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2019 In Review

The first year of BraveReviews is over, and all things considered it was a rather good year! I’m already looking forward to what films I’ll be screening in the coming year—and decade, for that matter—but in the meantime here are quick links to the films I watched in 2019:

  1. EIGHTH GRADE (2018, posted 1/3): “[Elsie] Fisher shines throughout this classic A24 movie with a truly genuine performance that is not only personally relatable on many levels, but also probably the most honest and accurate depiction of a modern-day middle school experience I’ve seen.”
  2. FANTASTIC MR. FOX(2009, posted 1/7): “Director Wes Anderson considers Dahl one of his heroes, and it shows in the way he so brilliantly translates the source material to the screen…FANTASTIC MR. FOX is certainly not like most animated movies out there, but that’s what makes it so interesting and, really, uniquely brilliant.”
  3. BLAZING SADDLES (1974, posted 1/22): “BLAZING SADDLES attacks racial prejudice with some of the most hilarious and politically-incorrect comedy ever printed to celluloid…It is a perfect blend of highbrow and lowbrow, seamlessly blending Western pastiche with modern-day anachronisms and metafiction, and it is a must-watch for anyone who enjoys a true comedic gem and what it truly meant to represent the kind of no-holds-barred humor that is sadly lacking in today’s world.”
  4. THE GIRL WHO LEAPT THROUGH TIME (2008, posted 1/24): “The film evokes thoughtful messages about seizing the day, not messing around with the past that’s already happened, and yes…literally looking before you leap … I highly recommend it not only for anime fans but also for anyone who enjoys this type of science fiction-infused romantic dramedy.”
  5. THE BALLAD OF BUSTER SCRUGGS(2018, posted 1/31): “The tales are about as different as you can get, not just in the characters therein but really also in the depth and quality of the storytelling, and as such some of the vignettes are, without spoiling too much, way better than others. Nevertheless, the Coens’ signature brand of highly violent, tightly written black dramedy is on full display here.”
  6. SHOW BOAT (1951, posted 2/2): “A wonderful romantic tale with timeless musical numbers, excellent choreography (particularly in a number involving the artful dancing team of Marge and Gower Champion), a stellar cast, and brilliant Oscar®-nominated Technicolor cinematography, all of which combine into a sheer triumph of the screen, and of the MGM musical tradition.”
  7. MID90s(2018, posted 2/5): “This film was completely different from what I thought it would be going in. It is actually a lot more cynical, vulgar, and profane than I would’ve expected…even so, it is a very interesting and obviously nostalgia-provoking look through the eyes of Generation Y.”
  8. DOUBLE INDEMNITY (1944, posted 2/13): “Film noir historian and Turner Classic Movies host Eddie Muller rightfully deemed DOUBLE INDEMNITY ‘the definitive film noir,’ and it shows in virtually every aspect…[all of which] combine to create one of the most compelling dramas ever produced for the screen…[It] almost singlehandedly defines what it means to be called a film noir.”
  9. INDIVISIBLE (2018, posted 2/14): “If you know about my stance on ‘Christian films,’ then you know where I stand about a film’s ability to incorporate an inspiring message of faith into a solid, well-written story. INDIVISIBLE, for the most part, actually manages to do just that…without being preachy or hamfisted about it, effectively broadening its appeal. Overall, this was very nicely crafted and even those of us who cannot attest to a life influenced by military service should still be able to enjoy this inspiring human drama.”
  10. WIZARDS (1977, posted 2/18): “This film has a rather peculiar visual style. Its animation is rather crude, and while not totally lacking in technique the inconsistencies are evident throughout…the story comes off as rather bland, not really giving me any reason to get emotionally involved…It’s really nothing more than a weak narrative set to disjointed visuals in an overall disappointing and cynical film.”
  11. KRAMER VS. KRAMER(1979, posted 2/25): “A compassionate look at the realities and consequences of divorce and the changing views of culture and family roles in the 1970s without taking sides…KRAMER VS. KRAMER is not just a family drama, but a quintessential human drama.”
