NBP Top 10's Of 2019 - Cody Dericks

By Cody Dericks 

​​Last year really rounded out the decade with a bang, delivering a bumper crop of great films. I’m usually a fairly stingy grader of films, but I gave 20 films a grade of eight out of ten, 11 films nine out of ten, and three films ten out of ten, which is quite a lot for me. I had no hesitation being generous with my ratings because it’s a testament to the quality of movies in 2019. Let’s take a look at the absolute peak examples of what was truly a great year in film.

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​10. For Sama

A look into the unique struggles of a woman working to raise a child in a warzone, “For Sama” is not an easy watch - nor should it be. It’s brutal and affecting, capturing the Syrian struggle in all its horrible details. The endless bodies, blood, and caved-in buildings are horrifying, but what I imagine will be the most lasting takeaway from this film is the small moments of humanity that can never be suppressed; the stolen minutes of humor, the scattered celebrations, and the lingering shots of baby Sama, whom not even the nearby sounds of warfare can frighten. The documentary is framed as an open letter to the filmmaker’s daughter, and as such, we are privy to her most private inner conflicts and thoughts. It’s incredibly and courageously personal, and it is simply one of the most moving films of the year.

9. Avengers: Endgame

A perfect example of blockbuster filmmaking that’s rousing, emotional, thrilling, and extremely well-made. “Avengers: Endgame” earns its three-hour length by smartly yet subtly dividing the film into three distinct acts that each work in their own wonderful way. Act One is shockingly brave in the way it lets its characters grieve for nearly an entire hour, which finally allows some really talented actors to perform in a way not usually permitted by the constraints of the MCU. Act Two is essentially a collection of fun story remixes and callbacks to the larger cinematic universe. Finally, Act Three allows the previous decade of Marvel films to come together and work in shorthand to create a dynamic and fulfilling finale. The film worked wonderfully for this Marvel skeptic.

8. A Beautiful Day In The Neighborhood

I walked into the film much like how Matthew Rhys’s character approaches his interview with Mr. Rogers: skeptical and a bit cynical. I think that may actually be why the movie worked so well for me. The whole thing essentially serves as an episode of Mr. Rogers’ show, but for adults who need it but may not know it. “A Beautiful Day in the Neighborhood” is melancholy, grounded, and even a little tense in its quietness, much like Mr. Rogers’ TV show was. Marielle Heller brilliantly gives the whole thing a slight air of whimsy without ever letting it tip over into schmaltz, and Tom Hanks manages to leap over the obviousness of his casting by weaponizing the inherent endearment the audience will have for him as an actor. He uses this unique power to bring a never-questioned authority and patina of intrinsic values to his performance. The film needed someone like him in the role so the audience never questions the believability of the character and what he’s saying.

​7. Pain & Glory

“Pain and Glory” is a master class in semi-autobiographical exploration that doesn’t let its subject off the hook. Our main character sleepwalks through the autumn of his life until new creative possibilities are unlocked by looking inward and exploring the past, showing us that self-reflection doesn’t necessarily have to be tied to regret. Antonio Banderas is perfectly anchored in the center of the film, showing how good non-obvious acting can be. He manages to say so much with just his eyes, metatextuality doing what the film itself says is the most impressive type of acting: when an actor is trying their best not to cry rather than outright crying. “Pain and Glory” is bittersweet yet intoxicating, and mournful yet hopeful.

6. Us

Jordan Peele didn’t have an easy task with “Us.” He had to overcome the impossibly high expectations set by his stunner of a debut film, “Get Out,” and working in the same genre was even riskier as it was bound to draw comparisons. Smartly, Peele took the opportunity afforded him by his previous success and decided to go bigger with his follow-up film in nearly every way. It’s ambitious with a capital “A”. It explores an absolutely bonkers horror premise and puts a lot of trust in the audience that they will buy into it and go along for the ride. I can always appreciate a big swing from a director, and nothing gets me excited like a horror movie with socially relevant themes and interpretations. “Us” is a film with so many possible interpretations that I don’t have the time or space to explore here. Add to all of this an astounding dual performance from Lupita Nyong’o (my personal favorite performance of the year) and you have a movie that I can’t wait to revisit over and over again.

