Kicking off 2020 has left little to be desired in the medium of film. Up till now I’ve only seen two movies and only enjoyed one of them. (Thank you, Birds of Prey) It’s become increasingly clear that 2019 was one of the best years in cinema since the fantastic offerings brought to us in 2015. Thus, following my top ten of the year a few years ago, I thought I would take a look at what would be on my personal awards ballot if I made one. I took some liberties and made my own categories I wanted to include. Why? BECAUSE I CAN! Anyways, without further ado, here’s my personal favorites from the last year of the 2010s.

BEST SCENE:

• “Phone Conversation” – Honey Boy (RUNNER-UP)
• “Goh” – Knives Out
• “Beth Dies” – Little Women
• “The Ghost” – Parasite (WINNER)
• “Fishing” – Waves

Honorable Mentions: “Avengers Assemble” from Avengers: Endgame brought thousands of screaming people to their feet while the “Bennie and the Jets” drug trip was hallucinating and brought Rocketman to new depths.

BEST STUNTS:

• Ad Astra
• Avengers: Endgame
• Ford v Ferrari (RUNNER-UP)
• John Wick: Chapter 3 – Parabellum (WINNER)
• Spider-Man: Far From Home

Honorable Mentions: In a weak year for stuntwork, I have to highlight the impressive achievements made by 1917 and Captain Marvel.

BEST ACTION PERFORMANCE:

• Halle Berry – John Wick: Chapter 3 – Parabellum
• Adam Driver – Star Wars: The Rise of Skywalker
• Chris Evans – Avengers: Endgame (RUNNER-UP)
• Florence Pugh – Fighting with My Family
• Keanu Reeves – John Wick: Chapter 3 – Parabellum (WINNER)

Honorable Mentions: Daisy Ridley continued to make the most of her Jedi training in The Rise of Skywalker while Marc Dacascos oozed action and charm in Parabellum

BEST ACTION FILM:

• Avengers: Endgame (RUNNER-UP)
• Ford v. Ferrari
• John Wick: Chapter 3 – Parabellum (WINNER)
• Spider-Man: Far From Home
• Shazam!

Honorable Mentions: Despite being the least popular Marvel offering this year, Captain Marvel proved the studio was still supreme while The Rise of Skywalker offered a bombastic action-packed conclusion to the saga.

BEST COMEDIC PERFORMANCE:

• Jillian Bell – Brittany Runs a Marathon
• Daniel Craig – Knives Out (RUNNER-UP)
• Maya Erskine – Plus One (WINNER)
• Eddie Murphy – Dolemite is My Name
• Jack Quaid – Plus One

Honorable Mentions: Chris Evans earned a new group of fans thanks to his smarmy, humorous turn in Knives Out. Tony Hale had everyone rolling in the aisles with his innocently naive role in Toy Story 4.

BEST COMEDY:

• Booksmart
• Brittany Runs a Marathon
• Dolemite is My Name
• Knives Out (RUNNER-UP)
• Plus One (WINNER)

Honorable Mentions: Jojo Rabbit brought the field of satire to new heights and audiences, while Little Monsters emulated the best that horror-comedy has to offer.

BEST YOUTH PERFORMANCE:

• Roman Griffin Davis – Jojo Rabbit (RUNNER-UP)
• Shahadi Wright Joseph – Us
• Noah Jupe – Honey Boy (WINNER)
• Thomasin McKenzie – Jojo Rabbit
• Saniyya Sidney – Fast Color

Honorable Mentions: Evan Alex haunted and impressed as the youngest of both families in Us. Archie Yates became the scene-stealer of the year in Jojo Rabbit.

BEST BREAKTHROUGH PERFORMANCE:

• Maya Erskine – Plus One (RUNNER-UP)
• Julia Fox – Uncut Gems
• Roman Griffin Davis – Jojo Rabbit
• So-Dam Park – Parasite
• Taylor Russell – Waves (WINNER)

Honorable Mentions: Despite being on the scene for a few years, Kelvin Harrison Jr. broke through with audiences in a major way with two shining performances in Luce and Waves. Ally Maki rose above a stellar voice cast as Giggle in Toy Story 4.

BEST VOICE/MOTION-CAPTURE PERFORMANCE:

• Josh Brolin – Avengers: Endgame
• Tony Hale – Toy Story 4
• Idina Menzel – Frozen II (RUNNER-UP)
• Annie Potts – Toy Story 4 (WINNER)
• Jason Schwartzman – Klaus

Honorable Mentions: Dev Patel gave subtle yet moving work in the English dub of I Lost My Body, while Chloe Bennett rose above Abominable‘s simplistic story.

