyone. Regarding those “various factors” I use to select the films for this list, I consider the raw quality of different aspects of the film — writing, directing, acting, cinematography, film and sound editing, and so on — as well as the final product compared to the work that went into creating it, the social and intellectual impact, the historic importance within cinema history, my experience while watching it (including emotional resonance and intellectual stimulation), the film’s merits at face value and within the context of its genre, and a few others that depend on the particular film. Dafoe’s curse to the maritime gods is an all-timer, and a superb Pattinson matches his sloshed, wild-eyed lunacy step for floorboard-creaking step. There’s poignant poetry in this haunting fairy tale, and magic as well. Writer/director Harmony Korine’s shaggy-dog saga follows the bedraggled Moondog from one absurd adventure to the next (with, among others, Snoop Dogg, Isla Fisher, Zac Efron, Martin Lawrence and Jonah Hill), channeling both his gift for taking life as it comes, and his ability to derive sensualist pleasure from each new encounter. Putting a poignant face on a contentious social topic, Never Rarely Sometimes Always tells the story of pregnant Pennsylvania 17 … Mixing the class commentary of Snowpiercer with the family dynamics of The Host, Bong Joon-ho takes a scalpel to inequity with Parasite, his scathing drama about a lower-class clan that endeavors to pull itself up from the figurative and literal basement. From the arthouse and indie circuit, you’ll discover a slew of films that got people talking: Parasite, Portrait of a Lady On Fire, The Lighthouse, Jojo Rabbit, among others. Gaspar Noé’s cinema routinely traces the line from harmony to chaos, and that’s once again true in Climax, the inspired-by-real-events tale of a dance party descending into hellish madness. Franz’s refusal to do so is fraught with perilous consequences not only for himself, but also for his wife Franziska (Valerie Pachner), whose staunch loyalty to her husband in the face of communal ostracism is as courageous as is his ethical stand against tyranny. Affording no easy solutions to the problems it presents, it’s a micro examination of a macro crisis, made transfixing by Bell’s warts-and-all embodiment of intolerance – a learned ethos rooted in issues of anger, insecurity and isolation, and correctable (if at all) only through a combination of pain and sacrifice. Jeff Chan and Andrew Rhymer’s romantic comedy is, per formula, bound to have its seemingly opposite protagonists discover their attraction for one another, yet predictability is of no concern when the amorous action is as consistently funny and charming as it is in this jaunty indie. Compiled by the Official Charts Company, the UK's biggest films on videos of the week, based on sales of DVDs, Blu-Rays and other physical formats, … With Dan Levy’s score melding electronic and orchestral arrangements to intoxicating effect, it’s a sensory feast into which one tumbles. Stymied by health problems and depression, which have brought about creative inertia, Mallo uses a retro screening of a former triumph to mend fences with estranged leading man Alberto (Asier Etxeandia), who soon introduces him to migraine-relieving heroin. At a remote late-18th century manor house, Marianna (Noémie Merlant) is commissioned by a countess (Valeria Golino) to paint her daughter Héloïse (Adèle Haenel), recently returned from a convent, engaged against her will to be married, and already defiant enough to have rejected one painter. In the near future, Major Roy McBride (Brad Pitt) is sent on a top-secret mission to Neptune, where his commanders believe his renowned father Clifford (Tommy Lee Jones) – missing for decades on a quest to find intelligent E.T. The allure of the light drives two men into pitch-black madness in Robert Eggers’ The Lighthouse, a work of period-piece insanity that more than fulfills the promise of his 2015 debut The Witch. No clear-cut answers await those who make it to the end of this alluring voyage, only a mood of enigmatic ennui, bursts of sexualized violence and hunger (the latter coming via Binoche’s mind-bending visit to a room known as the “f--k box”), a superbly cagey Pattinson turn, and a finale of cautious optimism. USA Singles Top 40 on Top40 Charts. The 40 Best Movies of 2019. No franchise dispenses more crazily choreographed violence than John Wick, in which savagery is carried out with both concussive force and dancer-like grace. On the downside of this equation is faded TV Western star Rick Dalton (Leonardo Dicaprio) and his loyal stuntman Cliff Booth (Brad Pitt), whose navigation of this rapidly changing environment crisscrosses with the ascendency of Rick’s neighbor Sharon Tate (Margot Robbie) and her husband Roman Polanski (Rafał Zawierucha) – all as the Manson Family assumes its soon-to-be destructive position on their horizon. No film on the subject has ever been this bracingly true to life, and much of the credit for that triumph goes to Driver and Johansson, whose superlative dueling performances—wounded and righteous, forlorn and furious, and marked by respective musical numbers—are as subtle as they are wrenchingly real. It’s merely one of many respects in which this French period piece roots itself in the acts of seeing and being seen, as well as the relationship between action witnessed, inferred and remembered. With Tigers Are Not Afraid, writer/director Issa López conjures a modern fairy tale rooted in traumas of both a personal and political nature. Top40-Charts.com provides music charts with hot hits from all over the world, like US / UK Albums and Singles, Bilboard Chart, Dance charts and more. During an apocalyptic Florida hurricane, struggling but talented collegiate swimmer Haley (Kaya Scodelario) goes in search of her MIA father Dave (Barry Pepper), whom she finds in the basement of their old home, wounded and trapped by a swarm of alligators. That scheme, however, is mucked up by an encounter with Boston Celtics superstar Kevin Garnett (playing himself), a legitimate winner who takes a fancy to the valuable rock, as well as by conflicts with his business partner (Lakeith Stanfield), wife (Idina Menzel) and mistress (Julia Fox). Movies, as we know play the biggest role in our lives. 2019 Action movies, movie release dates. His quest is fraught with literal danger and, also, emotional, psychological and spiritual peril, as Roy searches the heavens for the indifferent father that abandoned him. Than its voracious animals, Crawl is the sort of family, compels him reconsider! Zombie plague takes, Noé ’ s poignant poetry in this saga about self-destructiveness. 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