Godzilla: King of the Monsters

          

  Gillipedia Official Rating: Big Oof

            Let’s start from the very beginning. Before we get to see anything, we hear Godzilla’s iconic screech. While the first Godzilla made hearing the roar feel like a spectacle and a treat, this just feels cheap. And then when we do see something, it’s of a flashback back to the events of the first film—but from the perspective of Vera Farmiga and her child played by Millie Bobby Brown (think of Bruce Wayne at the beginning of Batman v Superman). Right off the bat, why don’t they just start off with the flashback, and if you gotta do the roar, have Godzilla do it in front of Vera and Eleven. That makes so much more sense to me.

            When we move to present day, I hated this sequence as well. We’re introduced to Mothra, and it feels way too much like Cloverfield in a bad way. My guess is that the post-production team was running out of time or budget, and they had to cut corners; this big blockbuster CGI sequence tries to look more realistic and engaged by following the movement of Mothra with the camera and even using some zooms. The way the actors interact with CGI Mothra is fine, but it’s pretty clear to me about what was real and when it all turned fake. I will throw a positive in here about the sound mixing. That aspect is honestly very good.

            There’s actually a pretty good ratio of action scenes in comparison to the runtime, but it is pretty formulaic in how we get expositional scenes followed by characters needing to travel somewhere for the next action scene to take place. After throwing in a King Kong Easter egg or two that was pretty easy to spot, we move on to a facility called Castle Bravo. I’m pretty sure they took that name from a failed Cartoon Network show. This film takes itself way too seriously to try throwing some military facility called Castle Bravo at me. Oh, that’s also the name of Andy Cohen’s next reality show on Bravo.

            This film is so frustrating because there’s stuff that looks so good. Like Monster Zero aka King Ghidora looks amazing frozen in ice. But there’s also such an overreliance on the classic blue and orange contrast used by so many movies nowadays. But we’ll get back to that in just a bit. If you’re still worried about the plot, please don’t be. It doesn’t matter. Vera has this machine that awakens all the monsters, and she teams up with some hippie terrorists to restore the world to a better state or something. I don’t know, truthfully, it’s been about a month since I watched this film, and I refuse to dwell on it. Kyle Chandler plays the cliched separated dad who should die so many times in this film but won’t because the studio paid him too much money to allow that to happen. And Millie Bobby Brown will help save the day while genuinely giving the best performance.

            So we’re still at this facility in Antarctica, right, and the second action scene gets underway. This movie again does nothing but follows trends and uses up its one f-bomb in a PG-13 film, and this one might take the cake as the most pointless of them all. There’s some Wrath of the Titans vibes here, but all in all, the reveal of King Ghidora is decent. Ghidora battles Godzilla, and it culminates in what annoys me about this film. The slowest shot is a wide shot of the 2 titans, and it’s undoubtedly the best shot and was featured prominently in the trailers. That gives way to a much too dark fight with way too many cuts. This movie is titled King of the Monsters; I can’t believe I’m saying this, but just be more like Pacific Rim and give me some cool giant fights that I can sit back and enjoy. I will say that scattered throughout are moments where Godzilla or the other monsters are in like a dark storm cloud and there’s either lightning flashes or Zilla has the spikes on his back glow briefly and it’s extremely cheesy, but it’s also more of exactly what I want out of the film.

            The movie turns back to its boring characters with no motivation and throws in Bradley Whitford just to try spicing things up. I’m going to take this time to say that the directing is terrible. It’s so bad and sigh-inducing. However, the music is pretty good. Back to the plot! I’m not sure if you’ve been paying attention because I hardly have, but they launch a bomb at one point. I don’t know what scientific principles went into this—perhaps the science of style—but the explosion is green and that really confused me.

            Anyways, the third action scene again features Godzilla and King Ghidora. In this round Godzilla rips off one of Ghidora’s heads, very badass move. Less than five minutes later, the head completely regrows. So thanks for that waste of a moment. It’s around this point that Eleven realizes how wrong her mom Vera is, and in a moment of very on-the-nose dialogue, she says, “You’re a monster,” and storms away. Brilliant writing on display, folks.

            I’m going to yada-yada some of the plot here. Kyle Chandler plays Mark who continues to run head-first into danger to very little consequence, and Godzilla swoops in to ex machina almost all of the important characters. Except—spoiler alert but who cares—for Sally Hawkins. The Oscar nominated actress dies very unceremoniously—think of the Asgardian warriors in Thor: Ragnarok. At one point Mothra hovers down from the heavens in ultimate cheese fashion. It’s a shame that the jokes in the film aren’t nearly good or consistent enough because the established films here aren’t very light-hearted; so, the movie tries taking itself seriously while having its cheese too and it just doesn’t work. I remember some of the later Harry Potter films having some really witty moments that worked. It doesn’t here.

            Let’s talk about the climax. One of my previous reviews was of Her which I praised for its use of cool blues. There are so freaking many blues in this film, it’s such overkill. The climax is no exception. Despite this, the climax still provides some of the best shots. It’s dark and rainy and the camera is looking at a skyscraper and in the windows we see the reflection of Godzilla coming. King Ghidora also WWE takes down God “Blue Beams” Zilla. Good stuff. Shame we didn’t get more of it. There’s also a quick shot that switches seamlessly from a lull in the monster fight to having the camera turn to the right and transition to where some of the human characters are with the point of this being that it was reminiscent of the action scenes in Aquaman. How cool could this film have been if more of the film was shot like that movie? It would make better use of the environments, incorporate the humans more naturally, and the whole ordeal would feel more cohesive.

            In my professional, critical opinion, this movie sucks. It’s one of the sadly too many cases where if you saw the trailers, you saw the best bits. There’s not many other cool shots or moments, and this movie certainly isn’t saved by complex characters or plot. If you’re looking for action during this quarantine, do yourself a favor and watch the John Wick trilogy. Heck, go watch Batman v Superman if you’re really kicking for some sort of CGI-fueled blockbuster. Just anything besides this monstrosity.



In Brief:

• I’ll consider compiling a list of what’s available for streaming during this quarantine that I would recommend. Call it the Gillipedia Criterion Collection or something dumb like that. I don’t know. We’ll see.
• There’s a couple of horror or thriller movies I’ve watched recently that I’ll consider reviewing. And please, if there’s any review or simple opinion you’d like to hear from me, let me know. I’ve been strongly considering adding some sort of official rating system to my reviews to help streamline everything, but that’s still up for debate. What’s not up for debate is the inclusion of Big Oof as one of the ratings. That would stay put, I assure you. 
• If you have any other ideas, questions, comments, concerns, or big wads of cash that you’d like to throw at me, I’m open to anything. Except possibly Cats. Please don’t make me do that.

Best Picture Winner Parasite

           

I was certainly surprised when Parasite won Best Picture at the Oscars over Golden Globe winner 1917 and my personal film of the year Marriage Story. But I also hadn’t seen the movie yet. With the film now streaming on Hulu, I jumped on the chance to see what this film is all about—especially considering how little I actually knew about it.

            If you were like me, then you probably heard that this film tackled a bunch of different genres and also somehow dealt with class warfare. That’s honestly a pretty apt description given how little information people wanted to divulge about the film considering its twists and unique plot. Quite simply put, this is a very interesting and original film, and I’ll avoid any spoilers for those that want (and should) watch the film. Oh, and I guess if you didn’t know, I should also mention that this is a South Korean film which means it’ll be subtitles all the way through. That absolutely shouldn’t deter you from watching this film; in fact, it really only adds more intrigue to the film to be able to see all the small cultural differences that you wouldn’t get with an English film.

            The film starts off with a family of four living in poverty and trying to find a way to smooch off of someone else’s Wi-Fi. Later, when a guy comes down the street spraying that bug spray stuff, the father insists on leaving the window open to help kill the bugs inside their home. It’s not a great situation, but writer/director Bong Joon Ho still finds humor in it. When the son’s friend Min recommends him to take his place tutoring a high school girl at a rich family’s house, that’s really when the plot starts moving. We now get introduced to the Park family living in an incredible house. Bong Joon Ho does an excellent job of not making this family pish posh or just utterly despicable; rather, there’s a certain bliss to the fact that their problems don’t bother them too much because they have the means to always move forward. As for the plot, all I’ll say is that the son is able to get his sister a job tutoring the Park’s young son without revealing that they’re actually siblings, so now our poor family has two people both earning money and with access to a luxurious home. As you may have guessed, if I continue on from here, I would only be doing everyone a disservice to reveal how the story evolves.