BEST ENSEMBLE:

• Avengers: Endgame
• Knives Out (WINNER)
• Little Women
• Parasite
• Waves (RUNNER-UP)

Honorable Mentions: Marriage Story would be absolutely nothing without it’s eclectic array of lead and cameo performances. The women of Hustlers band together in one of the years most surprising, yet effective, ensemble performances.

BEST ORIGINAL SONG:

• “Lost in the Woods” – Frozen II
• “Show Yourself” – Frozen II (RUNNER-UP)
• “Jessica, Only Child” – Parasite
• “I’m Gonna Love Me Again” – Rocketman
• “Glasgow (No Place Like Home)” – Wild Rose (WINNER)

Honorable Mentions: A pretty disappointing year for original songs on the whole, aside from Mary Steenburgen’s fantastic finale song in Wild Rose, though Disney cornered the market with catchy tunes like Frozen II‘s “Into the Unknown,” and Toy Story 4‘s “I Can’t Let You Throw Yourself Away.”

BEST ORIGINAL SCORE:

• Ad Astra
• Fast Color
• Little Women (WINNER)
• Marriage Story (RUNNER-UP)
• Waves

Honorable Mentions: Alan Silvestri’s iconic themes blended nicely in Avengers: Endgame while Hildur Guðnadóttir broke out in a huge way with Joker‘s haunting melodies.

BEST VISUAL EFFECTS:

• Ad Astra (RUNNER-UP)
• The Aeronauts
• Avengers: Endgame (WINNER)
• The Irishman
• Spider-Man: Far From Home

Honorable Mentions: 1917 brought their effects down to a tangible realism, while intergalactic darkness and color was rendered perfectly in Captain Marvel.

BEST SOUND DESIGN:

• Ad Astra (RUNNER-UP)
• Avengers: Endgame
• Ford v Ferrari
• The Lighthouse (WINNER)
• Rocketman

HONORABLE MENTIONS: The team behind Parasite created unnervingly accurate sounds and noises that brought the action alive. 1917 pulled no punches on the disgusting brutalities of WW1, especially how grotesque they sounded.

BEST EDITING:

• The Irishman
• Knives Out
• Parasite (WINNER)
• The Two Popes
• Uncut Gems (RUNNER-UP)

Honorable Mentions: The fluidity of Waves would’ve been choppy and static without the vision and talents of Isaac Hagy and Trey Edward Shults. The Biggest Little Farm, thanks to fantastic editing, turns years of footage into a quick, well-paced documentary for crowds of all ages.

BEST ANIMATED FEATURE:

• Frozen II
• How To Train Your Dragon: The Hidden World (RUNNER-UP)
• I Lost My Body
• Klaus (WINNER)
• Toy Story 4

Honorable Mentions: Laika’s Missing Link brought the studio to new highs of aesthetic and detail, while Dreamworks’ Abominable captured a magic emulative of the studio’s early days.

BEST COSTUME DESIGN:

• Dolemite is My Name
• Frozen II (RUNNER-UP)
• Hustlers
• Little Women
• Rocketman (WINNER)

Honorable Mentions: Few ensembles this year were better dressed then the cutthroat Thrombey clan of Knives Out. I’m not afraid to say it, Shazam! had the costumes I wanted most in my closet this year.

BEST PRODUCTION DESIGN:

• John Wick: Chapter 3 – Parabellum
• Knives Out (RUNNER-UP)
• Little Women
• Parasite (WINNER)
• Rocketman

Honorable Mentions: The 60’s were alive, well, and beautifully constructed in the otherwise dull Once Upon a time in…Hollywood. Ad Astra gave us a tangible reality of what the future of space travel could look like. (Bonus points: Moon Airport!)

BEST CINEMATOGRAPHY:

• Ad Astra (WINNER)
• The Biggest Little Farm (RUNNER-UP)
• The Lighthouse
• Parasite
• Waves

Honorable Mentions: Little Women captured the undeniable beauty of Massachusetts’ fall colors, and I’m proud! In the field of animation, one can’t help but marvel at all the perfect shots I Lost My Body produced.

BEST ADAPTED SCREENPLAY:

• A Beautiful Day in the Neighborhood (RUNNER-UP)
• Avengers: Endgame
• Hustlers
• Luce
• Little Women (WINNER)

Honorable Mentions: The Irishman, as slow as it was, deserves credit for adapting such a mammoth piece of work. However, the most undersung script goes to biopic legend Anthony McCarten’s beautiful writing work on The Two Popes.

BEST ORIGINAL SCREENPLAY:

• The Farewell
• Honey Boy
• Knives Out (WINNER)
• Parasite (RUNNER-UP)
• Plus One

Honorable Mentions: Waves had some of the best dialogue I’ve seen in films this year, which raised Shults’ talents to a new, higher standard. The premise, execution, and back-and-forth in Uncut Gems was thoroughly entertaining, completely engrossing, and the true definition of what an original screenplay is.

