The Oscar season may be just kicking into high gear, but at Esquire, we’re ready to crown the year’s 50 (!) Dark, demonic power courses through Hagazussa, a legitimately evil folk story of inheritance, corruption and damnation. Upon release, Qiao strives to acclimate herself to a modernizing world that doesn’t care about the collateral damage left in progress’ wake. Her love, and the promise of a healthier sort of family, compels him to reconsider his life choices. In a refrigerator, a disembodied hand awakens, and embarks on a quest to reunite with its former owner, who we soon learn is Moroccan-born French teenager Naoufel (voiced by Hakim Faris). Light on dialogue but heavy on black-magic mystery, writer/director Lukas Feigelfeld’s fable casts its spell via slow-burn plotting and malevolent imagery, culminating with a kaleidoscopic underwater visual orgy of blood, roots, bone, tendrils, and mutating shapes. 36. standouts. They all deserve attention and viewership, so if there are any you haven’t seen yet, then I highly recommend you make time and watch them soon. Jamie Bell gives the performance of his career as Bryon “Babs” Widner, a face-tattooed neo-Nazi contending with his chosen white-power path, in Oscar-winning director Guy Nattiv’s based-on-real-events tale of the origins of hate – and the potential means of reversing it. 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. “If something’s broken, it stays broken,” intones Bo (Lorraine Toussaint) at the outset of Fast Color, which then proceeds to show that things – and people – can be mended through the power of family, love and connection to the past. This movies are not in order except for the top 5. Revelation, resurrection, abandonment and mourning all factor into her haunting story. In 2019, South Korea maintained its status as East Asia’s cinematic powerhouse. The number of award-worthy performances this year is likewise impressive. Read the latest music news on rock, pop, country, jazz, rap, hip hop and more, get ringtones and lyrics. Led by his own interior-thought narration, Roy’s saga is at once awe-inspiring and poignant, intimate and majestic. Sold at a department store by a saleswoman (Fatma Mohamed) with a nefarious true identity, the satanically erotic garment preys upon the sexually repressed and/or unfulfilled, all while fluttering and hovering about like a sinister specter. Loungewear Is the Undisputed Winner of 2020, The 20 Best Books For These Long Winter Nights, The Coolest Tech and Gadgets of 2021 (So Far), A Cable Knit Sweater Is Your Winter Style Staple, This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. FilmCrave's top movies of 2019 includes Toy Story 4, The Farewell (2019), The Lighthouse (2019) and more. From young upstarts looking to take Bin’s position, to work along the Three Gorges (which will ultimately submerge towns), change is afoot. Harold Ratner (Sandler) is a Manhattan diamond district wheeler-dealer who thinks he’s hit it big with a rare opal smuggled out of Ethiopia thanks to some African Jews. In every category, you’ll have no trouble finding many more potential nominees than there are slots to fill for a given category. Obviously, there are a lot of acclaimed films and awards contenders not mentioned on the list, because I’ve simply not seen many of them yet. Between friends being laid off, concerns about retirement, and adult children navigating their own troubled romantic paths, Gloria makes her way through middle age with a brave face, finding temporary solace on the dance floor and, for a time, in the arms of Arnold (a magnificent John Turturro), a recent divorcé struggling to break free from his ex-wife and two needy daughters. The director’s A Hidden Life recounts the based-on-true-events tale of Franz Jägerstätter (August Diehl), a farmer in the rural Austrian enclave of Radegund whose world is forever altered by the 1939 appearance of the Nazis—and the requirement, once he’s forced to join the Third Reich’s army, that he swear allegiance to Hitler’s party. Motifs involving broken timepieces, dripping water, starry skies, flight and fire all pepper Gan’s latest, which is bookended by telling images of rotating colored ceiling lights and a room spinning around blissful lovers. The separation of Brooklyn theater director Charlie (Adam Driver) and actress Nicole (Scarlett Johansson) begins with amicable intentions but soon devolves into a costly and traumatizing legal war that’s carried out by cutthroat, self-interested lawyers (Laura Dern, Ray Liotta), and strands the couple’s young son Henry (Azhy Robertson) in the middle of a figurative (and, at one point, literal) tug of war. Gigs soon follow for his sister Ki-jung (So-dam Park) as an art teacher, his dad Ki-taek (Kang-ho Song) as a driver, and his mom Chung-sook (Hye-jin Jang) as a housekeeper. Their ensuing custody fight centers on which coast their kid will call home, and Baumbach’s sharp writing and visuals—full of close-ups of pain and fury, and remote compositions that separate and isolate his adrift protagonists—locates the way in which that battle inevitably warps that which was once good, leaving only resentment and ruin in its wake. Using revolutionary (and largely effective) de-aging CGI to make his cast appear decades younger, the director’s adaptation of Charles Brandt’s non-fiction book I Heard You Paint Houses recounts the criminal life of Frank Sheeran (Robert De Niro), an enforcer for mafioso Russell Bufalino (Joe Pesci) and close compatriot of Teamsters bigwig Jimmy Hoffa (Pacino), the latter of whom he reportedly executed in 1975. Awash in talk about movies and moviemaking, Hogg’s feature is elevated by Byrne’s star-making turn as a young woman caught between genuine love, her recognition that her relationship is perhaps doomed to fail, and her desire to find her voice – personally and artistically – on her own. Due to my increased screenwriting work on multiple TV and film projects this year, my film viewing has been — relative to past years — more limited, so there are lot of acclaimed movies I’ve simply not had an opportunity to watch yet. 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. 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. A stellar cast that also includes Chloë Sevigny, Larry Fessenden, Danny Glover, Selena Gomez and Tom Waits (looking like a reject from Cats) go through their end-of-the-world motions with laid-back confusion and panic (they’re barely animated themselves). Fertility and desolation, creation and destruction, isolation and togetherness all intermingle in hypnotic fashion in High Life, Claire Denis’ sci-fi reverie. Jim Jarmusch crafts an undeadpan comedy of apocalyptic proportions with The Dead Don’t Die, a Night of the Living Dead riff played for bleak satire. 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. Diane (Mary Kay Place) is always looking out for others, be they her good friends, her older relatives, or her son Brian (Jake Lacy), who can’t get his drug habit under control. Foreshadowing his protagonists’ decades-long plight in a haunting allegorical intro, and then mining their pain and longing in empathetic close-ups, Aïnouz captures the inherently political nature of these siblings’ personal experience. Mangold’s story is about the might of American ingenuity and daring (versus sleek Italian arrogance), and a celebration of non-conformity in the face of (unbeatable) corporate pressure. Every product was carefully curated by an Esquire editor. Top 7 Best Movies In 2019. Split into five chapters that are interlaced with flashback home videos of happier early times, Perry’s tale traces Becky’s journey from apocalyptic drugged-out collapse to cautious resurrection, his handheld camera exactingly attuned to his protagonist’s scattershot headspace. In this surrealist landscape, humor and horror are almost indistinguishable, epitomized by Levant’s exceptional dance of the deranged. 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. Weddings can be a torturous drag for singles, so longtime friends Alice (Maya Erskine) and Ben (Jack Quaid) decide to spend their overbooked nuptials season tag-teaming events as platonic dates. 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. The tension between tradition and progress is almost as taught as that between mercy and brutality, as the clan’s rise to drug-running prominence comes at a catastrophic cost. The biggest, most-anticipated new movies coming in 2019, including Once Upon A Time In Hollywood, Toy Story 4 and The Lion King. We may earn a commission from these links. There’s poignant poetry in this haunting fairy tale, and magic as well. It casts a spell through malevolent horror imagery as well as its moving portrait of kids banding together to form a makeshift clan – and, in the process, to courageously face a world intent on destroying them, physically and psychically, at every turn. From Super Mario Bros., new-age cultists, pirates and bomb-shelter tombs, to masturbatory porn patterns, dog killers, comic books (Spider-Man, wink wink) and song lyrics scribbled on pizza boxes, secret world-governing ciphers are ubiquitous. As before, that enclave’s malevolence is personified by Pennywise the Dancing Clown (Bill Skarsgård), an unholy sewer-dwelling circus freak who feasts on fear, and whose hunger for revenge powers the film’s finest set pieces, including a showdown in a hall of mirrors. Employing expansive and boxy aspect ratios to denote different time periods, and