#2019 films

[raspberrydee]

5 YEARS OF CANON REYLO!!!!! 🥹❤️

[yourboiashyknees]

hungry

[cressida-jayoungr]

One Dress a Day Challenge

October: Silver Redux

Late Night / Emma Thompson as Katherine Newbury

Just as costumers seem to like gold dresses for coronations, they also seem to like silver dresses for awards ceremonies (see also Marry Me). This tasteful gown appears in a short sequence at the beginning of the movie in which Katherine accepts an award. Costume designer Mitchell Travers said of this dress, "I wanted to present a woman who feels a bit armored. It’s got a bit of a knight-in-armor feeling about it. You have to steel yourself before facing that much scrutiny."

There isn't a waist-length back view of the dress, but given how the sleeves drape from the side and how they both move in unison when she lifts her elbows, it looks like they may be connected at the back for a sort of capelike effect.

[isobelleposts]

“Eat The Rich” — My Favorite Genre in Film

by Isobelle Cruz [February 1, 2022]

The Menu (2022) dir. by Mark Mylod

The phrase in the title comes from political philosopher Jean-Jacques Rousseau’s quote, “When people have nothing to eat, they will eat the rich.” The last film I watched that had me surprised they did not literally eat the rich was The Menu by Mark Mylod.

This film never took itself too seriously despite its center around the wealthy and the lengths they go to just to experience the finer things in life. It is fully aware of its bizarreness and adds bits of humor here and there, making it enjoyable despite mostly taking place in one setting.

As the first film I had seen this year, The Menu truly sets up expectations and a fresh path to more of what the industry has in store for the rest of the year. Moving on, here are four more films to see if you enjoyed The Menu:

Triangle of Sadness (2022) dir. by Ruben Östlund

Starting off strong with one of my final watches of 2022 that had me saying “what the fuck?” under my breath every few minutes is Triangle of Sadness directed by Ruben Östlund. What initially caught my interest in watching this film was a clip in the opening part wherein we see a bit of the modeling industry and its quirks, or so, ridiculousness. What I didn’t know, and certainly wasn’t prepared for,  was what I would witness next.

I went into this film after refraining myself from spoilers or even a hint of what it could be about, preparing myself to be either disappointed or pleased with what I was about to be met with. And that is exactly what I suggest to you as well. Ditch the synopsis and logline and head straight into this experience. Just know that you’ll be met with great dialogue, delicate cinematography, and a whole lot of shit—both figuratively and literally.

Parasite (2019) dir. by Bong Joon-ho

Behind my little song to the clouds to tuck its raindrops away, a certain thought would always lie at the back of my head while growing up. As we celebrate a class suspension and give thanks for the chilly weather in the desert-like heat of the Philippines, I wonder what life is like for those living by the rivers, whose roofs are made with cheap iron or yero and whose walls are made of thin wood.

It hasn’t occurred to me before how important these thoughts were until I encountered this film a few years back. Parasite presents its audience with the rich’s ignorance of their surroundings and several contrasts between the everyday life scenes of a wealthy and poor family. 

Parasite is precise, well-written, and surely deserving of its multiple awards.

Knives Out (2019) dir. by Rian Johnson

Whodunnit—-they say that when you see them once, you’ve seen them all. And that may be true, but Knives Out’s fast pacing and quick cuts from past to present still kept my eyes glued to the screen. It’s a classic murder mystery, encouraging the audience to say things like “It’s too early on for such an obvious clue.”

This will keep you thinking throughout its length, asking questions again and again in your head, eager to beat the ending before the killer’s reveal. Though predictable for some, Knives Out nonetheless offers a fun view into the world of a money-starved family and their deceased father, along with a bunch of odd and entertaining characters.

The Handmaiden (2016) dir. by Park Chan-wook

Of course I found a way to sneak The Handmaiden into this list. 

The film follows Kim Tae-ri’s character who falls in deep romance with Lady Hideko, the woman she works for. Just when you think it is about to finally end, a sharp turn comes and it’s as if the story had only begun then—this happens thrice, by the way.

As we go further along the story we encounter money’s play in the wickedness of men and are left with our mouths agape after another unexpected revelation or scene. 

The Handmaiden is not only a story of forbidden romance between two women but also a showcasing of comradeship and care for another in suffering. Looking past its long length and adult scenes is a mind-boggling and thoroughly written story accompanied by excellent direction, camera work, and acting.

[bloodofjuno]

Today god said “let me give you some good news” and he did (I don’t believe in god but I feel blessed holy f)

[adamwatchesmovies]

Knives Out (2019)

Knowing the way Knives Out ends doesn’t diminish its enjoyment one bit. This is a wonderfully original whodunnit that breaks the rules and comes up with all sorts of new tricks - the kind you can’t believe no one has thought of before. It’s an instant favorite.

The morning after his 85th birthday, wealthy crime novelist Harlan Thrombey (Christopher Plummer) is found dead of a suicide. As the police go through the usual procedures, everything seems cut and dry except for one detail: Benoit Blanc (Daniel Craig). He’s been hired anonymously to investigate. How could whoever slipped him that fat envelope of money in the middle of the night know Thrombey would die… unless they knew something the police don’t?