BEST SUPPORTING ACTOR:

• Sterling K. Brown – Waves
• Daniel Craig – Knives Out (RUNNER-UP)
• Willem Dafoe – The Lighthouse
• Kevin Garnett – Uncut Gems
• Shia LaBeouf – Honey Boy (WINNER)

Honorable Mentions: Tom Hanks came bursting onto the scene again this year with a masterfully humble turn in A Beautiful Day in the Neighborhood. Jack Lowden brought gravitas and humor to what might’ve been a lesser role in the underseen gem Fighting With My Family. Lucas Hedges geeks us out with his adorable self in Waves.

BEST SUPPORTING ACTRESS:

• Renee Elise Goldsberry – Waves
• Jennifer Lopez – Hustlers (RUNNER-UP)
• Florence Pugh – Little Women
• Taylor Russell – Waves (WINNER)
• Zhao Shuzhen – The Farewell

In a year full of great breakthroughs and diverse performances (thank you Taylor Russell!) one can’s forget Julia Fox’s larger-than-life debut in Uncut Gems, Eliza Scanlen’s memorable take on Little Women‘s Beth March, Octavia Spencer’s fierce tenacity in Luce, and dynamite work from both Yeo-Jeong Jo and So-Dam Park in Parasite. Such a good category this year!

BEST ACTOR:

• Adam Driver – Marriage Story
• Taron Egerton – Rocketman (WINNER)
• Kelvin Harrison Jr. – Luce (RUNNER-UP)
• Noah Jupe – Honey Boy
• Adam Sandler – Uncut Gems

Honorable Mentions: Robert Pattinson raised his career to a new level of craftsmanship with The Lighthouse. Robert Downey Jr. capitalized on a decade’s worth of amazing work with a career defining performance in Avengers: Endgame. Jack Quaid brought humor and heart to his first leading role in Plus One. In one of the Academy’s worst oversights, Brad Pitt won for his basic work in Once Upon a Time in…Hollywood while being unjustly overlooked for his internally melancholic work in Ad Astra.

BEST ACTRESS:

• Awkwafina – The Farewell
• Ana De Armas – Knives Out (RUNNER-UP)
• Maya Erskine – Plus One
• Gugu Mbatha-Raw – Fast Color
• Lupita Nyong’o – Us (WINNER)

Honorable Mentions: One half of a leading duo is not complete without the other, and Scarlett Johannson rose to the occasion to meet and supersede Adam Driver’s performance in Marriage Story. Constance Wu offered up some conflicted emotions that kept Hustlers grounded always. Saorise Ronan delivered a fresh, memorable take on classic literature in Little Women. Lastly, Florence Pugh continued her reign of 2019 with a surprisingly emotional biopic performance in Fighting With My Family.

BEST DIRECTOR:

• Greta Gerwig – Little Women
• Alma Har’el – Honey Boy (WINNER)
• Rian Johnson – Knives Out
• Bong Joon-Ho – Parasite (RUNNER-UP)
• Lulu Wang – The Farewell

In an amazing year for female directors, it would be horrible of us to neglect Marielle Heller’s astonishing work in the genre-redefining biopic A Beautiful Day in the Neighborhood, as well as Lorene Scafaria’s sly and stylish flair in the modern-day swindler extravaganza that was Hustlers. Bonus points to Ad Astra‘s James Gray for making a wholly original and jawdropping space-travel film!

BEST PICTURE:

• The Biggest Little Farm
• The Farewell
• Honey Boy
• Knives Out (WINNER)
• Little Women
• Marriage Story
• Parasite (RUNNER-UP)
• Plus One
• Rocketman
• Waves

Honorable Mentions: In a banner year for cinema, many films ranked among the cream of the crop, making this top ten completely vulnerable to change until the final decision. Among those that missed the cut that deserved recognition: the epic sea-shanty of The Lighthouse, the duality-themed horror of Us, a new crime epic for the post-recession world in Hustlers, the zany drug-induced anxiety trip of Uncut Gems, a finale for the ages in Avengers: Endgame, a beautifully magical reinvention of classic 2D-animation in Klaus, an ode to fatherhood and sci-fi classics in Ad Astra, an emotionally resonant conclusion in How to Train Your Dragon: The Hidden World, a sleek and dedicated action bonanza in John Wick: Chapter 3 – Parabellum, and the Shakespearean-esque tale of conflicting accounts in Luce.

That concludes my year of cinema! I hope you’ve all enjoyed reading and I encourage you to share your own thoughts on the year! Best wishes!

