Valerie Pachner and August Diehl star in Terrence Mallick’s “A Hidden Life,” which depicts an Austrian farmer (Diehl) who refused to fight for the Nazis in World War II because of his religious convictions.
Relative newcomers and accomplished veterans alike delivered the cinematic goods in 2019
From Martin Scorsese’s epic but flawed Netflix gangsterish drama “The Irishman” to Lulu Wang’s funny and touching “The Farewell,” there was no shortage of fine fare to see.
But neither “Irishman” nor “Farewell” landed in my Top 10 list. Why? Both are excellent, but there were better movies out there.
Here are my picks for the best of film in 2019. Some will be receiving Bay Area release dates early 2020.
1 “A Hidden Life”: Yes, Terrence Malick’s latest features his signature (some would label them annoying) breathy voice-overs, and, yes, there are numerous languorous shots of clouds, soil and landscapes. But “Hidden” — based on a true story — captures the essence of spirituality and moral conviction. Too many faith-based films fail because they are either angry or want to evangelize. But Mallick’s lyrical film focuses on how an Austrian family during World War II sacrifices for the beliefs they hold dear. Haven’t stopped thinking about how it so beautifully captures devotion. (Opens Dec. 20.)
2 “1917”: A fuss has been made about Sam Mendes’s war drama being told in one long take. First off, it’s a few takes not just one. But forget that hullabaloo anyway. It overshadows and ignores the artistic merits and mission of this vintage war picture — to put audiences into the mud-caked boots of two British soldiers sent on an excruciating mission. The “American Beauty” filmmaker has made one of the best “war pictures” of all time. (Opens in San Francisco Dec. 25, opens wide Jan. 10.)
3 “Portrait of a Lady on Fire”: No film in 2019 turned me into an emotional wreck the way Celine Sciamma’s masterpiece did, with its with the understated eloquence. In 1760s France, a painter (Noemie Merlant) becomes smitten with her subject, an enigmatic former nun (Adele Haenel) who is destined for an arranged marriage. Sciamma’s gorgeous heartbreaker (the sensual cinematography from Claire Mathon all but caresses you) mesmerizes from first to last frame. No wonder the Criterion Collection snatched up “Portrait” even before it hit theaters. Fans of “The Piano”will devour this. (Opens February in the Bay Area.)
4 “Parasite”: Some filmmakers who want to make a point bludgeon us with THE message ad nauseam. South Korean auteur Bong Joon-ho prefers applying a razor’s edge to let the truth bleed out slowly. Bong keeps audiences uncertain as crafty members of a poor family insinuate their way into their employers’ posh household. “Parasite” will be remembered and referenced in years to come. (In theaters now.)
5 “Jojo Rabbit”: Intelligent satire is so much more effective than PowerPoint polemics. New Zealander Taika Waititi grasps this and scores big time with with his World War II comedy-drama. Fearlessly he dances on political minefields in the telling of a young boy in Nazi Germany (Roman Griffin Davis) who adopts as his imaginary friend one Adolf Hitler (Waititi, in a wacky interpretation). What could have been trite and offensive transforms into a profoundly funny and moving film that you’ll want to watch over and over. I’ll never forget those shoes worn by Scarlett Johansson. (Available for rental.)
6 “The Last Black Man in San Francisco”: San Franciscans and chums Joe Talbot and Jimmie Fails mourn the collapse of their magnificent city by the bay. In this literate and literary play-like drama, a changing San Francisco has no room for longtime residents desperately trying to still call it their home. Fails, in his first major acting turn, plays a young man seeking to live in his grandfather’s occupied home. Jonathan Majors, equally excellent, co-stars as his friend trying to help him set up residence there. (Available for rental)
7 “Little Women”: Greta Gerwig one-ups past adaptations of the classic Louisa May Alcott novel by adding a much-needed feminist spin. The director luxuriates in period details while elegantly making the sibling story richer and more meaningful for today’s family audiences. All the leads shine, particularly Florence Pugh as the rebellious Amy March and Saoirse Ronan as the complicated writer Jo. As for the guys, Timothee Chalamet charms as Laurie, but it’s Louie Garrell who will make you swoon. (Opens Dec. 25.)
8 “Clemency”: I’m stunned that this emotionally exhausting character study and anti-death penalty drama is only Chinonye Chukwu’s second feature. It’s so powerful it’s as if it was from a veteran filmmaker always in control of its every second, every move. Alfre Woodard blows us away with the best performance of the year, portraying a coming-undone but by-the-book death row warden. “Clemency” leaves you drained but in awe of its storytelling power, technical skill and acting force.
9 “Once Upon a Time … in Hollywood”: Leave it to Quentin Tarantino to revise history for a bloody damn good tale of revenge. Tarantino’s done it before (“Inglourious Basterds,” in particular). But his latest is sharper — it coils itself in the grass and waits, striking late in the game for a shocking finale. It’s “Cinema Paradiso” by way of “Helter Skelter” — and it works. Normally when Hollywood worships Hollywood, it’s a kissy-kissy love fest. Tarantino doesn’t work that way in his nostalgia trip that leads a fragile actor (Leonardo DiCaprio) and his clever friend and sidekick (Brad Pitt) to an encounter with disciples of Charles Manson. (Available for rental)
10 “The Peanut Butter Falcon”: We could all use a dose of inherent goodness, and this indie drama delivers just that without the syrup and emotional manipulation. Tyler Nilson and Michael Schwartz’s family-friendly story borrows from “Huck Finn” and features Shia LaBeouf in one of his most tender performances playing a crab fisherman who buddies up with a young man (Zack Gottsagen) with Down syndrome. There’s a campaign to get Gottsagen on the best supporting ballot. He should be there. (available for rental.)
Want more? Here are others worth a mention: “Pain & Glory,” “The Irishman,” ”Waves,” ”Joker,” “The Farewell,” ”Invisible Life,” ”Bombshell,” ”Crawl,” ”Us,” ”Honey Boy,” ”Uncut Gems,” ”Knives Out,” “Synonyms,” ”One Child Nation,” ”For Sama,” ”Apollo 11,” ”Les Miserables.”
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