  12. GREEN BOOK (2018, posted 3/4): “Even though it has been cited for historical and personal inaccuracies (including by relatives of Shirley in particular), I believe GREEN BOOK rightfully won each of its three Oscars® with a realistic but not overly dramatic script, great chemistry between the leads, and a heartwarming finish. And I, for one, am satisfied with this kind of feel-good movie taking home the top prize for the first time in what seems to be many, many years.”
  13. OLIVER! (1968, posted 3/17): “OLIVER! breathed new life into Charles Dickens’ timeless tale with its enduring and memorable songs, and Carol Reed’s film version is just as universal in its appeal, further backed by its well-balanced and respectful screenplay, superb cast of characters, excellent production design and incidental score, and intricate choreography.”
  14. THE RUNNING MAN (1987, posted 3/19): “If there is one film that epitomizes ’80s futuristic dystopian action cheese in all of its enjoyable glory and all of its equally enjoyable flaws, it is THE RUNNING MAN…it’s even more laughable in the actual year of 2019 to watch than it must have been in 1987.”
  15. STRANGERS ON A TRAIN (1951, posted 3/21): “Once again, Hitchcock presents a well-crafted suspense thriller with an overarching theme of ‘doubles’…an absolute must-watch whether or not you’re highly engrossed in Hitchcock’s works.”
  16. HONEYSUCKLE ROSE (1980, posted 3/31): “HONEYSUCKLE ROSE is primarily a vehicle for [Willie] Nelson and his songs…virtually everything that isn’t a musical performance seems rather stagnant in comparison. The cast somehow manages to make the rather predictable plot work, however, with a fairly decent level of acting from everyone, especially Nelson. Even so, HONEYSUCKLE ROSE may be more enjoyed by fans of Willie Nelson than those who aren’t—and as for me, I’m somewhere in-between.”
  17. ANT-MAN AND THE WASP (2018, posted 4/7): “Although the ANT-MAN sequel is, for the most part, not connected to the Infinity Saga, it still manages to be a generally satisfying entry in the Marvel Cinematic Universe, with the usual mix of well-written story, memorable characterizations, and solid humor throughout.”
  18. SPIDER-MAN: INTO THE SPIDER-VERSE (2018, posted 4/8): “Building on its already-intriguing premise, SPIDER-VERSE powers through with a unique animation style…a solid and well-balanced story…and top-notch voice acting…Even if you’re like me and not totally invested into Spider-Man or its numerous film counterparts, you will definitely enjoy the literally wild ride that is SPIDER-MAN: INTO THE SPIDER-VERSE.”
  19. SINGIN’ IN THE RAIN (1952, posted 4/14): “SINGIN’ IN THE RAIN, far more than being a mere jukebox showcasing the songwriting knack of its producer, is the very definition of a Golden Age musical masterpiece…It is a timeless spectacle of dance, color, and song; the pinnacle of film musicals; and one I highly recommend that everyone see at least once in their lives—and, if possible, more than once.”
  20. THE RIGHT STUFF (1983, posted 4/15): “THE RIGHT STUFF sacrifices a great deal of historical accuracy throughout its story, but in the process it brings us a superbly-crafted adventure that literally takes us through time and space…it is a historical drama on a truly grand scale, yet it’s one that can be appreciated by virtually anyone who watches it.”
  21. BIG FISH (2003, posted 4/17): “The film’s story is almost perfectly suited for director Tim Burton…[who] really makes it his own by taking a delightful screenplay by John August and executing it with a visually striking Southern Gothic style…Overall, BIG FISH is an effective celebration of storytelling, and a very interesting if not overlooked chapter in the film canon of Tim Burton.”
  22. BREAKTHROUGH(2019, posted 4/22): “BREAKTHROUGH’s story is very solid and contains a highly empowering message…the casting is a mixed bag…Additionally, some glaring continuity issues plagued the film throughout, as well as some poor editing choices. The fact that BREAKTHROUGH’s message manages to shine through these flaws, however, is testament to how powerful it really is.”