            There’s a distinct reason this film works as well as it does. It has an original plot and a well-deserved Oscar nomination for production design to go along with the genuinely funny humor, but that’s not what elevates it to an Oscar level. The two families work in tandem with each other, but how the film addresses the effects of wealth on your outlook on life and each character’s motivations is what really shines. There isn’t clunky narration or obvious exposition. The audience starts to draw their own themes, and then Bong Joon Ho gives us a couple of lines of dialogue that brings it all together in a thoughtful way. It’s like when a comedy has a running gag or inserts a ridiculous line of dialogue near the beginning only to quickly gloss over it before having it pop up later in the film. Some of the best comedies are the ones that use this technique well. Similarly, this is how Bong Joon Ho approaches his themes; as the son in the film would say, “It’s so metaphorical!” It’s not just that the story pays off, it’s the fact that it does so in such a natural way without ever beating the audience over the head with it that makes me so impressed with this film.

            Bong Joon Ho set a record for winning 4 Oscars for what he did with this film. It’s clear that he takes inspiration from some of the great American directors he’s studied, but it’s hard to try to compare him to anyone else. His style does carry over from his other films, however, so checking out the Chris Evans led Snowpiercer might help. I wouldn’t necessarily boast that the editing was Oscar-worthy, but there was one shot using water to help transition the scene that stood out to me. And apart from Bong Joon Ho, I was most impressed with Yeo-jeong Jo who played the naive Mrs. Park. She is a driving force in showing a kind character overall that still considers herself a little above others. The music, especially near the end, is also very good.

            It’s honestly hard trying to find faults in this film. But there’s a scene near the middle of the film that is pivotal in driving the movie into a new direction with a bit of a left-field twist. It does feel that the conflict that ends up presented could’ve been avoided, but the actions the characters take do match up with how they probably would react despite it not being completely rational. But it truly is a small critique.

            If you’re looking for a movie to watch during this quarantine that most likely isn’t your typical fare, I give a high recommendation to Parasite. All the way up to the very last line of dialogue will have you engaged, and the film is just so refreshing overall. It’s tough for me to say that I’d pick this movie over Marriage Story, but I absolutely understand why the film won Best Picture now and am impressed that it actually did. The film is thoughtful without ever being preachy in any way, and it’s just a lot of fun. Go watch this movie.



In Brief:

• I mean, what’s there really to say except that everything is indefinitely delayed?
• There’s a couple of different movies I could do a review for, just need to see if my thoughts would add enough value to warrant a review. I did watch the most successful South Korean movie ever in the high-octane Train To Busan, so if you’re really wanting me to do more international stuff, there’s enough movies out there for sure.
• Um, stay safe. And make sure to read this review 6 feet away from anyone else. 

Her

        

  I just watched one of the most interesting films out there. There’s a lot that could have derailed this movie, but it works out on almost every level. And what film is that? Well, for those that skipped reading the three-letter title at the top, I’m talking about Her. This is a story of a near-future world centered around a lonely writer named Theodore played by Joaquin Phoenix who has been separated from his wife for almost a year. He sees an advertisement for an operating system with the first-ever technology of an artificial intelligence, and he uploads it to his computer that night. From there he develops, well, a relationship with the system that calls itself Samantha and is voiced by Scarlett Johansson. And if that doesn’t sound like a typical rom-com setup, you are 100% accurate.

            There were a couple of films that I think compare nicely here to give you an idea of what Her is really like. First, the tone is actually reminiscent of Lost in Translation which is interesting for a variety of reasons. Lost in Translation is one of my favorite romantic movies, so comparisons to that is always a plus. But calling it a romantic movie is a bit of a disservice because it’s much more complex. The tone is somber, but there are deeply funny moments, and there’s also a very real bond between the two leads. Strangely enough, this description works surprisingly well for Her as well. Near the beginning of the film, Theodore puts an ear piece in on his way back to his apartment, and he tells the device to play a melancholy song. That reveals a good amount about the film. It’s here that we’re introduced to some great music provided by Arcade Fire, and we’re also treated to some great shots of just Theodore walking and the surrounding city. It’s impeccable to look at, is technically well-thought out from a design perspective, fits the vibe of the film, and it all makes sense with director Spike Jonze’s experience with music videos. If you're wondering if you've seen any of Spike Jonze's other works, he's notable for directing the Charlie Kaufman-written scripts for Adaptation. and Being John Malkovich.

            Just to connect the dots a bit, the director of Lost in Translation Sofia Coppola based that film loosely on her relationship with her then husband. That husband was in fact Spike Jonze. And to bring everything full circle, Theodore’s separated wife is played by Rooney Mara. Mara and Phoenix are currently engaged to get married (first having met on the set of this film). And they’re both strange creatures and perfect for each other, and I wish them the best.

            The other thing Her reminded me of was Wes Anderson. Her doesn’t use the symmetry that Anderson is famous for, but both utilize bright, mostly primary colors to great effect. The production design here is some of the best I’ve ever seen. What stands out the most is Theodore’s salmon-colored shirt he wears frequently and how that matches well with the vibrant hot pinks scattered throughout. There’s also plenty of cool blues used, but those are mostly used in the apartment scenes; and there’s even just enough yellow used to bring it all together. But it’s not just the colors. Every shot is artfully conceived with depth and loads of varying, interesting lighting. What I’m trying to get at is that this film is a joy to look at. Some shots from Skyfall that stand out the most are from Shanghai, and it’s clear some of the city shots in Her are also in Shanghai, and they look great.

            Let’s move on to the characters so that I can talk about something else so great in this film. Almost as good as his mustache is Phoenix’s performance. And the film really hinges on this as well. The movie is almost constructed theater-like in the fact that the camera lingers on Phoenix like he has these expansive monologues he’s giving, but half those are him engaging with Samantha because the AI don’t have no body. And those conversations are brought to life courtesy of Scarlett Johansson. I am convinced that she was a perfect choice for this role, and when you consider she had nothing but her voice to lend to add depth to her character, it’s actually quite remarkable what she achieves. And as you are all aware, I’m sure, I would be the first to sign up for whatever technology would allow me to have ScarJo talking in my ear all day. I was even getting small Emma Stone vibes from it all, and that is also perfectly okay with me.

            There’s actually a great supporting cast here as well. Chris Pratt brings a light-hearted touch, and he even sports his own mustache (Not as well as Phoenix, but I think that was the point. His character looks up to Theodore, so I think it was him trying to emulate Theodore a bit.) for some of the film. Amy Adams plays Theodore’s supportive friend, and there’s an incredible purity and kindness that she brings. And Scarlett isn’t the only famous voice here. Kristen Wiig has the most hilarious scene as a woman in an online chat room with the username SexyKitten. Spike Jonze even lends his voice to an incredibly adorable and vulgar alien creature in a videogame that Theodore plays.

            So we’ve covered tone, the look of the film, and the characters, and all of it hits the mark. Then there’s the story. And you know what, it’s also well done. From the way the characters are presented with their present states, their backgrounds, and how they arc throughout the film, it all makes sense. And Theodore’s job is to write letters for other people, and those letters are also really well-written. It’s details like those that elevate movies from good to great.

            Speaking of the writing, let’s talk about the awards. Her is pretty well-represented at the Oscars with many nominations and one win, but I enjoyed this film so much that I’d pull for even more. The win is for Original Screenplay for Jonze (no idea how to pronounce that by the way), and that’s well-deserved. Her lost to The Great Gatsby for Production Design, and I understand that Gatsby was going to grab the popular vote for that category, but I truly believe Her’s is better. This was also the year Frozen came out, so there was no way Her was going to beat “Let It Go” for Original Song. Jonze isn’t nominated for Directing, and there aren’t any actings nods either. Phoenix is the noticeable absence here (he did get a Golden Globe nod), but Amy Adams could have and should have easily gotten a supporting nod. There’s no way ScarJo gets a nom, but her work should still be recognized as well. You can even make arguments for either Cinematography or Costume Design to get in over a couple of the other films in those categories.