The genius of Knives Out is that we’re told very early what happened to Harlan Thrombey. Harlan’s nurse, Marta Cabrera (Ana de Armas) mixed up his medications. He convinced her to walk away while he killed himself so no one would find out about the fatal mistake she’d made. Despite this, it takes no time for you to bond with Marta. Firstly, because she’s a good person who simply made a mistake. Secondly, because Benoit Blanc’s interrogation allows us to meet the members of the Thrombey family. Each of these characters is so unique and so memorable that a film with all of them together can only be categorized as a delight. It doesn’t matter that you already know “the ending”. You’re just having a great time (you’re not the only one; the performers are clearly having a lot of fun) sitting down and watching these people.

Then, this funny thing happens. You spend enough time with Linda Drysdale (Jamie Lee Curtis), her bumbling husband Richard (Don Johnson), their son Hugh (Chris Evans), Harlan’s son Walt (Michael Shannon), his wife Donna (Riki Lindhome), their son Jacob (Jaeden Martell), and Harlan’s daughter-in-law, Joni (Toni Collette) to think something might not be quite what it seems. Come to think of it, we know what happened to Harlan, but not who hired Benoit Blanc, so we really don't know after all. It gets to the point where you even suspect people who couldn’t have possibly had anything to do with Harlan’s death, like his housekeeper Fran (Edi Patterson), his elderly mother Wanetta (K Callan) or his gentle granddaughter Meg (Katherine Langford). There’s something amiss. You know Marta caused Harlan to kill himself but there’s more to this story. You know it. Before you think maybe the accident wasn’t an accident at all, let me stop you because writer/director Rian Johnson gives her one of the best quirks you could in a movie like this: the inability to lie. Now you see how complex a situation this is. If Benoit asks her directly if she contributed to Harlan’s death, she has to tell him. She’ll lose everything. Worse, the movie will end and we won’t get to find out what the deal is with the children and grandchildren.

The worst part of Knives Out is that these characters are not going to show up in a sequel. Benoit Blanc will but this film is filled with all of these great, memorable people. Some are slimy from the get-go, others are not what they seem at first. I had seen the film before. I knew the twists but it didn’t matter. I enjoyed seeing these people again and watching the hints pay off. Knives Out is a terrific screenplay and loads of fun. (December 31, 2022)

[velvet4510]

Rate the 2019 ‘Aladdin’ from 1-10 (with 10 being the best):

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Voting ended onMar 14, 2025

[rookie-critic]

Rookie-Critic's Halloween Horror-thon: Part 2 - #6-10

#6: Doctor Sleep: The Director's Cut (2019, dir. Mike Flanagan)

I have, of course, seen Doctor Sleep before, but I am not labeling this as a re-watch because the Director's Cut of this film, while not really that different from a plotting/through line perspective, is a wholly unique experience to the theatrical version of the film from a character perspective. This version of the movie gives you much more context around the its antagonists, The True Knot, and it's secondary protagonist, Abra Stone, that those major story beats existing in both versions hit with much more impact in the director's cut. It bumped this particular work of Flanagan's up in my ranking of his stuff all the way to third behind Hill House and, now, Usher.

Score: 9/10

Not currently available on streaming.

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#7: Gemini (1999, dir. Shinya Tsukamoto)

This one surprised me by not being the kind of film I was anticipating it to be (this happened a handful of times this month). Gemini is the story of three characters plagued by their circumstances/upbringings, and a look at classism and people's desire to give and receive love, shot and told in a frenetic, gonzo style that only Japanese cult-director Shinya Tsukamoto can make work. Tear down the walls of your expectations for this one, it's a great watch.

Score: 8/10

Not currently available on streaming.

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#8: Nightmare Detective 2 (2008, dir. Shinya Tsukamoto)

The sequel to Tsukamoto's lukewarmly received 2006 film Nightmare Detective (which you will see further down on this list), this one makes the original look like a litmus test for the concept. A much more restrained and patient film compared to just about all of Tsukamoto's prior efforts, Nightmare Detective 2 sits in the corner, quietly analyzing its core cast in a story about misfits and generational trauma. Really, a lot of the themes and ideas presented here would be honed in on and presented again, albeit from a different viewpoint, in Kotoko. This one really feels like a turning point for Tsukamoto in terms of tone and approach. Not to say that his earlier, more frantic films aren't sometimes just as good, it's just the mark of a talent that's willing to evolve.

Score: 8/10

Not currently available on streaming (this film has actually never seen any kind of official release in the States at all, so unless you're willing to do a little swashbuckling, this one's out of your reach).

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#9: The Bird with the Crystal Plumage (1970, dir. Dario Argento)

Horror icon Dario Argento's (Suspiria, Deep Red) debut feature is an unrivaled "whodunit" mystery thriller with that hallmark giallo flair that Argento would become known for. There isn't a whole lot to say about this one other than this was one of the most singularly entertaining of my October viewings, and that I highly recommend it for just about anyone.

Score: 8/10

Currently streaming on Amazon Prime Video.

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#10: Noroi: The Curse (2005, dir. Koji Shiraishi)

This is the best Japanese found footage horror has to offer. Noroi is told in a documentary style, acting as the discovered footage of the final film made by a supernatural investigator that has disappeared without a trace. This was my final watch of the Horror-thon and I couldn't think of a better way to send off the spooky month, because this was one of, if not the scariest watch of the entire month. It had me wanting to turn the lights on and sleep with one eye open, and certain images from the film's final moments will be burned into my retinas until I die. If I had any complaints, it's that I honestly could have used even more, although I guess an argument could be made that that's actually one of the film's good qualities.

Score: 8/10

Currently streaming on AMC+/Shudder.