NOMINATION TALLIES:

• Knives Out—11 (3 Wins, 5 Runner-Ups)
• Parasite—10 (3 Wins, 3 Runner-Ups)
• Little Women—9 (2 Wins)
• Waves—9 (2 Wins, 1 Runner-Up)
• Avengers: Endgame—8 (1 Win, 2 Runner-Ups)
• Honey Boy—7 (3 Wins, 1 Runner-Up)
• Plus One—7 (2 Wins, 1 Runner-Up)
• Rocketman—6 (2 Wins)
• Ad Astra—5 (1 Win, 2 Runner-Ups)
• The Farewell—5
• Frozen II—5 (3 Runner-Ups)
• John Wick: Chapter 3 — Parabellum—5 (3 Wins)
• Uncut Gems—4 (1 Runner-Up)
• Dolemite is My Name—3
• Fast Color—3
• Ford v Ferrari—3 (1 Runner-Up)
• Hustlers—3 (1 Runner-Up)
• Jojo Rabbit—3 (1 Runner-Up)
• The Lighthouse—3 (1 Win)
• Marriage Story—3 (1 Runner-Up)
• Spider-Man: Far From Home—3
• Toy Story 4–3 (1 Win)
• The Biggest Little Farm—2 (1 Runner-Up)
• Brittany Runs a Marathon—2
• The Irishman—2
• Klaus—2 (1 Win)
• Luce—2 (1 Runner-Up)
• Us—2 (1 Win)
• A Beautiful Day in the Neighborhood—1 (1 Runner-Up)
• The Aeronauts—1
• Booksmart—1
• Fighting With My Family—1
• How to Train Your Dragon: The Hidden World—1 (1 Runner-Up)
• I Lost My Body—1
• Shazam!—1
• Star Wars: The Rise of Skywalker—1
• The Two Popes—1
• Wild Rose—1 (1 Win)

And thus, another calendar year (and decade!) has come and gone. 2019 brought many lows and highs in the world of film, bringing us stories untold as well as box-office records. This was the year of avenging, “eating the rich,” and the infamously popular #BongHive, among many other exciting phenomenons that threw the film community into a tizzy. Thus, I would like to open up and share my personal top ten favorites of a banner year in cinema. Thanks for reading!

Honorable Mentions: Ad Astra, Avengers: Endgame, How to Train Your Dragon: The Hidden World, Hustlers, John Wick: Chapter 3 – Parabellum, Klaus, The Lighthouse, Luce, Uncut Gems, Us

#10: Rocketman (Dir. Dexter Fletcher)

Biopics reached a new high this summer when Dexter Fletcher’s “Rocketman” was released. With the release of the divisive Oscar-winning “Bohemian Rhapsody” the previous year, many were frustrated that the musical biopic had reached new lows with lip-syncing, poor script, and routine storytelling. Fletcher’s decision to tell Elton John’s story with his music is one of the film’s biggest successes. Reminiscent of Broadway’s autobiographical musicals, Rocketman illustrates Elton John’s illustrious, colorful life and career with a killer tracklist of his repertoire, each song perfectly encapsulating where John is in the film. “Bennie and the Jets,” easily one of his most bonkers creations, serves as the background for a sequence highlighting Elton’s darkest vices. “Honky Cat” plays during a fantastic montage of his swanky lifestyle during his relationship with producer John Reid (Richard Madden). The costumes, choreography, and innovative storytelling elevates this film as one of the best biopics in recent years, but the real hero of the story is Taron Egerton. Singing and dancing his heart out, Egerton raises the bar for dedication to accurate portrayals in films, and it’s a shame the academy overlooked his stellar performance.

#9: Marriage Story (Dir. Noah Baumbach)

Do you ever start a film and predict you will be in tears by the story’s end? Noah Baumbach’s “Marriage Story” has that effect, dragging the audience into a modern divorce in a way most films can’t. Drawing from his infamous divorce with actress Jennifer Jason Leigh, Baumbach tells a sprawling, emotive story that covers gender norms, the monetary burden of lawyers, and the general need to “win” in an unhealthy relationship. This film has one of the most colorful ensemble casts in recent memory, with Ray Liotta, Merritt Never, and Wallace Shawn giving brief, electric performances. Laura Dern builds on her overdue narrative to give a sultry, engaging performance as a successful divorce lawyer. Rightfully so, the Lion’s share of the praise goes to Adam Driver and Scarlett Johansson, breaking our hearts with a dual-handed sensitive performance sure to resonate with anybody who’s ever wanted more, but still has a lot to lose.