            Now okay, you know the critic in me has to nitpick this film at least a little. As well shot as they are, there are about three montages in the film. They’re not particularly long, but there’s one too many here. And I understand why the movie went where it did, but I do have some slight conflictions over the ending. But with that said, there’s so many cool things here. Videogames are incorporated in a cool way, the way Theodore’s job as a writer evolves the story is clever, and there are really funny moments that break up the undeniably weird nature of some of the scenes. Heck, I even enjoyed the credits. They’re a really cool font and some of the character names for the cast are quite funny. If you’re looking for a moving film with a unique twist on the romantic formula, you can’t get much better than Her.



In Brief:

• Everything is getting delayed. Daniel Craig’s last appearance as Bond in No Time To Die is delayed to November, Mulan is delayed, and although I really couldn’t care less, F9 (the next film will just have to be called 10 if they plan on continuing to shorten these titles) is delayed a whole year. These decisions make sense, but it’s still a bit of a shock to see. It will be interesting to see what else moves or stays. As it is huge films like Black Widow are staying where they are.
• A Quiet Place Part 2 I just learned is also delayed, and that's the biggest disappointment so far. You betcha I was going to risk the Coronavirus to see this movie. Well, whenever I do get to see it, it's going to be so good.
• Pixar’s Soul could be interesting. That's really all I have to say right now.
• Wanting to continue the legacy of The Pirates of the Caribbean, we will now get Jungle Cruise. There’s a lot of winning elements like Emily Blunt and The Rock leading the bill and drawing in the younger age group. From the trailer, though, the CGI looks shoddy. And I’ve been on the ride—waited in a much too long line for it—and wasn’t impressed. I don’t expect much better from this.
• I find it hilarious that Contagion is trending right now as a streaming movie, and I will genuinely consider rewatching it to be my next review.

Leon: The Professional

Currently, this is the #31 ranked movie by users on IMDB. I can’t even begin to name the multitude of films that are ranked lower than this film. Does it warrant all this love? Personally, I liked the film, but that’s honestly about it. There’s some controversy around the film that we’ll get into, and we can’t forget that this marked the film debut of 12-year-old Natalie Portman. From the writer/director of Valerian and the City of a Thousand Planets, this was the movie that put Luc Besson on the map a couple of years before he really got acclaim for The Fifth Element.

            The second shot of this film is one of the most impressive, and it’s part of the opening credits. There’s an unbroken shot driving through the streets of New York that ends up at Tony’s diner where Tony is telling his “cleaner” Leon about the next target. The movie then proceeds to open up viscerally with a violent scene of Leon sneakily disposing of some baddies at a New York loft before capturing the drug dealer target. It’s a pretty solid action scene overall, but don’t expect it to either blow you away or for the film to sustain this kinetic energy. Actually, the movie slows down quite a bit to develop the questionable, um, bond between the two protagonists.

            When the day and the deed are done, Leon returns to his run-down apartment and interacts briefly with the cigarette-holding Mathilda (Portman) before going back to his place-- next door to Mathilda’s broken family, including her drug dealing father at the helm. Leon peers through the keyhole in his door to the hallway where the father is being berated by Gary Oldman and his henchman about some missing drugs. It’s certainly questionable that they openly discuss their plans and displeasures in such a manner, but it’s instantly established that the classical music lover leader Oldman is certifiably crazy. Nothing malicious happens here, but we’re now introduced to all the major ballplayers, so Leon settles back to his room where he drinks his milk, waters his favorite plant, and goes to sleep sitting up in a chair with his round shades on. The intention here is to establish that Leon isn’t a terrible person—he even has a golden rule of not killing women or children. And Jean Reno does a good job of portraying this socially introverted man, but I am still dubious about his abnormal obsession with milk.

            Oldman and his goonies return the next day because the father still hasn’t returned the rest of the drugs, and this is really the pivotal scene of the movie. Mathilda is conveniently away getting groceries, but the rest of her family isn’t so lucky. The father takes down one of the unimportant bad guys, but that’s the only damage he does as Oldman and his gang mercilessly wreck the apartment and kill the wife, older daughter, and younger brother. The best moment of the film comes next when Mathilda returns. She quickly sees two henchman guarding the door and understands that she can’t return; she slowly makes her way to Leon’s door. And it’s here that Portman has an incredible moment of acting where tears are welling up in her eyes, but she tries keeping a calm face so as to not raise suspicion, and she quietly pleads for Leon to let her in. He abides, and the second act of the film is allowed to start.

            We learn that Oldman is a detective in the police force, and although that explains how he’s been able to live with such reckless abandon so far, I can’t help but wonder how his promotions came to be. It’s a small critique, but the film comes apart a bit when you continue picking at the edges like with Oldman’s character. But I digress. The next section of the film is all Leon and Mathilda. She learns quickly about Leon’s job, and she asks to be trained to be a cleaner just like him so that she can exact her revenge on Oldman for killing her younger brother—the only family member she actually cared about. He relents, and they start training; Mathilda does stuff like the laundry and grocery shopping to pay her way.

            We learn more about Leon’s kind of sad existence where Tony supposedly has all of his money that he’s earned kept away safely, Leon used to have a woman but that fell through, and he can’t read or write which might be part of why he sticks to a strictly dairy diet. This is the part of the film where Luc Besson tries building the rapport between Leon and Mathilda. There’s a scene where Mathilda suggests they play a game, and she dresses up like celebrities like Marilyn Monroe, but Leon is clueless about it all. He is able to guess, however, Gene Kelly because he went to the cinema to watch Singin’ in the Rain. He in return puts in all of his effort for a very poor John Wayne impression. It’s a somewhat fun scene, but again, it feels like it should connect more than it does. The score of the film only adds to the light-hearted tone of the scene, but it’s not very ground-breaking.

            There’s also a part where they get kicked out of the hotel they’ve holed up in because Mathilda exclaims to the manager that Leon isn’t her father, he’s actually her lover. Now Jean Reno does his best to play the role where there’s no indication that he feels anything romantic for Mathilda, but it raises eyebrows more than I think Luc Besson would like. What is very sketchy are the connections I later learned about this film and Besson’s personal life. He met actress Maiwenn when she was 12 and he was 29, and they became romantic when she was 15—the legal age of consent in France (I think). She even had a child with him at the age of 16 (he cast her in The Fifth Element but left her for the star Milla Jovovich). Now it’s possible to try taking the film as it is, but it’s hard to separate the two—especially because the film is already uncomfortable by itself.

            Moving on from this controversial topic, it’s time for me to say something controversial. I don’t much care for Gary Oldman’s performance. There, I said it. Yes, he’s purposefully playing an over-the-top, pill-guzzling, corrupt cop; but it’s all just too much for me. Even his iconic “EVERYONE!” line does little more than make me chuckle. I think part of this is the cliched nature of how unhinged his character, part is Oldman’s performance, and another big part is Besson’s writing and directing. It edges more toward satirical and comical rather than the blend of suspenseful crazy that keeps people guessing. I’d much rather take German terrorist Oldman from Air Force One or post-apocalyptic cult leader Oldman from The Book of Eli than this villain. Oh, and very quickly, I know Jean Reno from Mission: Impossible and Godzilla, and he’s always been the subdued, tough, cool guy kind of role. He’s much more repressed in this, and it’s a good performance overall.

            The film comes to an explosive end with a couple clever moments, but I still don’t think it really hits the mark. Maybe the ending was fresher when it first came out, but it neither surprised me greatly nor made an overwhelming emotional impact because the second act fell flat. Jean Reno is good, but Natalie Portman really does shine here. There’s most certainly problematic morals here, and I wasn’t impressed by either Besson’s direction or writing. Overall, I fail to see this as a definitive classic. And it’s certainly not the 31^st best movie either. My suggestion is to pass on this.



