Going to the movies is changing. The number of new releases — that is, the films that once populated both malls and art houses — is declining.
One big reason is Netflix. Moviegoers don’t have to trek out to their favorite theaters to see big prestige pictures or small art films. They’re on television, convenient and at the push of a button on their remotes. By the same token, theaters are not showing some of these movies. Why spend a small fortune on long theatrical bookings when the film is heading for television within days of release?
Following are the movies of 2019 that bucked the trend or, in a few cases, took advantage of it:
Honeyland. Documentarians set out to make a movie about a beekeeper. What they got instead is an epic tale of spiritualism vs. materialism in an isolated region of Macedonia.
The Souvenir. A young woman and her boyfriend learn that trust, not love, is the true currency of a relationship, and that no one really knows what is going on in anyone’s mind or heart.
Parasite. A family living in a literal hole in the wall insinuates itself into a family living in a mansion on a hill and takes over their lives. This is a thriller, a comedy and a horror movie rolled into one, and exceptional in every way.
The Irishman. Martin Scorsese’s elegiac farewell to the mob features dynamic performances from Robert De Niro, Al Pacino and, best of all, Joe Pesci, all in the service of a story about the ravages of advancing age and diminishing abilities.
Marriage Story. Adam Driver and Scarlett Johansson are magnificent as a married couple with a young son who loathe one another yet can’t let go of each other. Raw, highly charged and brilliantly directed by Noah Baumbach, who’s been studying his Ingmar Bergman and Woody Allen.
Once Upon a Time…in Hollywood. Quentin Tarantino’s ninth feature is about movies of the 1960s and two of the men who make them, played by Brad Pitt and Leonardo DiCaprio. So what if Tarantino changes history. This is a powerful time capsule containing what might have been.
Pain and Glory. Director Pedro Almodovar channels Fellini’s “8 1/2” in the story of an aging director (a marvelous Antonio Banderas) as he battles illness, the ghosts of women is his life and artistic paralysis. Visually, Almodovar is still the best in the business.
Transit. In this compelling thriller, a young writer lives in a modern unnamed fascist society where the police and soldiers are constantly on his tail. Think “The Twilight Zone” meets “Casablanca” via Kafka and you’ll be mesmerized by a story that walls the hero in on all sides.
Ash Is Purest White. The moll of a Chinese mobster takes the rap for him and is imprisoned. When she is released, she finds life has changed for her as well as the gang. Visually striking and told with nuanced power, the story is gripping until the final shot.
Ford v Ferrari. Genius automobile designer Carroll Shelby and fearless race car driver Ken Miles combine their talents to manufacture a win for working-class Ford Motor Company over wealthy Italian car maker Ferrari. Matt Damon and Christian Bale make a spectacular team.
Knives Out. Rian Johnson’s clever and stylish murder mystery boasts a stellar cast, a sleuth for our times played cannily by Daniel Craig, a sharp political angle and a superlative labyrinthine plot that would make Agatha Christie blush with admiration.
Bombshell. Beauties bring down a beast in this part-true story about the fall of Fox News chief Roger Ailes amid allegations of sexual harassment. Incisive and well-cast with an exceptional Charlize Theron as Megyn Kelly and John Lithgow as a devilishly predatory Ailes.
Kind Hearts and Coronets (reissue). Before Alec Guinness was Obi-wan Kenobi, he played eight roles — yes, eight — in this seminal British comedy-thriller about an eccentric serial killer on the loose. Seek it out and enjoy.
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