#8: Plus One (Dir. Jeff Chan & Andrew Rhymer)

If “Marriage Story” broke your heart by ending a marriage, “Plus One” will break it through starting a marriage (ten, to be exact). In the year’s most underrated film, college friends Alice (a hilarious Maya Erskine) and Ben (rom-com royalty Jack Quaid) agree to attend a summer of weddings together as each other’s plus one. Chan and Rhymer manage to lump the “wedding paranoia” that approaches with the end of your 20’s into the premise for an entire film. Their gut-busting script doesn’t just feel authentic, it is authentic. Watching the film, the audience knows that some of the film’s hilarious wedding mishaps are too good to be fabricated. This film would be absolutely nothing, however, if it weren’t for the two leads at its center. Maya Erskine and Jack Quaid have chemistry in spades, playing off each other like a game of comedic ping-pong. The two of them provide heart and humor, while Erskine in particular hits hard with her third-act monologue. Though you can probably predict where the film will go while watching, what will take you by surprise is how the filmmakers and actors manage to perfectly articulate why wedding fever creates such a panic for those in their late twenties. There comes a time where we’ll have to grow up again, and “Plus One” reminds us that we shouldn’t have to be alone when we do.

#7: The Farewell (Dir. Lulu Wang)

Grandma’s dying. It’s time to say goodbye. The one catch for Billi (Awkwafina) is that nobody in the family has decided to inform her Nai Nai that she is dying, so a wedding must be staged as a cover-up to get the entire family. together. Thus is the plot for “The Farewell,” insightfully written and directed by Lulu Wang, basing this film off of her own personal experiences with her family. Her story is keen to compare the cultural differences between America and China, and unafraid to put most of the movie in Mandarin. Wang harnesses the best in all of her actors, but really strikes with Awkwafina, who commands the screen in a career-defining dramatic turn. Coupled with a warm performance by Chinese legend Zhao Shuzhen, “The Farewell” is most certainly the movie that will reduce you to tears and make you call your grandma immediately after.

#6: Honey Boy (Dir. Alma Har’el)

Shia LaBeouf has been one of the most maligned celebrities of the past two decades. His name has become synonymous with the phrase “troubled celebrity.” However, with “Honey Boy,” he has come back in a big, BIG way. Drawing from his own relationship with his abusive father, LaBeouf’s script (initially assigned as a rehab assignment) is a melancholic catharsis for anyone who has struggled with addiction, abusive relationships, or most importantly, inherited trauma. This type of brutally open film would be a massive undertaking, so leave it to acclaimed documentarian Alma Har’el to create a stirring meditation on those who hurt us and how (or if) we choose to forgive them. Each note this film plays is fueled by raw emotion in the script and stellar performances from its main cast. LaBeouf shines playing a fictionalized version of his own father and Lucas Hedges commands the screen as a “Transformers” era LaBeouf. But in the end, it’s 14-year-old Noah Jupe who steals the show as Shia LaBeouf’s child-star counterpart, ripping the audience in half with a internal, yet emotionally-charged knockout performance.

#5 The Biggest Little Farm (Dir. John Chester)

Did almost nobody see this film? Yeah. Should they have? OF COURSE! This incredibly intimate, positively uplifting documentary about John and Molly Chester’s agricultural conquest is beautifully shot and articulately narrated. The two of them are the proud owners of a 200 acre sustainable farm, which took them many years to cultivate and grow produce on. The cinematography, making ample use of HD slow-motion footage, is colorful and vibrant. Over the course of this film, I found myself caring more about the fate of the Chesters than most fictional characters this year. Their decision to document both the highs and lows of their experience encapsulates what might be the most ambitiously modern American Dream. With notable memorable animals in tow (Emma the pig! Greasy the Rooster! Todd the Dog!) “The Biggest Little Farm” serves as one of the most crowd-pleasing documentaries that can entertain and educate viewers of all ages.

#4: Little Women (Dir. Greta Gerwig)

Leave it to Greta Gerwig to get a whole new generation excited about ANOTHER iteration of Louisa May Alcott’s classic novel. With her second solo feature, the writer/director marches in (pun intended) as a bold voice for modern cinema. Assembling a pitch perfect cast led by a top-notch Saoirse Ronan, Gerwig opens up the world of the March siblings in ways we haven’t seen, particularly giving more agency and story to Amy (Florence Pugh), notable for being one of the most divisive characters in classic literature. Her non-linear approach to the story may seem confusing upon first watch, but it allows audiences, especially those unfamiliar with the novel, to expect the unexpected. It also allows Beth (Eliza Scanlen) to live on after her heartbreakingly painful death. Above all else, it’s very important to acknowledge the legacy this story has, especially resonating with women. Jo and Amy both have perfectly scripted monologues that sum up the emotional and literal struggles that come with being a woman of that time period. But Gerwig’s writing, humorous and juicy and full of life, makes women of all ages feel seen, heard, and most importantly, understood. And that is why the legacy of “Little Women” will continue to thrive.