5. The Irishman

“The Irishman” is, famously, long; and since the subject matter appears to be a well-trodden territory for Martin Scorsese, it may appear to be excessively long. But in reality, it’s one of the most impressive uses of a lengthy runtime I’ve ever seen. It’s necessary to live with these characters for nearly four hours. We must feel the weight of time pressing down on these characters and influencing their actions and misdeeds in order for the final act to have the impact that it does. It’s often said that we should strive to live a life worth examining, but what if upon examination in the twilight of our lives, we find nothing but heartache and regret? “The Irishman” explores such existential ponderings without beating you over the head with obvious dialogue or saccharine screen images. Scorsese lays bare the extent of his main character’s life and makes us question how much of what we do is actually worth it in the long run.

4. Uncut Gems

Maybe the most fun I’ve had in a movie theater since I was a kid. There’s been a lot of talk about how stressful “Uncut Gems” is, but I was merely enthralled. It’s the cinematic equivalent of a roller coaster. Even when it’s seemingly dangerous and you don’t know what’s going to happen next, it’s still a great time. Adam Sandler has never been better with his manic, idiosyncratic energy perfectly used to keep the audience guessing, frustrated, and entertained throughout. The entire thing is a deceptively smart commentary on the arbitrary nature of money and the pointlessness of accumulated wealth, all wrapped up in the packaging of the greatest high a film can give you.

​3. Parasite

Truly nothing more needs to be said that hasn’t already been said about the absolutely perfect object that is “Parasite.” I’ll simply add to the mountains of deserved praise this movie has received since its Cannes debut, and say that its structure, thematic tightness, and stunningly precise direction make this a film that will surely outlast all the others released in 2019.

2. Hustlers

Lorene Scafaria’s “Hustlers” has been appropriately called the greatest movie Martin Scorsese never made. And no offense to Marty, but I don’t think he could have directed it as Scafaria did. It’s got the zip and intrigue of the best crime movies that Hollywood has ever put out, but with a female-led vision that never exploits the women at the story’s center. While they are criminals, they are neither unfairly judged for their actions nor let off the hook for their wrongdoings. It’s a masterful balancing act that Scafaria achieves with grace. “Hustlers” is a romp that explores class disparity, the insidiousness of the patriarchy, sex workers’ rights, and economic troubles, while never sagging under the weight of these themes. Come for the show, stay for the commentary.

1. Little Women

Greta Gerwig’s unbelievably alive adaptation of this oft-filmed novel snuck in as one of the last theatrical releases of 2019 that I saw, and about halfway through the film, I knew “Little Women” would be my favorite film of the year. It’s simply one of the most exciting and energetic period adaptations I’ve ever seen. Gerwig’s absolutely brilliant narrative device perfectly informs the reflective nature of the source material by showing how the past affects the present in ways both intentional and unintentional. In this “Little Women,” the past is shown to be literally sunnier, as if nostalgia gives these memories a glow. The pace, editing, and cinematography are also more dynamic compared to the contemplative present-day storyline where the shots last longer, the colors are more muted, and the musical score is practically nonexistent. This stunning storytelling decision gives the entire narrative a sense of wistful melancholy, which is something that nearly anyone watching can relate to when reflecting upon their childhood - both the good parts and the bad. It also delivers an important message about how to properly view our personal histories when reflected back upon in our older years. For some of us, it was easier in childhood to focus on exciting things, whereas in adulthood anything positive is often seen as merely a break from the mundanity of life. As adults, we ruminate longer on stresses and hardships as the world seems gloomier and less full of possibilities than it once did. It’s up to us to look to the past, not as necessarily a better time in our lives, but as a formative period that got us to where we are today. We can use our memories as a way to reflect, learn, and move forward as merely grown versions of those same children, rather than the entirely separate person that our childhood selves often seem to be. At a time when many of us are yearning for simpler, less strife-filled times, it’s important to not lose sight of the fact that the childhood chapter of our lives is still with us. It’s not a bygone era, and we’re not different people. We’re merely a continuation of the past.

Be sure to check  out other top 10's from Matt Neglia, Daniel Howat, Josh Parham, Ryan C. Showers and be on the lookout for more of our Top 10's for 2019 and the decade. Also check out the winners of the 2019 NBP Film Community Awards as voted on by all of you!

You can follow Cody and hear more of his thoughts on the Oscars and Film on Twitter at @codymonster91