In Brief:

• This is inevitably a slow period of the year. I still haven’t gotten around to Birds of Prey, and who knows if I’ll go to stuff like Sonic the Hedgehog.
• Despite the above bullet point, there’s actually a couple films I have in mind on what to review. I do think I know what I want to do next, and it also fits in with Black History Month. 
• One film I probably won’t do a full review on is Amazon’s The Torture Report. It’s an interesting story based on real-life events. Adam Driver is a good lead, and it’s packed with famous co-stars, but it’s very plot-heavy only interrupted by scenes of tort—excuse me—advanced interrogation techniques. Annnnnd it’s not exactly the best way to break up all the exposition even if it’s integral to the story. 
• I watched the very satirical Sorry To Bother You. There are elements I enjoyed here, and I like the lead LaKeith Stanfield, but man is it also weird. I guess maybe it’s too satirical? Can’t say I highly recommend it.
• The only thing that looks truly promising in March is A Quiet Place Part 2. John Krasinski gets to focus more on directing, and I can’t imagine a better move than bringing Cillian Murphy and Djimon Hounsou on board. And I do realize both Pixar’s Onward and Disney’s bazillionth live-action update in Mulan are also coming in March. I expect both to be good and make splashes at the box office, but they don’t get me excited.
• Here is the clip to Gary Oldman's iconic line I referred to in the review.

The Decade in Films (2010-2019)

            So here we are. I’m a little late to this party, but that’s okay. I made some categories to include my favorite movies of each year along with what I considered to be the biggest disappointments. If you’re interested in a comprehensive look back through each year, I actually do have an exhaustive list of all of those films along with my quick thoughts on them, but it’s such a long list that I decided to leave it off of this; but I will post that if people are interested. We will go year-by-year starting at the beginning, and -spoiler- at the end I will look at the decade as a whole. My metrics for films of the year basically entail whether I think it was executed well, the entertainment value, and probably the biggest weight goes to lasting impressions. The movies that have stuck with me the most and made the biggest impact are what you will see me praising the most. Well, without further ado, let’s look at what has ultimately been a great decade to go to the movies.



2010

Film of the Year: Inception – This was the easiest movie of the year pick for me. I mean, top 5 favorite movie of all-time. No question. No explanation needed.

            Runner Up: Shutter Island – Solid Scorsese film with a good performance from DiCaprio and has a lot of great supporting roles. Cool story overall.

            Honorable Mentions: The Town, The Fighter, Easy A – The first two are obviously heavyweights with great performances and emotionally gripping stories, but I was surprised by how much I enjoyed Easy A as well. Well done, Emma Stone.

Underrated Film of the Year: The Book of Eli – The action is awesome, it has a really cool vibe and palette, Denzel and Gary Oldman are fun, and it seriously has an awesome plot twist.

            Runner Up: Extraordinary Measures – You remember Brendan Fraser? Yeah, he teamed up with Harrison Ford for this movie, and I’m pretty sure nobody in the world remembers it. I haven’t seen it since it came out, but this definitely fits the bill as underrated.

Disappointment of the Year: True Grit – The Coen Brothers are definitely hit or miss with me, and even though the acting is great—breakout Hailee Steinfeld in particular—it really isn’t the compelling modern western I was hoping for.

Runner Up: Unstoppable – Chris Pine and Denzel trying to stop a train. I thought it looked really interesting when it first came out and heard nothing but good things. I got around to it, and it was just lacking in the thrills and it lost my interest.

Animated Film of the Year: Toy Story 3 – Probably the worst in the franchise, but I couldn’t quite convince myself to choose anything over it.

            Runner Ups: How to Train Your Dragon, Shrek Forever After – Really like How to Train Your Dragon, and its sequel is even better. I think Shrek Forever After is actually underrated. My list from best to worst is Shrek 2, Shrek Forever After, Shrek, Shrek the Third. And I will gladly defend myself for that list.



2011

Film of the Year: Moneyball – This probably isn’t film of the year for too many, but it holds a special place in my books. I love baseball, I saw this on my birthday, and this film is fantastic. And it even has Chris Pratt.

            Runner Up: Drive – This is one of my all-time favorite action films. It’s beautifully violent, has a great soundtrack, and has Bryan Cranston and Albert Brooks (Marlin from Finding Nemo). Huge fan of this movie.

            Honorable Mentions: Warrior, The Tree of Life, Midnight in Paris – I could make cases for all three of these films being the runner up. Warrior is an exceptional ensemble cast with great MMA fighting, The Tree of Life is beautiful and abstract (I don’t think Sean Penn still knows what his role in the movie was) and one of the best depictions of boyhood, and Midnight in Paris is one of the best rom-coms ever, and I constantly borrow from its themes.

            Almost Honorable Mentions: Source Code, Mission: Impossible: Ghost Protocol, Tower Heist, 50/50 – Does having an Almost Honorable Mentions list slightly defeat the integrity of the Honorable Mentions? It certainly does. But this is my list, and I can do what I want with it. Source Code is another that people have really forgot about, but it’s a great concept and is a joy to watch. I shouldn’t have to explain myself for including Tom Cruise movies in here, so I won’t. I am quite fond of Tower Heist, and I’d like to see more movies go the comedy route with clever films like this. 50/50 is an important film, and the fact that it can laugh at itself is amazing in my books.

Underrated Film of the Year: The Adjustment Bureau – This was where I became an Emily Blunt fan. I think the chemistry between her and Matt Damon is seriously some of the best, and it’s another really cool concept film. It’s not executed perfectly, but it’s still good.

            Runner Up: Flypaper – I feel like nobody knows about this movie, and it’s a bit of a shame. I took extreme inspiration from it when me and Amir performed our “Bank Heist” sketch back in high school. It’s loads of fun, and it doesn’t matter if it’s slightly illogical.

Disappointment of the Year: In Time – Unlike The Adjustment Bureau, the execution here is just unforgivable. This movie goes down for me as one of the coolest concepts ever with some of the worst execution. It truly is a disappointment, and even having Cillian Murphy couldn’t save the film.

            Runner Up: The Ides of March – A political thriller with Ryan Gosling and George Clooney sounds awesome. It really wasn’t very thrilling though. But it does have Philip Seymour Hoffman, and if you’ve ever heard me talk about him, you know it’s a golden rule that anytime he appears in a movie, that movie instantly becomes better. But this still wasn’t great.

Animated Film of the Year: Rango – Beautifully animated, this came out in the perfect year to win the Oscar. It’s such a good blend of quirky, funny, and smart.

            Runner Ups: Puss in Boots, Kung Fu Panda 2 – Both of these are beautifully animated. They probably wouldn’t be here in any other year, but they were charming enough to be the runner ups.



2012

Film of the Year: Skyfall – This is the best James Bond film ever. It’s so good on so many levels from locales, the villain, action, and story.

            Runner Up: The Dark Knight Rises – Ugh, it pains me not to put this as film of the year. Of course it lives in the shadows of The Dark Knight, but this is still an excellent Christopher Nolan film.

            Honorable Mentions: Looper, Zero Dark Thirty, Silver Linings Playbook – Looper is really what got Rian Johnson the gig for The Last Jedi. And it’s a really cool film. Maybe I just don’t know what I’m talking about, but I was also really impressed by the Bruce Willis prosthetics they put on Joseph Gordon-Levitt to make them actually look like the same person from different times. Katheryn Bigelow is an incredible director, and she showed it again with Zero Dark Thirty. Silver Linings Playbook is one of the best romantic movies I have ever seen. It's mature, it's funny, and it's incredibly acted and directed.

Underrated Film of the Year: Chronicle – Mentioned in my Valerian review, this might just be my favorite found-footage film.

            Runner Up: Warm Bodies – I really like this movie. It made me become a Nicholas Hoult fan, and it was a refreshing story when zombies were starting to be on the downward trend again.

Disappointment of the Year: The Cabin in the Woods – All I heard was omg, it’s so good. But it’s not what you think. It’s not what you think. So going in, I’m already wondering what it would be. But the secret of the film is pretty much given away in the first 15 minutes. Yes, there’s pieces of it that you don’t know about until much later, but I think with different editing, this is a much, much better film; otherwise, it fails on what it tries to achieve because it has no sense of subtlety.