#3: Waves (Dir. Trey Edward Shults)

If the 2010s gave us a real director on the rise, that honor might have to go to Trey Edward Shults. With “Waves,” Shults has continued to climb higher, culminating in this dual narrative story that doesn’t leave a dry eye in the audience. To talk about the plot too much would delve into spoiler-laden territory, so I’ll say this is truly the best family-drama since 1980’s “Ordinary People.” As the family with said drama, each cast member plays their part to maximum effect. Kelvin Harrison Jr., just as excellent here as he is in “Luce,” gives a raw performance of subdued anger and suppressed emotion, giving causation to Tyler’s actions over the course of the film. Sterling K. Brown gives stoicism and order as the family’s domineering patriarch. Renee Elise Goldsberry, making the most of her limited screen time, is wholeheartedly genuine as a stepmother with a heart of gold. Alexa Demie and Lucas Hedges offer ample support as Tyler’s girlfriend and wrestling teammate, but in the end, Taylor Russell stands tallest of all. As Emily, Russell puts herself on the back burner for the first half of the film. Once she is brought to the spotlight, she delivers. Each glance, action, outburst, and observation of Emily’s is fully realized, as she must cope with moving on from a tragedy most people can never relate to. It’s a subtle, yet show-stopping performance that ranks among the year’s best and cements her as a force to be reckoned with. In addition to the performances, credit goes to DP Drew Daniels and colorist Damien van der Cruyssen for capturing the luscious, Floridian glow with sweeping wide shots and natural light. However, in the end, Shults deserves the praise for capturing an honest, authentic story of an African-American family through strong collaboration with his actors and crew. It’s an approach that should most definitely be modeled in future collaborations between actors and crew of different racial backgrounds.

#2: Parasite (Dir. Bong Joon-ho)

Do you hear that buzzing sound? It must be the #bonghive, the self-proclaimed collective fanbase of the director of “Parasite,” Bong Joon-ho. “Parasite” has taken the world by storm in a way that almost no other film has in recent memory, let alone a foreign film. Is it a satire? A comedy? A drama? An allegory? Maybe one of those things! Maybe more! The South Korean phenomenon finds the dirt-poor Kim family weaseling their way into working for the filthy rich, dim-witted Park family. How they get there is an adventure to be witnessed, but the film evolves into something completely different along the way, to the collective shock of all audiences. This film truly hinges on the unexpected, keeping the audience on its toes for the entire film, and sticking with them long after they’ve left the theatre. It truly proves that masterful cinema can come from anywhere, anyone, and anything, regardless of race. As someone with two South Korean siblings, it makes me ecstatic that this film and “The Farewell” have brought Asian representation to the forefront of this year’s top cinema, and here’s hoping they continue to lead us through the 2020s and beyond.

#1: Knives Out (Dir. Rian Johnson)

Y’all remember the last time you had a BLAST at the movies? I do, and it all started the second I sat down for this movie. Rian Johnson, chief of genre-bending and original storytelling, gave two middle fingers to “The Rise of Skywalker” by creating his own timely, hysterical, Agatha Christie-inspired whodunnit worthy of every single award. Featuring a whip-smart cast and juicy script, “Knives Out” finds renowned investigator Benoit Blanc (Daniel Craig) investigating the death of popular novelist Harlan Thrombey (Christopher Plummer), with the help of Harlan’s devoted caretaker, Marta (Ana de Armas). The ensemble of sleazy-rich Thrombey’s, including Jamie Lee Curtis, Don Johnson, Toni Collette (doing her best Gwyneth Paltrow impression), Michael Shannon, Katherine Langford, Jaeden Martell, and a scene-stealing Chris Evans, each excuse their one liners perfectly, playing into a family who have built their lives off the back of one individual. But what’s most impressive is how Johnson’s insightful, calculated direction and writing makes this film stand out from other whodunnits in film history. By infusing the film with visual cues, beautiful sets, and stunning cinematography, Johnson keeps the audience exactly where he wants them until he pulls the final rug out from under them. The script is chock-full of hilarious one liners, hilarious cuts to comedic moments (Daniel Craig singing “Losing my Mind” from “Follies”? GENIUS) and above all else, a captivating story that steps on the gas, but isn’t afraid to slow down when necessary. I’m unafraid to add this film to my best of the decade list, and cannot wait to continue to watch this masterpiece again and again.

This wraps up my top ten of the year! Thanks to anybody who’s reading out there! 🙂

Something’s…missing. Three years since their last feature, Laika Studios is returning to theaters with “Missing Link,” their fifth theatrical feature. Laika has been known for using their distinct, stop-motion animation style to set them apart from other studios. They’ve consistently delivered groundbreaking, stunning films, though this time the emotional heft is absent from the storyline.

