10. HIGH LIFE
Director Claire Denis makes
challenging films, refusing to spoon-feed her audiences. Her films
are smart, intense and carry a sensibility towards life that is
uniquely her own. She makes films like no other and is
uncompromising, and she respects her audience enough that she asks
questions in her films, without giving an answer at times. That all
said, I have definitely found some of her previous films challenging
in the past, particularly her well received and reviewed 2013 film,
“Bastards”. Her latest is a science fiction film that, shock
horror, is unlike any I had seen before and is also her first shot in
English. Right from the opening five minutes of “High Life”, I
knew that I was going to love it, and I was right as I ended up being
mesmerised by this film. It is set in deep space on a spaceship
where the inhabitants are all death row prisoners, given a second
chance at life by being a guinea pig on a space mission to find and
film a black hole. However, one of the inmates on the ship is also
conducting her own mission, by performing experiments on the others,
attempting to create a pregnancy while in space. As time passes, and
relationships break down, life on the ship becomes a violent, bloody
affair with plenty of bodily fluids on display too. As I mentioned
above, this is not your normal space film, as Denis plays with time,
telling the story in a non-linear fashion giving us, the audience,
fragments of moments. While these moments may seem inconsequential
at the time, they usually have greater meaning as the film goes on,
and give you a deeper knowledge of the story as you put the pieces
together. However, I will say that there is a brief moment set on
Earth on a train, that I am still baffled by. While at times “High
Life” can be a violent and bloody film, it is not interested in big
action set pieces, as it is a film that you feel more than anything
and Denis excels at creating a sensual experience, thanks in large
part to the impressive soundscapes she has used in the film. The
film is filled with a bizarre collection of characters, some better
defined than others, and once again Robert Pattinson shows how great
of an actor he really is, as the main character of Monte. I
particularly loved his quiet interactions with the baby. Juliette
Binoche is her usual great self, playing a character whose moral
compass is clearly lacking as she is willing to do anything to get
what she wants, and the lovely Mia Goth impresses in an intense role.
“High Life” is shot by Yorick Le Saux so it is no surprise that
the images within are stunningly gorgeous. I should briefly mention
that “High Life” is definitely not for everyone, as those that
like to be challenged watching a movie, will get more out of it than
your average viewer. I saw the film with my wife (who is a massive
Robert Pattinson fan), and while I loved the film, she absolutely
hated it.
9. UNCUT GEMS
Speaking of Robert
Pattinson, he was the star of “Good Time” which was the Safdie
Brothers previous film before “Uncut Gems”, and due to the
greatness of that film, I was excited for whatever they did next.
What they did was create a film that sees Adam Sandler return to
dramatic acting for the first time since 2002 when he made
“Punch-Drunk Love” for Paul Thomas Anderson, and Sandler totally
smashes it out of the park; he is outstanding. Like that earlier
film, “Uncut Gems” has this internal momentum that never sees the
film slow down for a minute; just like Sandler's Howard character's
lifestyle, it is constantly on the move, going from hustle to hustle
in an attempt to make a quick buck. The film is set in New York in
2012 where we meet a jeweller named Howard who is always attempting
to make a big score by placing high stakes bets with borrowed money,
and jewellery he has pawned from his store for the short term.
However the walls begin closing in on him, as debt collectors demand
the money he owes them, whilst Howard is also dealing with his
upcoming divorce from his wife, while putting in appearances with her
family at the same time pretending they are still together, as they
have yet to tell their kids. When all seems hopeless, Howard sees a
final chance to come out on top, which surprisingly involves Boston
Celtics star Kevin Garnett, but his plan must be executed like
clockwork for it to have any chance. This is exciting filmmaking
from the Safdie Brothers, and after both this and “Good Time”, I
think it is safe to say that we are witness to a new and important
voice in cinema. The film is raw and gritty and just feels of the
moment, but it is also so exhausting. As I said, like Howard
himself, the film never stops and yet the Safdie's never lose control
of their film for an instant, using very fluid camera work and some
incredibly long and complex camera moves to tell their tale, thanks
to cinematography superstar Darius Khondji. While the majority of
the film is set in the dark world of grifters, what makes “Uncut
Gems” so special is the way it also details Jewish home life and
rituals within the extended family. This is a such a great film,
(although it does have quite the potty mouth) with brilliant
performances throughout (surprisingly Kevin Garnett is also fantastic
as his role increases as the film progresses), and stunning music
from Daniel Lopatin. I can see “Uncut Gems” having a huge cult
following in the future.