Animated Film of the Year: Wreck-It Ralph – This really was not a good year for animated films. Brave is one of my least favorite Pixar films, but with that said, Wreck-It Ralph really is a good, funny movie.

            Runner Up: Rise of the Guardians – I struggled to find a runner up for this year. Even considered just not including one. I even gave Ice Age: Continental Drift a thought because of the lack of depth here. But I ultimately settled on Rise of the Guardians. Look, I’m not very proud about it, but oh well.



2013

Film of the Year: Prisoners – It was only nominated for Best Cinematography (well deserved) at the Oscars, and I believe this was the snub of the year because Gravity came out one week later and took all the spotlight. How Hugh Jackman, Jake Gylenhaal, and Paul Dano weren’t nominated for acting awards is beyond me. This was my introduction to Denis Villeneuve, and he's become one of my favorite directors. This is a very dark movie, so although it gets a super high recommendation from me, please do know that it’s dark and not always easy to watch.

            Runner Up: Mud – This is a great movie that takes inspiration from Tom Sawyer, and I’m glad to see Tye Sheridan has had continued success from this. This I believe is also really what put Matthew McConaughey back on the map.

            Honorable Mentions: The Hunger Games: Catching Fire, Captain Phillips, American Hustle – Surprisingly, Catching Fire became the best movie in the series. Part of that is credited to Phillip Seymour Hoffman who I always say was the best actor of this generation. Captain Phillips isn’t masterful, but the hand cam shots and intensity are really something else. And those last five minutes with Tom Hanks will destroy every single person. American Hustle is just a good movie with another transformative performance from Christian Bale and legitimizes Jennifer Lawrence as a serious contender year in and out.

Underrated Film of the Year: Escape Plan – Not the best movie in the world, but it’s just fun to watch everything unfold, and I enjoyed Jim Caviezel as the villain. It gets the award this year because it might not be the best, but it certainly gets overlooked.

Disappointment of the Year: Inside Llewyn Davis – The Coen Brothers are always unpredictable, but seeing all the high praise for this movie brought my spirits up. Oscar Isaac is good, and there’s a fantastic scene with Justin Timberlake and Kylo Ren, but this movie is so dreary. 60s era New York with nothing but an occasional folk song didn’t cut it for me.

Animated Film of the Year: Monster’s University – This certainly isn’t Pixar’s best, but they already had a fan in me considering Monsters Inc. is probably my favorite Pixar film. There’s depth, the movie moves at a brisk pace, and this takes home the prize in a somewhat down year for animated films.

            Runner Up: Cloudy with a Chance of Meatballs 2 – My goodness there are so many food puns. Is the sequel to one of my favorite animated movies of all-time unnecessary? Absolutely. But with the puns and the good visuals and the absolute most adorable marshmallows, you can’t diss too much on this film.

Side Note: 2013 gets the award for worst year in film of the decade.



2014

Film of the Year: Whiplash – This is one of the most intense movies I have ever seen. J. K. Simmons gives the performance of a lifetime, and I can’t throw this movie enough praise. Damien Chazelle is 3 for 3 with movies in my books.

            Runner Up: Birdman – From casting Michael Keaton in the lead role to the incredible way this film is shot, this is such a good movie from top to bottom with the likes of Zach Galifianakis, Emma Stone, and Edward Norton. And Emmanuel Lubezki gives Roger Deakins a run for his money for greatest cinematographer of all-time.

            Honorable Mentions: Interstellar, Captain America: The Winter Soldier, Boyhood – It may not be Christopher Nolan’s best, but I would be completely remiss if I didn’t give an honorable to Interstellar. Captain America: The Winter Soldier is a top three Marvel movie for me, and that is largely due to the incredible fight choreography and Robert Redford as a villain. Boyhood is one of the top three best depictions of, well, boyhood in any movie. The whole concept of shooting one scene a year for 12 years may make this a cooler concept than actual movie, but it’s still a very solid result. And the credits open up with “Deep Blue” by Arcade Fire.

            Almost Honorable Mentions: X-Men: Days of Future Past, Gone Girl, John Wick – X-2 is the second-best X-Men movie, and taking the cake is Days of Future Past. Forget about conflicting timelines and junk like that, this movie is fun, smart, and does the ultimate good by introducing the world to Quicksilver. When you know that Rosamund Pike is playing a primary role, you know that she has to come back into play somehow in Gone Girl. But beyond that, I think this film works very well and has a great supporting role from Neil Patrick Harris. Also, completely relevant, since Ben Affleck has now played as Batman and you see all of him in this film, all jokes are on the table like the Dark Knight rises. Did I expect/know anything about John Wick when it first came out? No, of course not. My last thought about Keanu was from 47 Ronin, and the days of The Matrix and Speed were far gone. But I seriously hope Hollywood will finally listen after the immense success of Chapter 3 because John Wick is how action movies need to be made—stop with the quick, choppy editing that everyone tries unsuccessfully borrowing from the Bourne trilogy.

Underrated Film of the Year: It Follows – This is one of my favorite horror movies. When you tell people about the story, it’s hard to not be like yeahhhh, I don’t know about that. But the idea of a supernatural creature constantly, slowly walking toward you I also believe is like the movie The Departed—just such a cool concept. Overall, very well done.

            Runner Up: Snowpiercer – This gets the award with a better ending. The setting, the characters, and of course the action are all great. And then the whole thing derails in the climax. You don’t have to try for a big climax to make a compelling action film! I’m still frustrated over this.

Disappointment of the Year: Kingsman: The Secret Service – I don’t have a great pick for this year. There’s some good action and world-building, but I think I was just expecting more. But I wouldn’t blame you for being disappointed in my pick for Disappointment of the Year.

Animated Film of the Year: The Lego Movie – With laughs-a-minute, a clever story, and some great characters, not too many people were setting their sights on this film, and then it blew everyone away. I still think it’s hilarious, and it has got to be one of the five best animated films ever for me.

            Runner Up: How to Train Your Dragon 2 – I can’t tell you how much it pains me to put this as a runner up, but The Lego Movie is such a classic. This is still one of the best animated movies of all time—I’d also argue to put this as a top five animated film. The story is sharp, the character developments are a natural progression from the first film, the visuals are top-notch, and what really stands out the most is how engaging the non-action scenes are. I have never seen an animated film as well-directed in the talking scenes as this one.



2015

Film of the Year: The Revenant – This is an absolute masterpiece from Alejandro Inarritu. DiCaprio, Hardy, Domhnall Gleeson, and even Will Poulter give it their all. And this is probably my favorite of Emmanuel Lubezki’s work (The Tree of Life is also amazing). This is the film of the year. There’s no doubt about it.

            Runner Up: Mad Max: Fury Road – So, so, so, so good. Pick any one of the action scenes, and it would easily be the standout scene of another film. There’s also a flaming guitar. Just c’mon. So good.

            Honorable Mentions: Ex Machina, Mission: Impossible: Rogue Nation, The Hateful Eight – I almost had Ex Machina as the underrated film of the year, but I don’t think anyone who has seen it disagrees that it’s a great film. Alicia Vikander is amazing, the special effects are insane, and Alex Garland continues to prove he’s an excellent director. I could watch Tom Cruise hanging off the side of an airplane all day. That’s easily a highlight of Rogue Nation, but the opera and underwater scenes are also fantastic. Believe it or not, but I do have a critique as well. The third act of this film comes off almost like a heist, and you know some sort of twist is coming, so some of the kinetic suspense I have come to expect from MI was missing. The Hateful Eight is probably my second-favorite Tarantino film behind Inglorious Basterds. I love the writing in this film, and it’s a wonderful balance of story-telling mixed with Tarantino’s signature violence.

Underrated Film of the Year: Tomorrowland – I don’t want to come off like this is one of the best movies of the year. But as far as family-friendly movies goes, I thought this was surprisingly good. It may have been a bit of a flop and stained Brad Bird’s squeaky clean record, but the six-minute one-shot scene alone is enough to make up for the somewhat slow pacing and lack of actual Tomorrowland. Yes, there’s untapped potential, but I still believe the movie is better than what people give it credit for—for those that even bothered to watch.

