Best of 2019: David Brickman’s Best Films of the Year
Well, I’m a little late to the party, but I have a couple of good excuses – and, anyway, at least I get to publish my list before the Oscars are announced this evening. Proud to say, this year I actually saw every Best Picture nominee (and all but one in an actual movie theater – the one being Joker, which I caught on DVD the day after it was released in that format).
As usual, I have a quibble or three with the Academy, but it looks like the front-runner this year is 1917, which is also my top pick, so you never know. Following right behind, however, is a film that got zero notice from the Academy (though some critics gave it due props), which is sadly ironic in that it’s an all-black production that easily deserved the attention and could have helped to save the annual hue and cry about Oscars-so-white if it had been properly recognized.
Instead, The Last Black Man in San Francisco is this year’s most-overlooked movie at Oscar time (see my full review here). Honestly, I’m not cynical enough to think that Academy voters disregard good material just because the people who made it are black; rather, I think they are simply too self involved to be able to appreciate a lot of fare that isn’t right up their alley – hence, outstanding non-traditional or foreign material often gets overlooked.
That said, you may notice that the much-ballyhooed Korean film Parasite didn’t make my short list (though its Oscar success may have helped the Academy dodge the racism bullet this year). I acknowledge that Parasite is extremely well made, but it is too brutally dehumanizing for my taste. I’ve gotten the impression that many people found its class-struggle story to be groundbreaking – however, 2018’s Japanese production Shoplifters told a very similar story, while humanizing all its subjects, which to me was both more difficult and much more worthwhile. (Then again, a movie-savvy friend told me that Parasite was his favorite film of 2019 and Shoplifters his favorite of 2018, so maybe I’m just confused.)
Other films that the Academy liked more than I did were Ford v. Ferrari, which told a very good story, but in such a drawn-out fashion and with so much time spent inside a race car that I got bored (despite great performances by Christian Bale, Tracy Letts, and others, as well as a lot of unsubtitled but perfectly executed Italian dialogue – a surprise treat for me); and Little Women, which also featured some very good acting but was almost unbearably twee and, at times, so anachronistic as to be groan-inducing.