8. BACURAU
The latest film from
director Kleber Mendonca Filho, who this time shares directing duties
with Juliano Dornelles (who was the production designer on Filho's
previous films), is something of a departure from the types of films
he previously has made, but it is no less brilliant. “Bacarau”
is an exciting mystery that sees a small self contained village
slowly ostracised from the rest of Brazil, as all roads leading to it
are blocked and they soon realise that the town no longer exists on
any map. When the cell phone service also suddenly disappears, and
the regular water truck arrives riddled with bullet holes, the
residents of Bacurau know that something is up and that they are
likely under attack. Though whoever is behind all of this, they are
in for a surprise as the residents of this small town rise up to
defend what is theirs and what they believe in. What is so great
about “Bacurau” is the set up to the whole mystery. Like the
locals of Bacurau, we do not know what is going on and only find out
as they do. It is incredibly suspenseful because we know that
something isn't right, but have no idea exactly what it is. When we
do find out though, thankfully it doesn't disappoint, although it
does change the tone and style of the film as it is less about
suspense and more about action, as the residents prepare to defend
their little town. An element that Filho and Dornelles have excelled
at is the creating a sense of community amongst the locals. They all
feel like they have lived together for awhile and know and accept
each other's flaws and eccentricities. This connection is
established early in the funeral scene at the start of the film. You
witness them mourn together and feel genuine loss for the departed,
and their togetherness is just as strong during the end as they fight
for their lives. If there is any negative to “Bacarau” it is
that the ending feels a little short changed compared to its lead up,
but this is minor nitpicking of a great film. “Bacurau” is a
well paced film, filled with some stunning images (the water filled
coffin is great), held together by a superb ensemble cast. For those
that are squeamish, beware, as the final half an hour of the film is
very violent and bloody. Click here to read my original review.
7. ONCE
UPON A TIME...IN HOLLYWOOD
We are
getting to that part of this list where you will notice films that
appear on almost every top ten list for 2019, but there is a reason
for this: they are all bloody good films. Anyway, Quentin
Tarantino's ninth film is a love letter to the Hollywood he knew and
loved when he grew up, and the perfect recreation of that era is just
sublime. What I love most about it though is that it was all done
physically and not with the aid of cgi, and it is clear from the
minute details that this is an era close to Quentin's heart. The
film is set particularly in 1969, which is important for its extended
finale, but it also is a moment in Hollywood history that was the end
of an era. Once the 70's took over, cinema changed as the studio
system was lost forever, and in “Once Upon A Time...In Hollywood”
we watch both Rick Dalton and Cliff Booth look at Hollywood as a
place they no longer recognise. While I wouldn't go so far as to say
that this film has no plot, it is definitely what you would call a
“hang out” film where you literally just hang out with the
characters rather than follow an extended narrative. Rick Dalton is
a fading television star, known for working on a string of westerns,
while Cliff Booth is his long term stunt man. Over the years of
working together, the two have become best friends, and we are
witness to them both as they wander around Hollywood either on set
working, or just driving around the streets. As usual for a
Tarantino film, “Once Upon A Time...In Hollywood” has been
expertly made, shot on film with cinematography by Robert Richardson
who, once again, impresses with his genius. Something that I did
notice while watching this film is just how great Tarantino has
become at moving the camera this late in his career. Some of his
camera moves are just exquisite, but work superbly well in context of
whatever scene is being shot. Now, I need to talk about the finale
of this film which will involve spoilers, so if you have yet to see
“Once Upon A Time...In Hollywood” and do not want it spoiled,