            Runner Up: The Man From U.N.C.L.E. – This is a better movie from Tomorrowland, but it’s not nearly as underrated. I really want to see a sequel here because I could watch the charisma of Henry Cavill, the sneaky qualities of Alicia Vikander, and the quality Russian accent from Armie Hammer all day. If you’re looking for a Bond-esque film, this does the trick. Consider me impressed.

Disappointment of the Year: Brooklyn – I’m a huge fan of Saiorse Ronan, and she’s great here. How she develops her relationship with Tony is also well-developed. But then she heads back to Ireland after like over an hour in Brooklyn, and they try convincing you that she’s considering Domhnall Gleeson whom she spends maybe 15 minutes with. I understand movie gotta movie, but you could’ve split the time up more evenly to get the emotional response you wanted from the ending. It’s a well made and good movie, but I don’t think it’s as good as it’s made out to be.

Animated Film of the Year: Inside Out – I was surprised by how much I enjoyed this. It’s honestly one of Pixar’s best films. I am absolutely borrowing from the incredible themes from this movie, and it gets my highest of recommendations.



2016

Film of the Year: La La Land – This was one of the easier decisions for me this year. This film is absolutely amazing. It’s one of my two favorite musicals ever along with Singin’ in the Rain. “City of Stars” is so good.

            Runner Up: Everybody Wants Some!! – This is the spiritual successor to Dazed and Confused. Dazed and Confused is only decent in my opinion—you’re much better off watching American Graffiti. But I was surprised by how much I enjoyed Everybody Wants Some!! It’s actually really funny, and it’s just such a joy to watch. The “Rapper’s Delight” scene is instantly rewatchable.

            Honorable Mentions: Hail, Caesar!, Hacksaw Ridge, Doctor Strange – I was not expecting to enjoy Hail, Caesar! as much as I did. There are a couple really memorable scenes, but the whole cast kills it (with the highlight being Ahren Ehrenreich who would go on to star in Solo: A Star Wars Story), and this ranks near the top of Coen Brothers films. Hacksaw Ridge is a great movie with great characters, and it honors the real-life hero in the best way possible. Great work from Mel Gibson and Andrew Garfield. Doctor Strange is one of my biggest regrets to not see on the big screen. It takes some aspects from the likes of Inception, and doubles down on the trippyness, and I am all about it. Yes, this is essentially another Tony Stark origin story but with a less-likable character at the beginning, but this is so good, and I can’t wait for the sequel.

Underrated Film of the Year: Everybody Wants Some!! – Not many people know about this movie, and I hope that changes. Skip out on Dazed and Confused, and just watch this movie. It’s really great.

Disappointment of the Year: Sausage Party – I was expecting many jokes to be much better. It’s possibly the biggest example I can think of crude humor that is just gross and not funny. I already knew about the infamous scene at the end going in, but that’s a non-factor. I’m shocked by the overwhelming positive reviews of this movie because at the end of the day, I am reviewing it on how funny it was, and it was surprisingly not at all. And the animation is really weak as well.

            Runner Up: Jason Bourne – This movie feels like Paul Greengrass is trying to copy his own style from Supremacy and Ultimatum. And it also borrows story points from both as well. I had higher hopes that they would do this right, and it falls flat.

Animated Film of the Year: Zootopia – There was minor backlash from this film from conservatives about the liberal, Hollywood message blatantly slid into this film, and I think that’s somewhat ridiculous. This is one of the most impressive animated films ever with ground-breaking visuals, a strong story, and a good message. I love this movie.

            Runner Up: Moana – Yeah, it’s pretty good. Better than Frozen for sure. Would I take this over Tangled though? Hmm.



2017

Film of the Year: Blade Runner 2049 – This still stands as the best use of visual effects in a movie ever for me. I wasn’t the biggest fan of the original but recognized its value, but I actually really, really like this movie a lot. The story is a wonderful continuation, Denis Villeneuve kills it as director, and Ryan Gosling is the perfect choice for the lead role. This is a weird honor to give, but I would probably say this has my favorite sex scene ever—and it includes a hooker and a hologram. But it’s so much more than a sex scene; it is a great insight into the character, and the technology is mind-blowing. The technology in here is also my favorite use of futuristic technology in a movie. There’s so much more I could talk about, but just know that I love this film.

            Runner Up: Star Wars: The Last Jedi – I’ll keep this brief because I’ve talked about this movie enough in its own review and other reviews. I seriously would recommend people re-watch this and take a look back at each of the character arcs and how they integrate with the film’s themes because it’s actually really well done from a filmmaking perspective.

            Honorable Mentions: John Wick: Chapter Two, Dunkirk, Three Billboards Outside Ebbing, Missouri – I’d argue that the first is better than Chapter Two (with Chapter Three undeniably the best one), but there’s still so many cool things about this movie—in particular the fight with Common. Dunkirk is an amazing film which I need to watch again. The way the tension continues to build is one of the most literal ways that made this an edge-of-your-seat thriller. You know I can never give enough praise to Christopher Nolan. Three Billboards Outside Ebbing, Missouri should’ve won Best Picture. The dark humor is excellent, and the flawed characters are so much fun to watch. I’m glad to see Sam Rockwell doing so well.

Underrated Film of the Year: Hostiles – I really think this movie came and went and people didn’t realize. The landscapes are beautiful, Christian Bale is amazing, Rosamund Pike is so good, and the last shot always gets me. It’s a classic story where a group of people travel together and slowly get killed off, but it’s just really good. People should watch this movie. And it has Jesse Plemons whom I will always give a shoutout to because he’s always impressive and you’ve probably seen him (most recently in The Irishman) but had no idea who he was.

            Runner Up: Life – As pretty much a modern update to Alien, I’m surprised by how little people remember this movie. I think it passed over many people’s radars when it first came out—myself included—because it didn’t look like a fresh enough take on the genre. But I thoroughly enjoy this movie. The villainous creature is ominous and powerful enough to create true terror, there are some great actors and actresses providing their all, and it all comes with an ending for people to debate about. There are some quiet, unassuming shots of the alien organism dashing along the outside of the ship, and I would’ve liked to seem more of stuff like that. But this movie is much better than I think people give it credit for.

Disappointment of the Year: Murder on the Orient Express – I didn’t really want to put this here because there are much, much worse films, but I didn’t have expectations for those films to begin with. When you’re reading the book, you are constantly aware of who Poirot is talking to, and that helps keep all the characters straight in your head. This film doesn’t get that luxury because it has to keep moving along for pacing. It’s not a terrible movie, but I would like to give a huge recommendation to the Agatha Christie novel because that is superb.

            Runner Up: Ghost in the Shell – I think the whitewashing controversy around the film was dumb (especially when the character in question is a cyborg), but that doesn’t go into my consideration of a review because I will actually review the movie simply based on its merits. And as much as Scarlett Johansson will always receive my love (even if she’s now with Colin Jost), I really can’t go and recommend this movie. The opening is the best, and there are some neat visuals at hand, but the movie suffers from a confused tone and underwhelming plot.

Animated Film of the Year: Cars 3 – Maybe it’s wrong to put this here, but I haven’t seen Coco yet, so that can’t qualify. But don’t overlook this movie. It’s a kid’s movie with a surprisingly mature theme, and it’s really just a good movie. I wouldn’t blame you for having skipped over it, but give it a watch.

            Runner Up: The Lego Batman Movie – I came in expecting to enjoy this movie but not as much as The Lego Movie. In that regard I was right, but this still surpassed my expectations. There’s some really funny moments (like the shoutouts to Jerry Maguire), and I was happy to see the Lego franchise continue making quality films (not so much anymore).



2018

Film of the Year: A Star is Born – When I really think about it, this was the best movie I saw all year. I got absolute shivers during the singing of “Shallow,” and Lady Gaga shows she can do more on-screen than just participate in a foursome (American Horror Story: Hotel episode 1). When I first heard Bradley Cooper, I thought wow, he’s doing a great Sam Elliott impression; then, Sam Elliott showed up. And everyone from Elliott to Dave Chappelle are great. This movie will absolutely wreck you, and it’s a fantastic movie.

