Sunday, January 12, 2020

2019 - IN REVIEW: TOP TWENTY BEST FILMS: #10 - 1


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.

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