{"id":1847,"date":"2020-02-02T16:47:16","date_gmt":"2020-02-02T16:47:16","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=1847"},"modified":"2020-02-11T06:23:08","modified_gmt":"2020-02-11T06:23:08","slug":"the-best-of-2019","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2020\/02\/02\/the-best-of-2019\/","title":{"rendered":"The Best of 2019"},"content":{"rendered":"\n
\"\"
Brad Pitt and Leonardo DiCaprio in Once Upon a Time in Hollywood<\/figcaption><\/figure>\n\n\n\n

2019 featured an array of films from rising talents, seasoned greats and everyone in-between. Scorsese, Malick, Gilliam, Almod\u00f3var, Tarantino, Kevin Smith, Greta Gerwig, Gaspar No\u00e9, Harmony Korine, Lorene Scafaria, Jordan Peele, James Mangold, Deon Taylor, Bong Joon-ho, S. Craig Zahler, Taika Waititi and many other notable filmmakers had a hand in creating the perfect closing to the cinematic decade. <\/p>\n\n\n\n

The year left us at a fascinating crossroads\u2014one that gave a\nclear view of what\u2019s behind and a pretty decent one of what might lie ahead.<\/p>\n\n\n\n

2019 was a year where there were far too many masterworks to\nfit on anyone\u2019s Top Ten list. Disney\u2019s formula and the endless, unwanted string\nof sequels, remakes and reboots may have dominated the box office, but there\nwere also studios\u2014major and independent alike\u2014who took many brave risks. Some of\nthese risks actually<\/em> paid off both financially\nand artistically, though there were plenty of good films that suffered and\nplenty of bad ones that shined.<\/p>\n\n\n\n

Regardless of their size and whether they were unveiled at the multiplexes, art-houses, on VOD or streaming services, there was a plethora of original and daring films in 2019 that gave no shortage of hope for the quality of cinema in the years to come. As is the case today, you sometimes just have to do some searching to find them.<\/p>\n\n\n\n

\"\"
Julia Butters and Leonardo DiCaprio in Once Upon a Time in Hollywood<\/figcaption><\/figure>\n\n\n\n

1. Once Upon a Time\nin Hollywood<\/strong><\/p>\n\n\n\n

Quentin Tarantino returns to the effortless joy of his early\nwork with Once Upon a Time in Hollywood\u2014<\/em>the\niconic filmmaker\u2019s unabashed and idealized love letter to 60\u2019s Hollywood and\ngood ol\u2019 fashioned toxic (as it would be described today) masculinity.<\/p>\n\n\n\n

Leonardo DiCaprio and Brad Pitt deliver career-highlight\nperformances as an aging B-list actor and his loyal sidekick\/stuntman. The individual\ncommitment they each bring to their characters is impressive enough, but the\nchemistry they exhibit when sharing the screen is something truly magical.<\/p>\n\n\n\n

Once Upon a Time in\nHollywood <\/em>beautifully sums up Tarantino\u2019s career and the end of this (or,\nrather, his) era of filmmaking. Though it showcases portrayals of a number of\nfigures from that time (Charles Manson, Sharon Tate, Bruce Lee, Steve McQueen),\nit\u2019s not reality or history we\u2019re watching, here, it\u2019s something greater and\nimproved upon: history filtered through Tarantino\u2019s maddened pop sensibilities.\n<\/p>\n\n\n\n

It\u2019s a great movie about movies and, most importantly, it\u2019s a great movie about loving <\/em>movies. Once Upon a Time in Hollywood <\/em>may be the most personal movie Tarantino will ever make\u2014as wholly fictitious its events may be, they collectively strike an emotional chord that is far more honest than reality could ever be.<\/p>\n\n\n\n

\"\"
Vince Vaughn and Mel Gibson in Dragged Across Concrete<\/figcaption><\/figure>\n\n\n\n

2. Dragged Across\nConcrete<\/strong><\/p>\n\n\n\n

Dragged Across\nConcrete <\/em>packed one of the biggest punches of 2019 and the entire decade\nthat preceded it. <\/p>\n\n\n\n

Mel Gibson and Vince Vaughn portray two (almost comically)\nun-PC policemen who turn to robbing criminals after being suspended for\nexcessive force. Both stars give subdued and grizzled performances that remind\nus of how great they can be when in their proper element. It\u2019s Tory Kittles\u2019 (season\none of True Detective<\/em>) show, however,\nwith his portrayal of a highly intelligent and oddly moral criminal caught in\nthe middle of a bank heist gone terribly and violently awry.<\/p>\n\n\n\n

Writer\/director S. Craig Zahler (Bone Tomahawk, Brawl in Cell Block 99<\/em>) takes what could have easily been a typical genre story and shades it with atmosphere, character details and crackling dialogue exchanges. The racial tensions, social injustices and economic struggles that haunt the characters of the film are astutely observed and presented– but never judged with a heavy, distracting hand. The characters are refreshingly and simply allowed to exist within their own realities. <\/p>\n\n\n\n