skip to the next entry on this list right now. So one thing you do
need to have some understanding of to get the most out of this film
is Charles Manson and the brutal murder of Sharon Tate. Tate, played
by Margot Robbie, plays a significant role in the film as she lives
next door to Rick Dalton, and anyone who has some knowledge of her
fate, can see where this film is heading and why the year of 1969 is
so significant to this story. However this is another of Tarantino's
“what if” scenarios similar to the massacre of Hitler in
“Inglourious Basterds”, except where I found that bit of altered
history exhilarating, the same cannot be said for “Once Upon A
Time...In Hollywood”. In the end, the Manson girls end up in Rick
Dalton's house instead of Sharon Tate's, due to them being high as a
kite, and both Dalton and Booth beat the living crap out of them and
killing them, leaving Sharon alive and well to have her baby with
husband Roman Polanski. Hooray for Hollywood!! But it does not work
for me, because even though these were bad girls with murder on their
mind, they never actually got close to committing that crime in the
film, so the very brutal, and lets face it, misogynistic beating the
girls cop, especially at the hands of Cliff Booth, is a punishment
far more harsh than the “crime” they have committed. In
“Inglourious Basterds” Tarantino is able to get away with his
revisionism because Hitler is still Hitler in that moment and
deserves everything he gets, however I do not think it is the same
thing with the Manson girls here. In the real world, we know what
they did and thus would deserve it, but in the film, they never get a
chance to do what history shows they ended up doing. Plus, it is all
so brutally done, with the constant bashing of the girl's face into
the glass, that I found it a little crass. I also think Tarantino
got the tone all wrong in the scene, playing it for laughs,
especially when the flame thrower comes out. It is a miss-step in an
admittedly great film, which would've been even higher on this list
if not for my misgivings of its ending.
6.
PARASITE
No doubt
the foreign film darling of 2019, Bong Joon-ho's “Parasite” is a
film that seems to have connected with everyone, and is universally
loved. I have said before that Bong Joon-ho just does not make bad
films, but his previous film “Okja” was my least favourite from
his filmography. “Parasite” is a massive return to form. It is
an incredible black comedy about class struggle, the haves and the
have-nots and how the constant looking down on the less fortunate by
those that have, causes a powder keg effect within them that is ready
to explode in violent retaliation. What is so great about Bong
Joon-ho and his films is that he has always attacked social issues
within them, but he does so in an entertaining way that never comes
across as though he is teaching his audience something. The opening
hour of “Parasite” is absolutely perfect as we are witness to a
lower class family infiltrate the lives of a well to do one, as they
are individually hired by them in different roles without their
employers knowing they are all from the same family. The
manipulations of the rich family are so funny, but smartly Bong never
demonises either family. Both families are handled respectfully. As
most people are aware by now, halfway through “Parasite” there is
a major twist that sees the film change from a black comedy into a
thriller, and while I do not think the second half of the film works
as perfectly as the first, it only misses by the tiniest of margins.
From the technical side of things, Bong also doesn't put a foot wrong
as, like all of his films so far, it has been expertly shot, has a
great score and his handle of changing tones is second to none. The
ensemble cast all give superb performances but as usual, Song Kang-ho
steals the show as the father of the poorer family; he is absolutely
hilarious in the first half of the film before being the heart of the
more dramatic second half. I was also very impressed by Park So-dam
who plays his daughter and who I wasn't aware of before this film.
“Parasite” won the Palme d'Or at the 2019 Cannes Film Festival,
it just won the best foreign film award at the Golden Globes,
everyone loves this film; just do yourself a favour and see it! You
will not be disappointed.