“Missing Link” finds its protagonist, Sir Lionel Frost (Hugh Jackman), hellbent on claiming his place in the “Society of Great Men,” desperately searching for evidence of the world’s long-lost beasts. A mysterious note leads him to venture to the Pacific Northwest in search of the fabled Missing Link, (Zach Galifianakis), who needs help finding his extended family.

It must be declared that Laika is doing the most in stop-motion animation. Each set is brilliantly detailed and constructed, with some of the most stunning sets only being shown a few seconds each. Giant fallen trees, beautiful mountains, and busy London streets are only the tip of the production-designed iceberg. The sets give a colorful sense of whimsy that makes the whole film feel like it’s wrapped up in a storybook. Where most of Laika’s previous films have a darker color palette, this film isn’t afraid to take a lighter tone when detailing the thrills of adventure. The voice cast assembled is certainly reflective of the film’s eccentrically modeled characters. Zoe Saldana, Timothy Olyphant, Stephen Fry, and Emma Thompson are among the voices provided for generic friends, foes, and beasts alike.

However, one can’t help but feel that something here is…well…missing. (Pun not intended.) The script, written by Laika veteran Chris Butler, manages to capture the thrilling sense of adventure the film requires. However, the film kind of putters along, never truly raising the stakes for any of the characters. The jokes often default to making fun of the titular characters, the gags never manage to land if repeated, and worst of all, this film lacks the genuine, unforced emotion that Laika’s other films had in spades. Even though we know where this film will go, there are no surprising moments along the way. If anything, the script comes across as preaching a “be nice” lesson to its younger viewers. In the end, the film suffers from the weak script, which no amount of beautiful animation can fix.

Despite shortcomings, “Missing Link” deserves praise for its continued progression of Laika’s beautiful animation style. It also serves as a warning that the company cannot rely on animation alone to sell their features. If they want another success akin to “Coraline” or “Kubo and the Two Strings,” they must be sure the writing is up to par before launching into production.

“Missing Link” is available to stream on Hulu.

Grade 5.9/10

When a franchise is built upon stunts, there’s an unspoken rule for each subsequent sequel to be better than it’s predecessor. It’s the type of work ethic that inspired Tom Cruise to climb the Burj Khalifa and then hang outside of a plane. With John Wick: Chapter 3 – Parabellum, Keanu Reeves has joined the list of action stars willing to go above and beyond for the craft.

When we catch up with the eponymous hitman, he’s on the run (once again) through the rainy streets of New York, with beloved dog in tow. The assassin’s guild known as the High Table has put out a large sum for his death, leaving John with nowhere to go and desperate for allies. While his future is uncertain, what is certain is that bullets will fly, knives will slice, and Keanu Reeves will get the snot kicked out of him many, many times.

Audiences show up to the film because Keanu’s name is at the top of the poster, but his ageless presence often makes us forget that he’s 54 years young, and still doing all of his own stunts. And there are quite a lot of stunts to be done, including knife throwing, sword fights, gun-fu, jujitsu, wrestling, motorcycling, and, in a weird but awesome turn of events, horseback riding. Each flip, punch, tumble, and blow that that John Wick deals or gets dealt is fully Keanu. His dedication is on full display, and the film is all the better for it. He’s in ample company with his newest costar, Halle Berry. Playing Sofia, a Casablanca-based former flame of John’s, Berry matches Reeves note for note, bullet for bullet, punch for punch, having trained months for this brief but demanding role. In the film’s most thrilling set piece, John, Sophia and her faithful German Shepherds engage in a vicious shootout to escape Casablanca, allowing both actors and both dogs to show off their best combat skills.

The ensemble cast is more extensive this time around, with both new and old faces appearing as friends and foes of John. Returning allies Ian McShane and Laurence Fishburne are given the most to do, giving opportunities and aiding John where they can. Without venturing into spoiler-laden territory, other new characters include the Director (Angelica Huston, milking her Russian Accent for every ruble it’s worth), the Tick-Tock Man (Jason Mantzoukas), and Zero (Mark Dacascos), all of whom create and fix problems for John. Despite the veteran cast members, the two standout performances are given by lesser known actors. Non-binary actor Asia Kate Dillon brings an intimidating presence to the Adjudicator, full of grit, elegance, and class, as they puppeteer John Wick’s demise over the course of the film. Lance Reddick, back as fan-favorite concierge Charon, gets a piece of the action this time as he defends the Continental and all its assets.

Director Chad Stahelski, back in the director’s chair for the third time around, knows what the audience loves and dials it up to ten. These films have never needed good scripts, they just need to be cool, a quality Stahelski has in spades. John Wick riding a horse? Cool. A hotel concierge with shotgun skills? Cool. Dogs that can crunch an opponent’s groin with their bite? Very cool. But beyond the cool, there is a strong sense of style present throughout the entire film. DP Dan Laustsen makes ample use of the film’s neon-soaked color palette and reflective glass set pieces, delivering engrossing long takes that keep us in the heat of the action at all times.