embellishing his action with pop songs (including the theme from John Woo’s “The Killer”), Jia dramatizes the romance between gangster Bin (Liao Fan) and girlfriend Qiao (Jia’s wife and favorite leading lady, Zhao Tao), which abruptly ends after the latter is imprisoned for using a firearm to save her beau during an attack. With a light tough that allows for instances of escapist lyricism (none better than recurring shots of Gloria spinning amidst swirling colors), Lelio fashions a tender, incisive, heartbreaking ode to the myriad complications of adulthood, where efforts to move forward are burdened by regrets, entanglements and longing for connection. All Rights Reserved, This is a BETA experience. Moreover, it’s another of his masterworks to confront issues of personal and national consciousness through a distinct cine-filter, with Casablanca and The Passenger proving two of its many spiritual touchstones. Be it stumbling their way through one ceremony and party after another, or embarking on their own unlikely relationship while dealing with their troublesome parents, Alice and Ben prove to be excellent company, she using booze and a sharp tongue to cope with her loneliness, and he clinging to high standards as a way to avoid commitment and stave off potential abandonment. Beginning, portentously, with interviews seen on a television set surrounded by the director’s favorite VHS horror films, the French auteur’s latest is arguably his least provocative to date. 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. TOP 40 SONGS THIS WEEK 2020 ===== Music can change the world because it can change people. Barren spaces abound, and the French auteur infuses her material with a sense of ominous hollowness, born from longings – for purpose, conception, and reinvention – that remain unfulfilled. 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. Hopefully, I’ll be able to do those films justice when I compile my “Best of the Decade” list after the New Year, so be sure to check back for that one. Acquiring those positions, alas, necessitates ruining their predecessors, and holding onto them entails even nastier business – as well as enduring the petty cruelty, condescension and selfishness of their employers. Invisible Life is comprised of well-worn elements: impulsive passions, unexpected out-of-wedlock pregnancies, disapproving fathers, controlling husbands, and dreams crushed under the weight of a society that expects women to conform or be cast out into the wild. Apollo 11 (2019) - Official Trailer | First Moon Landing - YouTube. 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. Shot in luminously grainy 4:3 black-and-white that gives the action the look of a weathered old photograph, scored to unholy bellowing and siren shrieks, and driven by ornate storybook dialogue fit for a nautical nightmare, it’s a film about guilt, shame and greed (and the psychosis it begets) that exudes cramped, soggy malevolence. 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). 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. Mitchell reveals them through an adventure that’s witty, aesthetically dexterous, and laced with dark disillusionment about the puppetmaster powers-that-be and their covert machinations. Director: Max Barbakow. Samuel Maoz’s fierce nightmare vision of Israel, where loss and pain are randomly distributed, offers an urgent and witty picture of futility. 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. As beguiling as it is gorgeous, his oblique film charts Luo’s experience in a world at once real and imagined, along the way spying him in, and through, numerous mirrors and glass filters until he resembles a displaced ghost in search of home. Romance and court intrigue are also part of this stunning package, yet far more exhilarating than the stock story is the director’s precisely choreographed wuxia combat, highlighted by Zhang’s signature slow-mo shot – in which his camera trails behind a running fighter’s blade as it scrapes against the ground, casting water skyward – and often carried out with the most badass umbrellas ever committed to film. Top 100 Movies of All Time Best of Rotten Tomatoes Movies with 40 or more critic reviews vie for their place in history at Rotten Tomatoes. Elevating its conventional storytelling through mega-watt personality and fast, screeching track action, Mangold’s based-on-real-events film rides alongside former champ Carroll Shelby (Matt Damon) and his rough-around-the-edges driver Ken Miles (Christian Bale) as they attempt to build a car for Henry Ford II (Tracy Letts) capable of besting Ferrari’s legendary vehicles in 1966’s 24-hour Le Mans contest. 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. 