5.
DUMBO
As I
already highlighted this film in my “Most Surprising Film of 2019”
section, I will keep this brief but again, I absolutely loved Tim
Burton's take on “Dumbo”. When the film was announced, I could
not imagine how a live-action version of the story would work at all,
but Burton proved me wrong creating his best film since “Sweeney
Todd: The Demon Barber of Fleet Street” from 2007. He lovingly
references the animated classic a number of times, while cleverly
removing the elements that would not work (for example, the talking
animals) in live-action. While the original story only takes up an
hour of this new film, the extended story of Dumbo searching for his
mother in the second half is beautifully handled and filled with well
earned emotion. This is also helped enormously by Danny Elfman who
creates one of his most memorable scores yet for a Tim Burton film.
Take my advice and disregard the negative reviews this film received
and take a chance on this new version of “Dumbo” as I am sure
that you will end up very pleasantly surprised in how great it
actually is.
4. THE
IRISHMAN
In
any other year, any of these next four films could have been the best
of that year; that is how strong 2019 ended up being at the top.
“The Irishman” is the latest crime epic from Martin Scorsese and
it is nothing short of a masterpiece. It is baffling now knowing how
long in gestation this project was before Netflix stepped up and
funded it. It is a sad indictment on the state of Hollywood, that no
one was willing to give money to see this film made; especially when
the finished product is so strong and one of Scorsese's best. What
makes “The Irishman” so great is the film's final half an hour,
where we witness these ageing gangsters, alone and full of regret for
the brutal things they did when they were younger, waiting until it
is their turn to be killed. It is about getting older and looking
around and realising that there is no one left; not your family, not
your friends, even your enemies are gone, and you have to look within
yourself and ask if it was all worth it. Being that is what “The
Irishman” is ultimately about, it really was the perfect film for
Scorsese and the gang to make at this point in their careers, and it
also feels like the perfect swansong for this type of film, an
exclamation point if you will. The film is just superb, and even at
three and a half hours long, it just flew by. I was very lucky to
have been able to see “The Irishman” in a full cinema as there
was no way I was going to have my first viewing of a Scorsese
gangster epic be on my television set. I had to travel over an hour
to get to the only cinema playing the film in Melbourne, but it was
definitely well worth the trouble. Let's talk about the gang now,
shall we? I have to say that it almost brought tears to my eyes to
see Robert De Niro command the screen like he once did regularly; he
is simply outstanding as Frank Sheeran, the film's main character,
but it was Joe Pesci who surprised me the most, and the way that
Scorsese used him. It has become well known that Pesci turned down
the role of Russell Bufalino multiple times, refusing to come out of
retirement but thank god Scorsese never gave up until he changed his
mind because he is the MVP to come out of “The Irishman”. In the
previous Scorsese gangster films, he always cast Pesci as the
violent, loose cannon. He was in your face, and unpredictable.
However, he goes the other way in “The Irishman” giving a quiet,
understated performance, that also commands power. You can tell he
demands respect but he doesn't do it in a aggressive manner at all.
I wasn't expecting this kind of performance from Pesci at all, but he
is just superb. It is crazy to think that this is the first time
that Martin Scorsese and Al Pacino have worked together, but like De
Niro, this is Pacino's best role in years playing the infamous union
boss Jimmy Hoffa. It is a very “classic” Pacino performance as
he shouts and gets animated at the drop of a hat. It is the showy
role of the film, but it works wonderfully well. Besides these three
great actors, Scorsese also found a brief (but important) role for
Harvey Keitel, with the rest of the cast littered with great actors.