Dragged Across Concrete<\/em> is slow-burning, character-driven, pulpy, brutal and beautiful. It boldly unfolds at the steady beat of Zahler\u2019s own unique drum, and the final result is the rapidly rising talent\u2019s most fulfilling and accomplished film to date.<\/p>\n\n\n\n

\"\"
Roman Griffin Davis and Taika Waititi in Jojo Rabbit<\/figcaption><\/figure>\n\n\n\n

3. Jojo Rabbit<\/strong><\/p>\n\n\n\n

With his latest effort, director\/screenwriter (based on Christine Leunens\u2019 novel) \/actor Taika Waititi is able communicate the horrors of blind nationalism on the German side of WWII by way of astute, sometimes whimsical satire. He achieves this by reflecting the events of the film through the eyes of a lonely young boy (a wholly naturalistic Roman Griffin Davis) who idolizes Hitler so much that he creates an imaginary incarnation of him to keep himself company.<\/p>\n\n\n\n

As offensive as this may sound, Jojo Rabbit <\/em>is actually one of the most thoughtful and sensitive\nfilms to be released on any subject (let alone one as touchy as Nazism) in\nrecent memory. <\/p>\n\n\n\n

The film smoothly and consistently shifts amongst varying tones between comedy and tragedy. While this is undeniably one of the most difficult things to accomplish on film, Waititi manages to seamlessly pull it off with expert finesse. <\/p>\n\n\n\n

Jojo Rabbit<\/em> is biting without leaving a scar, hopeful with being contrived and moving on more emotional levels than can be counted. It is an amazing feat\u2014and one that deserves all the more credit for taking on so much with the appearance of such ease.<\/p>\n\n\n\n

\"\"
Florence Pugh, Saoirse Ronan and Emma Watson in Little Women<\/figcaption><\/figure>\n\n\n\n

4. Little Women<\/strong><\/p>\n\n\n\n

Admittedly, I wasn\u2019t even going to bother seeing Little Women<\/em> (\u201cWho needs yet another\nremake of that book I had to read in high school about a bunch of griping\nsisters in the nineteenth century? Besides, Lady\nBird <\/em>was overrated!\u201d said the forty-year-old white guy that is I).<\/p>\n\n\n\n

Writer\/director Greta Gerwig\u2019s adaptation of Louisa May\nAlcott\u2019s book is completely fresh and brimming with life, as if the story had\nnever before been told. This is not a simple retelling of Little Women<\/em>, it\u2019s an utterly necessary and definitive\nre-examination of it that is perfectly attuned to our times.<\/p>\n\n\n\n

The cast is overwhelmingly solid and flawless. Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Tracy Letts, Meryl Streep, Timoth\u00e9e Chalamet and many others all deliver dynamic performances that perfectly hit varying notes between joy and heartache throughout the film.<\/p>\n\n\n\n

Gerwig is the true star of the film, however. She injects Little Women <\/em>with beauty and sensitivity, and is able to step back just enough to observe the true meaning behind its story and its effect on generations since. The ultimately self-aware and somewhat meta approach she takes pushes Little Women <\/em>to a grand arena\u2014 one where the film is just as satisfying as on an emotional tear-jerking level as it is on an intellectually observational one.<\/p>\n\n\n\n

\"\"
Eddie Murphy in Dolemite Is My Name<\/figcaption><\/figure>\n\n\n\n

5. Dolemite Is My Name<\/strong><\/p>\n\n\n\n

Ed Wood <\/em>and The People vs Larry Flynt <\/em>screenwriters\nScott Alexander and Larry Karaszewski return to full form with their latest\nbiopic\/celebration of an American fringe celebrity, Dolemite Is My Name.<\/em><\/p>\n\n\n\n

Craig Brewer flawlessly directs Eddie Murphy in one of the\nbest performances of his career. Murphy portrays Rudy Ray Moore, a DIY\ncomedian, rap pioneer and independent filmmaker who made a slight name for\nhimself in the 1970s.  <\/p>\n\n\n\n

A pitch-perfect ensemble (Keegan-Michael Key, Craig\nRobinson, Snoop Dog, Wesley Snipes, Da\u2019Vine Joy Randolph, etc.) portrays the\nlively and hungry group of supporting characters in Moore\u2019s life.<\/p>\n\n\n\n

Dolemite Is My Name <\/em>is a wonderful tribute to the underdog, a movie that\u2019s nothing short of a joy to watch from beginning to end. It has heart, humor and, above all else, it presents us with characters that are so lovably human that we can\u2019t help but feel the highs and lows of their struggles as if they are our own.<\/p>\n\n\n\n

\"\"
Sofia Boutella in Climax<\/figcaption><\/figure>\n\n\n\n

6. Climax<\/strong><\/p>\n\n\n\n

A group of dance students throw a party only to slowly\ndiscover that one of them has spiked the punch bowl with LSD. Madness ensues as\nthe students resort to a psychedelic– and wholly primitive– state of being.<\/p>\n\n\n\n

Writer\/director Gaspar No\u00e9\u2019s latest tale of sex, drugs and\ninsanity may not reach the heights of in-your-face greatness that his Enter the Void <\/em>did earlier in the decade, <\/em>but it\u2019s also quite clear that he\nnever intended it to. <\/p>\n\n\n\n