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. That would be Moondog, a South Florida “bottom feeder” who, having set aside his once-illustrious poetry career, is now content to coast through his beachside town’s many imbibing establishments, looking for his next toke, drink, and beautiful woman to bed. 11) Never Rarely Sometimes Always. 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? In his debut feature, director Joe Talbot populates Jimmie and Mont’s story with childhood friends and estranged relatives whose presence, or absence, speaks to the story’s underlying strains of cultural-racial-familial disaffection, troubled identity, and longing for home. For skateboarding Jimmie (Jimmie Fails), nothing would be finer than reclaiming his childhood residence, a gorgeous Victorian in the Fillmore District that he proudly proclaims was built by his grandfather. And despite the usual chorus of voices proclaiming “the death of cinema” and similar “they don’t make ‘em like they used to” myths about the state of modern filmmaking, 2019 — like all previous years of this decade and the decade before — offered a large number of terrific films across a wide array of genres. Now adults played by the likes of James McAvoy, Jessica Chastain and Bill Hader, The Losers Club returns to Derry, Maine to again confront unspeakable evil in It: Chapter 2, Andres Muschietti’s sprawling, character-driven companion piece to his 2017 blockbuster. Also channeling the spirit of Robert Altman, Brian De Palma, Alfred Hitchcock and Hollywood golden-age classics (set to a Henry Mancini-esque score), Sam’s cine-odyssey is a quest for meaning in an overstuffed pop-culture world. 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. Featuring never-before-seen large-format film footage of one of humanity’s greatest accomplishments. That imagery boasts breathtaking scale, conveying the literal and figurative enormity of everything involved with the Apollo 11 – making it ideally suited for IMAX. 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. Putting a poignant face on a contentious social topic, Never Rarely Sometimes Always tells the story of pregnant Pennsylvania 17 … and I tried to consider a variety of genres and types of filmmaking in my selection process. What truly elevates Muschietti’s sequel, however, is its focus on the efforts of its now-grown protagonists to conquer the anxieties, doubts and regrets that, following their childhood ordeal, have come to define them. 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Its rah-rah renegade spirit is as robust as its racing footage, often shot from the driver’s inside-the-car POV. 2019 closes out an uncommonly strong decade for horror movies with some potential future classics of its own, and we took all of the Fresh and Certified Fresh hits with critics to give you the full list of the 32 Best Horror Movies of 2019. 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. Awash in action seen through glass, and compositions that descend from high to low positions, Bong’s aesthetics evoke the social and economic divisions governing modern South Korea, and enhance his snapshot of the kill-or-be-killed ruthlessness that many are driven to out of need, want and burning resentment. The rapidly changing global manufacturing landscape is examined through the lens of an Ohio auto-glass plant founded by the Chinese and staffed with men and women from both countries in American Factory. Decked out in a variety of swanky colorful suits (replete with matching hats), and wielding a cane that aids his strut, Murphy turns Moore’s story into his own declarative statement of peerless comedic bravado – and he needs every ounce of that charisma to keep the spotlight on himself, because as Moore’s director/co-star, a bug-eyed, flamboyantly mannered Wesley Snipes almost steals the film from him. 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. So too does Weidel’s wife Marie (Paula Beer), who repeatedly mistakes Georg for her husband, and who longs for reunion even as she continues an affair with a man (Godehard Giese) whose obsessive amour prevents him from departing. Directors Josh and Benny Safdie’s material operates at a relentless fever pitch, their camera gliding and rotating with the jittery excitement and terror of Ratner, and zooming into characters’ eyes—and observing them at a crane-assisted remove on city streets—with gritty ‘70s-era stylishness. Greta Gerwig establishes herself as one of world cinema’s finest directors with Little Women, an adaptation of Louisa May Alcott’s novel that’s bursting with effervescent life. With less than 48 hours left in the year, it’s time to count down the top 20 best films I’ve seen in 2019. 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