I particularly liked Anna Paquin playing the grown up version of
Peggy, Frank's daughter. She has very few lines in the film but
makes an impression nonetheless, and her chemistry with Al Pacino was
lovely. Now briefly a little about Scorsese's contribution to the
film, and I loved that for this gangster epic, he handled it
completely different than his previous ones. The filmmaking is still
mind blowing, but from a style point of view, he has toned it down
totally. There is nothing glamorous about this lifestyle at all, as
the gangsters never look “cool” at all, and the violence within
the film while bloody, is very, very quick. It is never lingered
upon once. What makes the main difference though is the fact that it
is about an old man looking back on his life, so the tone of the film
is more melancholic than expected. I have to make mention quickly
about the de-ageing process used in the film, as we see these
characters at various stages of their lives, and for me, it was never
a problem at all. With the exception of one tiny scene, when a
“younger” Robert De Niro threw a punch like a seventy year old, I
never focused on it for a second. “The Irishman” is a brilliant
film that deserves all the accolades it has been receiving, and if
you haven't seen it yet due to the film's extended running time, just
do yourself a favour and rectify the situation, as you barely feel
the time passing while watching this latest Scorsese masterpiece.
3.
PORTRAIT OF A LADY ON FIRE
The
sign of a great movie is when you can sit in the worst seat in a
cinema, front row on the very side, while totally exhausted at a film
festival to the point that you could not focus at all on the previous
film that finished minutes prior to the next one starting, and you
still get totally blown away by what you are watching. This is the
scenario I faced while watching Celine Sciamma's masterful “Portrait
of a Lady on Fire”. It was the second last film I saw for the
entirety of MIFF, and I was totally burned out, and briefly
considered skipping it due to how much I struggled with the previous
session. Obviously I am glad that I didn't do that as I ended up
being witness to one of the great romances ever presented on film.
The film ended up winning the “audience award” at MIFF which is
the highest voted film by MIFF audiences at the festival and it was
no surprise as you could just feel it within the cinema, that we all
knew as a collective, that we were witness to something very special;
the kind of film that does not come around very often. As the
credits began, I heard a woman behind me very simply just say “wow!”
like she was totally overcome by what she had just watched. The film
is about a young painter, Marianne, who
is
commissioned to do a wedding portrait of Heloise. The catch is that
she must do so without her knowledge, as Heloise is totally against
the wedding arranged for her, and thus refuses to sit and pose for
such a painting.
Marianne
must closely study and examine Heloise's features while out on day
walks with her, so when she returns to the house at night, she can
paint the portrait from memory. Initially, these walks are almost in
silence, but the women continually get closer as time progresses.
This
is one of the most beautiful and heartbreaking romances I have ever
seen in cinema. The first half is just sublime, with the two girls
sharing time together but barely saying a word to one another.
Everything is done in looks and observations. The subjective point of
view shots are so perfect as the camera lingers over Heloise's facial
features, her neck, her ears, and her hair. While initially these
looks are innocent in nature, they soon change to looks of desire,
and suddenly the film becomes very sensual and incredibly erotic,
even though very little skin or actual sex is shown on screen.
The film almost plays in two halves with the opening half being very
cold and quiet, but once the girls finally connect, the film bursts
with warmth, colour, laughter and love. As such the performances
from the two actresses, Noemi Merlant and Adele Haenel as Marianne
and Heloise respectively, also change as the tone of the film does.
It is interesting to note that Marianne seems more in control of the
tone of the situation in the first half, while that control shifts to
Heloise as love enters the second half of the film. Most
movie romances are shown via the male gaze but here it is the female
gaze and it is a completely different feel. Men express love more in
terms of sexuality, whereas women do so in terms of sensuality. The
distinction isn't massive but it certainly changes the romantic
dynamics which is why this film stands out so much.
“Portrait
of a Lady on Fire” also has my favourite scene of all of 2019 too,
when the women head to the beach at night. Around a camp fire, a
large group of women start singing a piece of classical music via
acapella and it makes the hair on your neck stand tall. It starts
with hums and clapping and before long the music is in full effect
and......WOW!! The whole scene is also so emotional too; you cannot
help but be moved by it all. This scene also then relates to the
film's finale, which I have to say is just perfect; it is
devastating, heart wrenching and packed to the gills with emotion,
but it is perfect none the less. I think it is probably the best
ending to a film since Christian Petzold's “Phoenix” from 2014.