With John Wick 4 in development, one can’t help but wonder if the franchise is waning on stunts, weapons, and ways to kill numerous hitmen. There is plenty to go off of, as Parabellum sets up the fourth film to what will inevitably be a bombastic conclusion. The question that must be asked is how the film can progress to new heights. The stunts have always been on a ground level, majoring in hand-to-hand combat and gunfights. Considering the most out of the box this film dared to get was putting Keanu on a horse, the expectations must be raised for the next film. All that said, Parabellum is an impeccable feast of stuntwork and an overall beautiful action film. This will inevitably stand the test of time as Keanu’s greatest combat achievement yet.

Grade: 8/10

In October, veteran director Martin Scorsese made waves throughout the film community when he claimed that Marvel movies were “not cinema,” and likened them to theme park attractions. Since then, many naysayers and supporters alike have given their two cents about what “real cinema” is and if the superhero genre has a seat at the table. One of the biggest complaints about Marvel’s films was that while they were well-made, many considered them to be formulaic and repetitive. If that is the case, Kevin Feige and Co. should be keeping a close eye on Julia Hart to direct one of their future films.

Hart’s sophomore directorial feature, “Fast Color,” premiered in April, making a paltry $77,000 in its limited release. Since then, however, the film has received new life as the inspiration for a television adaptation at Amazon Studios. What’s remarkable about Hart’s film is how it raises the bar for superhero storytelling, without a single cape or costume in sight.

When we first meet reformed addict Ruth (Gugu Mbatha-Raw), she’s on the run with nothing to lose. She’s different, suffering from seizures that can move the earth’s tectonic plates, making her a walking danger to herself and those she encounters. As Ruth’s “abilities” are slowly unveiled to the outside world, she finds herself with no choice but to return home. There, she uproots the life of her mother, Bo (Lorraine Toussaint) and daughter, Lila (Saniyya Sidney), who are more skilled and controlled with their powers.

Perhaps the reason why Hart’s film stands out in the superhero genre is because she keeps most of the spectacle on the back burner. If the supernatural element was completely stripped away, the film would still work as a strong character-drama. Emotions between the three protagonists drive every scene of the film, crafting a superb narrative of pain, regret, loss, and hope. Hart’s creative writing, including flashbacks and exposition, inform the audience of the history of these women without ever coming off as pretentious or routine.

When the sci-fi element of the film kicks in, it’s wholly unique and deeply captivating. Bo and Lila’s “abilities” are elegant and controlled, allowing them to deconstruct objects into dust and materialize them back together. The visual effects here, though cheaper, are stunning to watch, with a more organic, earth based feel that stands out from Superman’s eyeball lasers or Iron Man’s energy beams. Ruth’s tremors, highlighted with cracked walls and shaken camera, give stark visual representation of her broken mind and nervous demeanor. Special credit goes to composer Rob Simonsen, who mixes synth with strings to create an otherworldly, yet calming feel to these scenes.

The cast of “Fast Color” is one of the best things about this film. Lorraine Toussaint brings a hefty dose of stoicism and authority to a pretty reserved role, earning the respect of all other characters. Saniyya Sidney, in her biggest role since 2016’s “Fences” turns in a joyful, calculated performance that continues to build her career. David Strathairn and Christopher Denham provide dependable support as a sheriff and a scientist on Ruth’s tail.

The real breakout here is Mbatha-Raw, turning in a complex, vulnerable, heart-breaking performance that leaps off the screen. Since breaking out in 2014’s “Belle” and “Beyond the Lights,” Mbatha-Raw has always been just one film away from becoming a household name with audiences, and this film is a reminder that she deserves that honor. Her portrayal of Ruth truly solidifies her status as one of independent film’s leading ladies. Ruth is a quiet tornado, speaking volumes with a single twitch of her face. Mbatha-Raw dedicates herself physically and mentally to the mindset of a former addict and a living weapon, and her performance produces a lived-in authenticity that is not often seen in science fiction films. Her performance, combined with Toussaint and Sidney’s, produces a powerful triad of black women that is sure to inspire audiences, as well as pave the way for more roles in the science fiction genre for black actresses of all ages.

If the film suffers from anything, it’s that the slow-burn buildup goes out with a whimper rather than a bang by the film’s end. The payoff is satisfying, but you can’t help to want to see more of what these women are capable of. What is satisfying is the revelation that Julia Hart is one of independent cinema’s bravest new voices, crafting beautiful stories like “Fast Color” that deserve to reach a wider audience than they have.

Grade: 7.5/10