  23. AVENGERS: ENDGAME (2019, posted 4/26): “It is quite possibly the most satisfying conclusion to one of the most influential eras of cinema ever conceived. It wraps up an adventure its characters have been on for over a decade and provides an effective love letter to its fans in the process…If you’ve followed this saga from the beginning, you will find that ENDGAME is everything you’ve expected it to be, and far more.”
  24. RIO BRAVO (1959, posted 5/9): “RIO BRAVO is relatively slow when compared to your average Western film—indeed, the film runs nearly 2½ hours long—but its colorful cast of characters, solid dialogue, and obligatory songs by [Dean] Martin and [Ricky] Nelson help make up for the pacing and provide a thoroughly watchable Western.”
  25. RALPH BREAKS THE INTERNET (2018, posted 5/16): “RALPH BREAKS THE INTERNET, being an average sequel, is probably more entertaining for younger audiences than the more well-rounded original. Yet it still manages to have a fairly interesting premise, plenty of heart (sometimes literally), and a good overall message embedded in its real-life product placement smorgasbord.”
  26. ABOUT A BOY (2002, posted 5/20): “[Hugh] Grant’s impeccable performance as the underachieving Will and his chemistry with the supporting cast alone make this worth a watch, but it’s the voiceover narration of both Grant and [Nicholas] Hoult—sometimes alternating within the same scene in hilarious interplay—that are a particularly unique touch. I really liked this one and I was pleased to come across it.”
  27. THE PINK PANTHER (1963, posted 5/29): “A mystery-comedy gem—literally speaking, of course…the twist lies almost singlehandedly in [Peter] Sellers, who is hilarious as [Inspector Jacques] Clouseau and is such a huge reason that this movie works. Whereas the archetypal foundations of the hunt for the missing diamond serve as the film’s head, Clouseau serves as the heart.”
  28. URBAN COWBOY (1980, posted 5/30): “Director and co-writer James Bridges succeeds in capturing the atmosphere of Houston at the turn of the 1980s, especially that of Gilley’s, as well as the glaring issues present in the impromptu marriage of Bud and Sissy…URBAN COWBOY is overall equal parts entertaining and dramatic, and an invigorating snapshot of its time.”
  29. ROCKETMAN (2019, posted 5/31): “ROCKETMAN is nowhere near a traditionally straightforward biopic, nor should one expect it to be…and yet it’s so brilliantly staged that you can forgive the film for having, for example, an adolescent Elton [John] performing a song he wouldn’t actually write until many years later…If there is just one extremely early [Oscar®] contender right now, it’s most certainly gotta be ROCKETMAN.”
  30. GODZILLA: KING OF THE MONSTERS (2019, posted 6/3): “KING OF THE MONSTERS corrects one of the biggest flaws of its predecessor in that there is far more attention on the monsters and their epic, highly destructive clashes than on the human characters…While not perfect in all respects, [it] more than obliterates its predecessor in a highly enjoyable display of Hollywood-style kaiju monster action.”
  31. THE FRENCH CONNECTION (1971, posted 6/5): “This film is brilliantly crafted in every aspect of its production. Working from a solidly realistic and gritty screenplay by Ernest Tidyman, [Gene] Hackman delivers one of the greatest performances of his career…It is reflective, edgy, and provocative; the very definition of an action thriller, and a high recommendation from me.”
  32. THE COURTSHIP OF EDDIE’S FATHER (1962, posted 6/21): “Equal parts hilarious and emotional…Not only is the chemistry between [Glenn] Ford and [Ron] Howard absolutely top-notch, as if they were actually father and son, but they also both come off as very natural actors individually, making their roles all the more relatable and genuine…a very delightful and entertaining treat to watch.”
  33. THE GREAT ESCAPE (1963, posted 7/2): “Despite being largely fictionalized for entertainment value, this film is full to the brim with nearly three hours of riveting action and tense conflict…the epitome of pure action.”
  34. A FACE IN THE CROWD (1957, posted 7/6): “[Andy] Griffith makes a stellar feature film debut as Lonesome Rhodes, perfectly capturing not only his folksy, down-home public facade but also the tyrannical, megalomaniacal control freak that he ultimately ends up becoming…a biting satire of television and fame which bodes just as true now as it did over sixty years ago.”