            Runner Up: A Quiet Place – This is an awesome concept executed to the highest degree. I love every aspect about this film, and Emily Blunt is fantastic. I’m so happy to see her and Krasinski team up in an awesome film. I waver on saying best horror movie of all-time, but there’s certainly an argument to be made.

            Honorable Mentions: Annihilation, Mission: Impossible: Fallout, BlackKlansman – The more I look back on it, the more I enjoy Annihilation. The first two-thirds are standard group survival thriller tropes done very well, but then it kicks into high gear for the final third. That freaking mutated bear creature is one of the scariest things put on film. Director Alex Garland is impeccable, and there are small details like the rainbow hues in the light shining through in the Shimmer that just add to the already great aesthetic. And then there’s that ending that goes absolutely bonkers and trippy and I’m all for it. I started getting hyped for Fallout after watching the gnarly footage of Cruise's stunt where he jumps to another building and breaks his foot, but I wasn’t expecting to enjoy the movie this much. It’s starting to teeter right on the edge of too far over-the-top, but it sticks the landing just enough here. As awesome as the helicopter climax is, the back-to-back skydiving scene followed with the bathroom fight is Mission: Impossible at its absolute best. I love this movie so much, and I’ll stop here to try containing myself. BlackKlansman is an excellent film. John David Washington and Adam Driver kill it, and this movie is hilarious. I don’t like the ending, but that’s not enough to not sing this movie’s praise.

Underrated Film of the Year: Upgrade – I almost also included this as an Honorable Mention. This is a sleek sci-fi film that depends a lot on Logan Marshall-Green. It’s too bad that Fallout is as good as it is because the action in this is awesome. It’s a total sleeper hit, and I recommend anyone wanting an action movie to go check this out.

            Runner Up: Overlord – It’s too bad Fallout and Upgrade are as good as they are. I won’t go so far as to say this is a great action film, but it’s pretty close. Considering the little fanfare it got, it definitely is worth getting the underrated nod.

Disappointment of the Year: Solo: A Star Wars Story – I can’t say I was psyched about a Han Solo film to begin with. Then, after watching The Age of Adaline, I was even less excited that they didn’t get the young Harrison Ford from that. In a similar vein as the Joker, I enjoy this character more not knowing every little detail of his past. I think Ron Howard does what he can, but this movie definitely made Disney put the brakes on a bit of releasing so many Star Wars films. Donald Glover does deserve a shoutout for his work as Lando—easily the best part of this movie.

Animated Film of the Year: Spider-Man: Into the Spider-Verse – I debate back and forth in my review on whether I think this is the best Spider-Man movie alongside Homecoming. While I will continue to sidestep that debate, this is most definitely the best animated movie of the year, and it’s one of the best animated movies of all-time. It’s incredible to look at, amazingly funny, and a bunch of other adjectives that have been associated with Spider-Man. I can’t say enough about how much I like this film. Possibly enough to call it the best Spider-Man movie? You know what. That’s a safe enough assumption. This is so great.

            Runner Up: Incredibles 2 – I feel bad for Incredibles 2 because it’s such a good movie. There’s an improvement with the villain, the character arcs all work great, and we finally get to see the fight with the Underminer. This is a slick film with such a great Jack Jack, but Dash gets more annoying and if you’re going to give us so little Frozone, you better back that up by telling me he gets his own spin-off. This really is a great Pixar film—especially for sequels—but it just so happened to come out the same year as one of the best animated films of all-time.



2019

Film of the Year: Marriage Story – Yeah, this was the best movie of the year. It’s engaging the whole way through, the leads are brilliant and have a great supporting cast, and it’s just overall such a good movie. Scarlett Johansson and Adam Driver. Check them out.

            Runner Up: Knives Out – This was the most fun I had all year at the theaters. I love this genre of movie, and it’s obvious that Rian Johnson does as well. Go watch this movie.

            Honorable Mentions: Joker, John Wick: Chapter 3: Parabellum, Once Upon a Time… In Hollywood – Joker is definitely not the most enjoyable film I watched all year. This is such an interesting and authentic look at the psyche behind the extremes of having a bad day. I don’t think it’s fair to compare the Jokers because of all them have different takes on him, but Joaquin Phoenix is tremendous and deserves all the awards. Parabellum is the best in the trilogy, and it’s just straight up one of the best action films out there. I love it so much. Hollywood is not my favorite Tarantino film; in fact, I think he tries showing off too much and the film is slightly bloated because of it. But DiCaprio is great, Pitt is even better, and Robbie should’ve been featured more. I do love the story, and despite my critiques, it’s undeniable that this is a very good movie.

Underrated Film of the Year: Ready or Not – Not the best film of the year by any stretch, but it’s one of the most deserving of the title underrated. It’s quirky enough that it might put some people off, but I think Samara Weaving is wonderful, and I was pleasantly delighted by this horror flick.

Disappointment of the Year: Doctor Sleep – I wasn’t jumping out of my chair to go see this, but I certainly had hope with Ewan McGregor in the lead and Emily Blunt in the film as well. More of a  drama than anything, and much more contemplative than expected, this film subverts expectations—but it doesn’t quite do so with success. The love for The Shining is evident, but there’s simply not enough of an engaging story or thrills to warrant a recommendation for this.

            Runner Up: Star Wars: The Rise of Skywalker – My expectations were pretty mild for this movie. Even then, the film didn’t reach that. I really don’t want to be critical here because of how much I adore this franchise, but there is just so much that Abrams messed up here. It’s a huge step back, but maybe this means that people will actually come to appreciate The Last Jedi more because it’s seriously a really good film—not just for Star Wars.

Animated Film of the Year: Toy Story 4 – I really did enjoy The Hidden World, but Toy Story 4 has a lot of good coming for it, and it’s a step up from Toy Story 3. It has surprisingly little humor, but the characters and story are poignant enough to be satisfying. This is a great place to end. Don’t give us Toy Story 5. We don’t need it.

            Runner Up: How to Train Your Dragon: The Hidden World – Not quite as good as 2, this is still a great capper to one of the best animated trilogies ever. I love the villain, the landscape shots are beautiful, and I was happy to see this franchise go out on a high.



2010-2019

Film of the Decade: Inception – I have to go by lasting impact here. Whenever I ponder my top five films of all-time, this is always in consideration. Blending sci-fi, thrills, and a clever plot is the way to my cinematic heart.

            Runner Up: The Revenant – Alejandro Inarritu is one of the most impressive directors of all-time, and this is a masterpiece of a film. DiCaprio rightfully got his Oscar, and the supporting cast is terrific. This is one of the most beautiful films you will find thanks to Emmanuel Lubezki.

            Honorable Mentions: Whiplash, Skyfall, La La Land – Congrats to Damien Chazelle for having two films up here. Whiplash is incredibly witty and intense. J.K. Simmons puts in a performance for the ages. Skyfall is not only the best Daniel Craig Bond film, it’s just the best Bond film. It does everything right from the villains to the locale to the action. Terrific film. La La Land rounds it all out. It’s simply everything I could ask for in a musical.

Underrated Film of the Decade: Everybody Wants Some!! – This was a tough decision, but as far as films that people aren’t familiar with, this tops the list of unknowns while still being an amazing film. It’s the spiritual successor to Dazed & Confused, and I think it is much, much better. This is such a funny movie, and it’s great from start to finish.

            Runner Up: Upgrade – There are a couple small issues I have with this film, and it’s by those smallest of margins that this is runner up and not the winner. But as far as action or sci-fi films are concerned, it’s hard to do better than this.

Disappointment of the Decade: In Time – It’s not the worst film, but it does feel like it wastes such an interesting concept. It’s almost saved by the addition of Cillian Murphy, but it’s not enough.

            Runner Up: Sausage Party – Now this film is just bad. I’m not against crude humor; it just needs to be funny. This wasn’t. An essentially R-rated Toy Story is a fun idea, but this was really bad, and I’m sincerely surprised that it received an overall positive reaction.