I cannot praise this film enough, and implore everyone to see it if
they get the chance. It warms my heart that the rest of the world
appears to have been spellbound by this film as much as I have; it is
something very special. Click here to read my original review.
2.
PAIN AND GLORY
I
came very close to making the number two spot on this list a tie
between Pedro Almodovar's latest “Pain and Glory” and “Portrait
of a Lady on Fire”, because I just couldn't split them; they are
both truly magnificent films. However what finally tipped the
Almodovar film over the edge is that unlike “Portrait of a Lady on
Fire” which I went into with no expectations at all, I went into
“Pain and Glory” expecting something special. In my experience,
there is more chance of being disappointed by a film when you go in
expecting it to be good, so when that film ends up exceeding your
lofty expectations, it is enough to tip it over the edge into the
number two spot. Pedro Almodovar is one of my favourite directors of
all time, and his latest film is a
thing of absolute beauty and one of his very best films. It is a
much smaller in scope and less melodramatic than the films he is
famous for, but it is filled to the brim with emotion. It is about
coming to terms with the past, and reconnecting with it, so moving
ahead into the future becomes easier. It looks at what it is like for
someone used to the spotlight, or the “glory” if you will, and
the pain they feel when that light is taken away from them and they
are unable to do what they love to do most. Most of all though, “Pain
and Glory” is about ageing and coming to terms with it. The film
is about a film director named Salvador Mallo who is one of Spain's
greatest living directors. Well known around the world, he is thought
of as a national treasure. However, behind closed doors Salvador is a
man struggling with many physical ailments, particularly back
related, that find it hard for him to shoot films. It has been awhile
since he last made a film, and since cinema is his life blood, this
inability to do what he is most passionate about has sent Salvador
into a deep depression. Constantly medicated for the pain he suffers,
Salvador sleepwalks through life, failing to find inspiration to
write again. While getting high on heroin, Mallo starts to remember
key moments of his life and the people that meant so much to him and
helped shape him into the man he became. These dabbles with heroin
predictably send him further towards rock bottom, but a chance
encounter with an ex-lover may be just the thing to send Salvador
Mallo onto the path of proper healing.
There
is no doubt that Almodovar has taken from his own life and
experiences, but just how autobiographical this film actually is, I
am unsure. The whole thing feels very honest and personal though.
Almodovar chose Antonio Banderas to play Salvador Mallo, and he has
rarely been better. He is very understated in the role and he says so
much just through his age weary eyes. It is such a mature performance
that had me mesmerised from go to woe. It just felt so honest and
real and what I loved most about his performance is that even though
he is playing a character based on Almodovar himself, he chose not to
mimic the director with his flamboyant gestures, but created his
character from scratch. As always, the filmmaking craft is second to
none in “Pain and Glory” with Pedro Almodovar at the very top of
his game. Jose Luis Alcaine, once again, returns as the director of
photography and gives the film a more intimate feel than is usual for
his collaborations with Almodovar. “Pain and Glory” is a
beautiful looking film, but is never flashy which is perfect for this
quiet human drama. Almodovar's other greatest living collaborator,
Alberto Iglesias, delivers yet another fantastic score, this time in
quite a playful fashion. I also have to say that the ending of “Pain
and Glory” is pure perfection, and I welled up with emotion when
the credits began. Do not miss this film. Click here to read my original review.
1.