  35. THE MUPPETS TAKE MANHATTAN (1984, posted 7/9): “The Muppets’ trademark comedy is well-combined with wonderful musical sequences that are not nearly as parodic as previous films…overall quite enjoyable and a solid follow-up in the Muppet film canon.”
  36. PILLOW TALK (1959, posted 7/13): “[Doris Day’s] performance here is innately witty and fresh throughout…The script is loaded with enough sass and innuendos to make an otherwise predictable plot extremely entertaining…PILLOW TALK is smart and steamy for its time, but even modern audiences will get more than a few laughs out of this sensationally delightful romantic comedy.”
  37. A MAN CALLED DAGGER (1967, posted 7/14): “A MAN CALLED DAGGER is low-budget and incoherent secret agent cheese that, to its brief credit, is somehow at least smart enough to not take itself too seriously. It’s not worth trying to find a copy of, though—if you even can.”
  38. ALIEN: COVENANT (2017, posted 7/20): “This whole thing was an absolute mess…[it] managed to infuriate me in the end…What’s probably more infuriating, however, is that 20th Century Fox and its new parent company, Disney, haven’t learned a single thing.”
  39. INGLOURIOUS BASTERDS (2009, posted 8/20): “This film took over a decade for Tarantino to write, but it was a decade well spent as it seamlessly blends genres—and languages!—into a rollercoaster black comedy-laden action war epic that epitomizes Tarantino’s signature brand of heavily violence and snappy dialogue.”
  40. MY FAIR LADY (1964, posted 8/21): “[Audrey Hepburn and Rex Harrison] are surrounded by wonderfully colorful production design, a solid screenplay by Lerner, and innately memorable songs by Lerner & Loewe, all of which enhance the leads’ delightful performances with an air of elegance that perfectly fits the underlying story and culminates into one of the most supreme musical masterpieces of the screen.”
  41. YESTERDAY (2019, posted 10/10): “You get a very ‘that’s it?’ kind of feeling at the end, that it doesn’t go far enough with its problem or the problem’s solution…In any event, YESTERDAY manages to be relatively enjoyable despite its narrative disappointments.”
  42. FROZEN II (2019, posted 11/23): “FROZEN II is buoyed enough by its stunning animation and music to make up for its obvious narrative flaws, although younger audiences are likely more apt to enjoy it than those taking them to see it.”
  43. WHAT EVER HAPPENED TO BABY JANE?(1962, posted 12/3): “While there’s no telling how much of [Bette Davis and Joan Crawford]’s rivalry transitioned into the filmed performances as opposed to what both of them would have otherwise invented, there’s no doubting how uniquely emotional the lead roles are…unquestionably one of the greatest examples of psychological horror ever put on celluloid.”
  44. THE IRISHMAN (2019, posted 12/5): “Those of you who’ve watched [Martin] Scorsese’s previous gangster films…can expect very much his signature brand of black comedy-laden crime drama here, as entertaining and profound as ever…This is a definite recommendation from me.”
  45. SHANE (1952, posted 12/6): “Breathtaking backdrops…a well-chosen cast and excitingly dramatic adaptation of Jack Schaefer’s eponymous novel…which embody the emotion and passion of a feud (inspired by the 1892 Johnson County War) that often resorts to a level of violent then-unprecedented on the screen…this film is absolutely a candidate for being the epitome of what a Western film should be.”
  46. STAR WARS: THE RISE OF SKYWALKER(2019, posted 12/20): “A hollow mishmash that sacrifices characterization and pathos for poorly-timed and often chaotic action…Episode IX fails to encapsulate what STAR WARS is really about, and comes off as a seriously disappointing ending to what ended up being a seriously disappointing back third.”

I also did one special article this year, PRETTY MEDIOCRE: THE WORLD OF PM ENTERTAINMENT (posted 6/20). I hope to do more of these in the coming year as well.

Have a great new year, and Be Brave! -MdeR