Top 10 Movies of 2019

All non-Nolan related film, tv, and streaming discussions.
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Release date in the country of film's origin is the ideal we should use when we do retrospective lists; for instance, if I am making a list of my top 10 of 2015. This does not work however for the most recent year because sometimes a movie is initially released one year, before it reaches another country in the next. This means there is quite the possibility that a deserving movie misses out on these best of the year lists. And while it may be just a list to some, to others it is a source for them to see movies they may have missed during the course of the year, and they can just look at their favorite critic's or magazine's compilation and decide to watch the movie. In addition is also the exposure these lists give to some great obscure movies - that merely laudatory reviews don't - which by their nature sometimes makes it difficult to have worldwide release within a single year.

Still, I don't think people should in this forum should make US release dates their focal point when it comes to their top 10 lists, and can just follow their country's release date. It shouldn't be that much of a "clusterfuck".

Also, Transit is currently my #2 of the year.

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Top 5 atm:
1) Parasite
1.5) Anima
2) Climax
3) Once Upon a Time in Hollywood
4) The Lighthouse
5) Honey Boy
Still have to see (will be seeing soon):
The Irishman
Marriage Story
Uncut Gems
The others I've seen aren't really worth bringing up.

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Obama's fav


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Obama on that transit train


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obama likes ford v ferrari

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^real shit

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WTF is going on with Alita:Battle Angel on twitter? Where's this all people coming from? The replys are just that.

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Is it somehow important what the US President who signed indefinite detention into law thinks of certain films?

Always my favourite list aka John Waters' top 10

CLIMAX (Gaspar Noé)

The best movie of the year gives new meaning to the term “bad trip.” Frenzied dance numbers combined with LSD, mental breakdowns, and childhood trauma turn this nutcase drama into The Red Shoes meets Hallucination Generation. Freak out, baby, freak out!

JOAN OF ARC (Bruno Dumont)

There is a God and his name is Bruno Dumont. His piously poisonous sequel to last year’s best film, Jeannette: The Childhood of Joan of Arc, is artier, holier, and will give you Catholic goose bumps. The ten-year-old star stares nobly and defiantly through the camera lens right into your soul and doesn’t even wait for the church authorities—she burns herself at the stake.

ONCE UPON A TIME . . . IN HOLLYWOOD (Quentin Tarantino)

A real crowd-pleaser that deserves every bit of its critical and financial success for pulling the rug out from under America’s true-crime obsession and daring to give the Manson murders a feel-good happy ending that manages to be both shocking and terribly funny.

BORDER (Ali Abbasi)

If Eraserhead had cousins, this transgressive troll couple would have welcomed them into their jaw-droppingly bizarre world of over-developed noses, maggot-eating diets, and pedophile-hunting duties. You won’t believe this one!

AMAZING GRACE (realized and produced by Alan Elliott)

Top-notch doc about the 1972 making of Aretha Franklin’s gospel album made all the more powerful by its drab church setting and the empty seats inside. Aretha never looked so talented or so lost, almost like an alien who is stunned by her own talents.

HAIL SATAN? (Penny Lane)

Not since the Yippies have we seen such a hilarious pack of militant activists as the Satanic Temple. Their real-life pro-separation-of-church-and-state cult leader, Lucien Greaves, makes Anton LaVey look like Pat Boone. Don’t send money to Toys for Tots this Xmas; give it to these heretics.

PAIN AND GLORY (Pedro Almodóvar)

The first Almodóvar movie to shock me—it’s not one bit funny or melodramatic and even the colors are muted, yet it goes beyond the valley of maturity and over the top of riveting self-reflection to gay mental health. You’re not dying, Pedro, independent cinema is.


Even its own American distributor called this film reprehensible, and I agree, yet it’s so appalling, so grotesque, so well made and bravely acted that dare I suggest you give this serial-killer movie a watch? Shame on you, Fatih Akin, for making it. Shame on me for putting it on this Top Ten list. Shame on you if you like it.

THE SOUVENIR (Joanna Hogg)

An ugly-to-look-at but beautifully shot high-class art film based on the director’s disastrous first love affair with a junkie. If Marguerite Duras and Philippe Garrel had sex and Martin Scorsese adopted their cinematic offspring, this might have been what their film baby would look like.

JOKER (Todd Phillips)

Irresponsible? Maybe. Dangerous? We’ll see. The first big-budget Hollywood movie to gleefully inspire anarchy. Bravo, Todd Phillips! Only you could get away with it.

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yas for including Border and Dolor y Gloria

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