IF BEALE STREET COULD TALK
My
favourite film of 2019 is Barry Jenkins exquisite romance “If Beale
Street Could Talk”. While the film came out most places in 2018,
we weren't blessed with this masterpiece in our Australian cinemas
until Valentine's Day of 2019. Even back then, I was fairly sure
that this would be my favourite film of the year or if it was to be
beaten, it would take a mighty film to do so (and I must admit that a
few got closer than I expected). “If Beale Street Could Talk” is
also the only film that I watched four times this year, which I think
says a lot about just how great this film is. The film is about a
young black couple, Tish and Fonny, growing up in Harlem in the 70's,
falling in love and wanting to start a life together. However, just
when everything is looking up, it all comes crashing down when Fonny
is sent to jail for a crime he didn't commit. Soon after, Tish
learns she is pregnant with Fonny's baby. Fearing that Tish may have
to bring up their child alone if Fonny can not get out of jail,
Tish's mother searches for the woman who claimed she was raped by
Fonny to get her to understand she made a mistake identifying him.
What makes “If Beale Street Could Talk” so amazing is that it is
both the most beautiful depiction of a young love, while also being
as equally heartbreaking in its depiction of the unjust that was
common place to African Americans living in Harlem back then.
Jenkins smartly tells the story in a non-linear fashion so we are
never bogged down with either the highs or the lows, rather we get to
experience both close together. So when we are enjoying how good
life is for Tish and Fonny as they find themselves their first home
together, we then get brought back down to earth as we return to
Fonny's incarceration. The film is also striking in its depiction of
family and the differences between the families of both Tish and
Fonny. Tish is lucky to have a family that supports her fully and
demands she keep her head high and proud over her pregnancy.
Meanwhile, Fonny's family, particularly his mother and sister react
the complete opposite, claiming the baby will be born of sin and are
totally against Tish from having it. Interestingly, Jenkins doesn't
demonise Fonny's mother for her outlook on life, rather he presents
it as being an extension from the way she herself was brought up.
For the film to work as well as it does, Jenkins needed to find the
perfect couple to embody the characters of Tish and Fonny and he did
so in Kiki Layne and Stephan James. Both are wonderful, but
importantly, they have fantastic chemistry together. You totally
believe that these two have known each other all their loves and that
their love for one another is deep. I was especially impressed by
Layne who has a wide eyed innocence to her, before it is lost to the
reality of her situation. Speaking of her eyes, I absolutely adore
the scene when Tish and Fonny go to the Spanish restaurant for dinner
where Fonny's friend works. Just the way she silently watches the
man she loves interact with his friend, seeing an aspect of him she
hadn't seen before, is just so uplifting. And then later on, when
the camera pans down and shows that he has never let go of her
hand.......these are little, but absolutely stunning moments. The
technical side of “If Beale Street Could Talk” is just as perfect
as the narrative side. The cinematography from James Laxton is just
exquisite, as is Nicholas Britell's haunting score. I rarely mention
music in my reviews because it is something that I know little about,
but the music in this film is so, so beautiful. It moved me
immensely. In regards to Laxton's images, I know that Barry Jenkins
is a huge fan of Wong Kar Wai, and there were a number of times
during “If Beale Street Could Talk”, particularly in the images,
that I strongly felt this influence. Two scenes in particular
reminded me of Wong Kar Wai, the first being the slow motion shot of
Fonny working on the wood with his cigarette smoke filling the room
as he works, and the other, when the couple leave the restaurant,
walking home in the rain with their umbrella. Another aspect of
filmmaking that I rarely mention is costume design, but like
everything else in this film, Caroline Eselin's clothing choices are
spot on perfect for both the era and characters alike. So is there
anything I dislike about “If Beale Street Could Talk”? Frankly
no, it is as close to a perfect film as you can get and that is why
it became my number one film of 2019 early on in the year, and stayed
that way right to the end. In a year of impressive films, “If
Beale Street Could Talk” stands out from the pack. It is an
exquisitely beautiful film.
Well
there you have it, that was my round-up of the year that
was 2019; hopefully you got some enjoyment out of it. Now before I
finish, lets have a brief look at the upcoming year and my most
anticipated films of 2020.