Animated Film of the Decade: Spider-Man: Into the Spider-Verse – It just had to be this movie. I’d argue that my favorite animated films ever would be The Lion King (1994) and Monsters Inc, but this has an argument for taking third place on that list. Fantastic.

            Runner Up: The Lego Movie – This is such a classic for me. I love the frenetic, laughs-a-minute pacing and really fun story at hand here. There’s a way to do irreverent humor, and this film balances it perfectly.

            Honorable Mentions: Inside Out, How to Train Your Dragon 2, Zootopia – I wasn’t planning on doing an Honorable Mentions section here until I realized what films I would be leaving off. Inside Out is one of Pixar’s best, and I think it is clearly their best effort of the decade. How to Train Your Dragon 2 is one of the most impressive animated films of all-time, and it’s hard to not put it as runner up. It does everything right and better. Zootopia is a true feat in animated filmmaking. It backs up its incredible visuals with a smart story and fully realized environments.



            And there you have it! I would like to point out that 1917 didn’t get a wide release until Jan 10, so I excluded it from contention for 2019. With that said I still think Marriage Story is the better film. Which brings us to the perfect segue. Time to give out my Oscars predictions. But before I do that, I’d like to say thanks for reading through my decade in review. I spent a long time compiling the list, and I’d like to know what other people thought because I know for a fact that people will disagree with me at least somewhere in there.



Oscars Predictions:

Best Picture: 1917 – This is looking to be the safest bet.

Gill’s Pick: Marriage Story – See above.

Best Actor: Joaquin Phoenix – I’d love to give an award to Adam Driver, but he simply can’t compete with what Phoenix did.

Gill’s Pick: Same.

Best Actress: Renee Zellweger – I haven’t seen the film, but she’s been sweeping up the awards for this.

Gill’s Pick: Scarlett Johansson – I truly believe she’s deserving of the award for her performance in Marriage Story. It’s captivating, and I hope she beats out Zellweger.

Best Supporting Actor: Brad Pitt – He was indeed the best part in Hollywood, and he deserves it.

Gill’s Pick: Same.

Best Supporting Actress: Laura Dern – I don’t have confidence in this, but of the performances in Marriage Story, I can’t say Dern is deserving of an Oscar for it—but she certainly was good enough for the nomination.

Gill’s Pick: Kathy Bates – Laura Dern is actually the only performance I’ve watched of the nominees, but based off of what I said above, I feel inclined to choose someone else. Hence, Bates.

Best Director: Sam Mendes – This seemed to be more up in the air until he won the Golden Globe and the movie released nationally and everyone saw how much work had to be done. I’m still in shock over the amount of planning that must have occurred—every extra feels like their own personality and it’s simply impressive.

Gill’s Pick: Same.

Best Original Screenplay: Quentin Tarantino – Once Upon a Time… In Hollywood features a lot of what the critics love about the movies. It’s a great film, but I’m not sure I’d give Tarantino the award for this one.

Gill’s Pick: Rian Johnson – In fact I’m positive I wouldn’t give Tarantino the award. While Tarantino gave a love letter to Hollywood, Johnson gave a love letter to Agatha Christie with his movie Knives Out. I love the originality, the storytelling, the quirky whodunnit mystery, and the extremely witty dialogue. Of movies I saw in theaters this year, this was my favorite.

Best Adapted Screenplay: Steven Zaillian – The Irishman was really good, but I never found it to be Scorsese’s best by any means, and it’s looking like the critics have been agreeing with me this award season. Except perhaps for best supporting actor, the most deserving category The Irishman should win for is adapted screenplay.

Gill’s Pick: Todd Phillips & Scott Silver – I’m very tempted to give this to Steven Zaillan, but I think Todd Phillips is just a little more deserving for the deep, psychological dive he did with Joker. But I do think Zaillian will win.

Best Animated Feature: Toy Story 4 – Everyone, including the filmmakers themselves, were shocked when Missing Link won the Golden Globe. But Toy Story 4 still feels like the favorite.

Gill’s Pick: Same – I did enjoy The Hidden World, but Toy Story 4 takes the animated cake.

Best Documentary Feature: American Factory – I’m not going to bother pretending to know what I’m talking about here.

Gill’s Pick: Same

Best International Feature: Parasite – I mean, c’mon. This might just be conjecture here, but I think the only international film nominated for best picture (with a real chance at winning too) will be the winner here.

Gill’s Pick: Same. Obviously.

Best Original Score: Hildur Juonadottir – Only way she doesn’t win is because the presenters don’t know how to pronounce her name, give up, and declare either Randy Newman or John Williams the winner.

Gill’s Pick: Same – I was happy when I called this at the Golden Globes, and I’ll be equally happy to see her win the Oscar as well.

Best Original Song: “(I’m Gonna) Love Me Again” – Going again by what happened at the Globes to call this one.

Gill’s Pick: “Into the Unknown” – So I actually decided to listen to all of these songs before making this decision. “(I’m Gonna) Love Me Again” has a nice cheery tune that I think the Academy will enjoy, and Cynthia Erivo has the best singing for “Stand Up,” but I actually have to say that I personally enjoyed “Into the Unknown” the most. But I can see “(I’m Gonna) Love Me Again” having more of a lasting appeal.

Best Sound Editing: 1917 – Although I don’t have it as the big winner, 1917 will take home multiple awards—one of them being for sound editing.

Gill’s Pick: Ford v Ferrari – I still get editing and mixing confused, but I think the sound editing that was done during the race sequences is superb and worthy of dethroning 1917.

Best Sound Mixing: 1917 – Maybe 1917 will actually only win one and that one is mixing, so just to be safe, I’ll have it as the winner for both.

Gill’s Pick: Once Upon a Time…In Hollywood – Is this going to win? Most likely not. And you can easily make an argument for either of the two films mentioned above for editing, but I’ll go ahead and give this to Hollywood.

Best Makeup and Hairstyling: Bombshell – I have seen nothing more than the posters for this movie, but the makeup and hair look impressive. So.

Gill’s Pick: Same.

Best Costume Design: Joker – I think the red suit is iconic enough to get the win here.

Gill’s Pick: Same – I can really seen any of the nominees winning, but I can’t get over how much the red suit helps Phoenix’s Joker stand out from the pack.

Best Cinematography: Roger Deakins – There’s very little doubt in my mind the amazing Deakins gets the win for 1917.

Gill’s Pick: Same – The cinematography in Hollywood is very good, and I’m sure it works well in the black and white The Lighthouse, but Deakin’s work in 1917 is mind-blowing.

Best Production Design: Once Upon a Time… In Hollywood – The late 60s Hollywood setting is amazing in every scene, and this movie totally deserves the win. 1917 could come through though because again, the sheer amount of time, effort, and thought that had to go into planning this all out is really something else.

Gill’s Pick: Same – It’s just too good not to win.

Best Film Editing: Parasite – This is another film that could take home multiple awards, and my guess is that this is one of them. Is it deserving? I have no idea. I haven’t seen this movie.

Gill’s Pick: Ford v Ferrari – This was a really enjoyable movie, and the sound and editing worked really well with the leads’ performances.

Best Visual Effects: The Irishman – I had a slight critique with the de-aging effects, but it really is quite impressive. I think it’s enough that the Academy will see it my way.

Gill’s Pick: Star Wars: The Rise of Skywalker – It may seem weird for me to give Episode IX an Oscar, but the visual effects were actually pretty impressive. I do think Avengers: Endgame was actually a step up from Infinity War with visual effects, but there’s just a bit too much that’s cartoony to take home an Oscar.

Best Documentary Short: Learning to Skateboard in a Warzone (If You’re a Girl) – Have I seen any of these? No, of course not. I’m going simply off of intuition here from looking at the nominees, and for whatever reason, I actually feel a little confident this movie might win.

Gill’s Pick: Same.

Best Short Film (Live Action): The Neighbors’ Window – Here comes my most in-depth review yet. Why did I choose this film? Cuz.

Best Short Film (Animated): Sister – I like the poster, okay?

Gill’s Pick: Same. I guess.