2019 proved to be a fantastic year for film. The year started off strong with the thrilling “Us,” Jordan Peel’s sophomore directorial effort, following 2017’s acclaimed “Get Out.” In April, Marvel Studios dropped “Avengers: Endgame,” the conclusion to the Avengers series, but also the conclusion to their 10-year-20-movie-long connected universe. Predictably, it became the highest grossing movie of all time: Global Box Office – $2.79 billion.
The month of May similarly delivered the hits; chief among these was the gloriously violent “John Wick 3: Parabellum,” a success on all fronts, choked full of arguably the best action sequences of the year. Also of note were “Booksmart” and “Long Shot,” two cute and suitably entertaining comedies, delivering plenty of laughs and heart-felt sentiments despite their digestible, short run-times.
After the highs of the first third of 2019, there was admittedly a lull in quality films. However, July pulled through with Quenten Tarrantino’s most Tarantino-esque film, “Once Upon A Time In Hollywood.” This film was an undoubtable triumph in directing and screenwriting, and it was a masterclass in acting from contemporary Hollywood heroes: DiCaprio, Pitt, and Robbie.
The later half of the year was full of pure cinematic class. In fact, seven out of nine of the Academy Awards Best Picture Nominees were from the final third of the year: October’s “Joker” and “Parasite,” November’s “Ford vs Ferrari,” “The Irishman” and “JoJo Rabbit” and finally, December’s “1917” and “Little Woman.” All of the above exhibited the qualities of superlative filmmaking, reflected, of course, by their Oscar nods.
If there is one thing to take away from 2019, it is not to disregard the power and artistic potential of Netflix. Their “Originals” line of films has quickly developed into a spectacular range of movies – equalling the production power and stardom of Hollywood’s blockbusters, however retaining the creativity and niche of an independent, art house production company: “The Two Popes” and “Dolemite Is My Name” are this year’s shining exemplars.
Looking to the future, 2020 seems somewhat bleak with offerings like “Fast and the Furious 9.” The once drag racing, car-centric series has since become closer to that of a superhero heist film: How long can such a series go on? Thankfully, Christopher Nolan’s latest project, “Tennent,” offers an intriguing concept – an amalgamation of 2000’s “Memento” and 2010’s “Inception.”
Finally, at the end of this month, Guy Ritchie releases another British gangster movie. However, it is unlikely “The Gentlemen” will stand up against Ritchie’s most acclaimed works – “Snatch” and “Lock, Stock and Two Smoking Barrels.”