Climax <\/em>is simple\nin its design and sophisticated in its execution. It\u2019s a transcendent work that\ndwells on trash and sucks you into like a tornado because it does so with such\nartistry. There\u2019s no real point to the film beyond experiencing <\/em>every beautifully choreographed moment of its\ndepravity. <\/p>\n\n\n\n

Climax <\/em>is what it is: a darkly funny, lean, mean and gorgeously dirty piece of bravado filmmaking that constantly dares you to look away with the same face-smacking energy that keeps your eyes glued to it.<\/p>\n\n\n\n

\"\"
Cho Yeo Jeong in Parasite<\/figcaption><\/figure>\n\n\n\n

7. Parasite<\/strong><\/p>\n\n\n\n

Snowpiercer <\/em>director\/cowriter Bong Joon-ho delivers another masterwork with this scathingly funny and bluntly tragic social satire. Parasite <\/em>tells the story of a poor but hyper-intelligent family who cons their way into the house staff of an upper-class family\u2014at the expense of anyone who is unfortunate enough to be in their way.<\/p>\n\n\n\n

The injustice of South Korean laws and class systems are\ncommunicated through a group of highly entertaining characters who are\nemotionally (and comically) devoid of empathy due to their given placements in\nsociety.<\/p>\n\n\n\n

Parasite <\/em>astutely\nobserves the aloofness of the upper-class and the overwhelming resentment of\nthe lower-class who is forced to live off their crumbs. It also manages to enthrall\nand you with genre-influenced surprises and shocks similar to a great Hollywood\nthriller. <\/p>\n\n\n\n

Joon-ho has further proven himself as a director who can\nbring the best of both worlds\u2014artistic value and entertainment\u2014together for an\nunforgettable cinematic experience.<\/p>\n\n\n\n

\"\"
Isla Fisher and Matthew McConaughey in The Beach Bum<\/figcaption><\/figure>\n\n\n\n

8. The Beach Bum<\/strong><\/p>\n\n\n\n

Like No\u00e9 and Climax, writer\/director Harmony\nKorine\u2019s latest cinematic escapade doesn\u2019t necessarily carry the weight of some\nof his previous works (namely Spring\nBreakers<\/em>), but that also doesn\u2019t prevent it from being a masterwork in its\nown right.<\/p>\n\n\n\n

The Beach Bum<\/em> is a stoner comedy presented in the aesthetic of Terrence Malick. The hand-held cinematography of Beno\u00eet Debie (who was also the cameraman on Climax<\/em>) is richly colored and finely detailed, freely and dreamily floating along with its debauched and intoxicated subjects. Douglas Crise\u2019s editing is liquidly non-linear, capturing the film\u2019s joyously anarchic and free-spirited nature.<\/p>\n\n\n\n

Matthew\nMcConaughey delivers one of the best performances of his career as a proudly\ndecadent Florida poet named Moondog, who is forced to write his next\nmasterpiece after a family tragedy leaves him penniless. McConaughey is so in\ntune with the character that it\u2019s hard to imagine the film existing without him.<\/p>\n\n\n\n

The Beach Bum <\/em>is ultimately a huge middle finger to materialism and a plea for us all to return to life\u2019s simpler and most basic pleasures. It\u2019s also a hilarious screwball comedy presented with the kind of flair and innovation that makes Korine one of the most exciting and original filmmakers working today.<\/p>\n\n\n\n

\"\"
Raven Whitley in Knives and Skin<\/figcaption><\/figure>\n\n\n\n

9. Knives and Skin<\/strong><\/p>\n\n\n\n

A combative teenage girl with unexplained mystical powers\n(Raven Whitley) disappears after being abandoned at a lakeshore by an abusive\nhookup (Ty Olwin).  <\/p>\n\n\n\n

The girl\u2019s spacey, also mystically powered mother (Marika\nEngelhardt) slowly loses what is left of her mind trying to figure out what\nhappened to her daughter \u2014even though she may or may not have wanted her dead\nin the first place. The girl\u2019s friends and their families also face the lingering\neffects of the disappearance, and all the hidden drama in their small-town\nlives comes to a collective head.<\/p>\n\n\n\n

Part of the charm of Knives\nand Skin<\/em> is that it seems to be fully aware of its own strangeness and its\ndebt to predecessors like Twin Peaks<\/em>,\nDonnie Darko <\/em>and Heathers<\/em>. In the same manner that Heathers<\/em> used dark, biting satire to heighten and observe the\nteenage experience over thirty years ago, Knives\nand Skin <\/em>uses bizarre absurdity and dreamlike surrealism to express the\nawkwardness, vulnerability and inherent mysteriousness of being a teenager\ntoday. <\/p>\n\n\n\n

Writer\/director Jennifer Reeder has created a brave, gorgeous and out-of-its-mind teenage melodrama that is certain to become a cult classic in the years to come.<\/p>\n\n\n\n

\"\"
Adam Sandler in Uncut Gems<\/figcaption><\/figure>\n\n\n\n

10a. Uncut Gems<\/strong><\/p>\n\n\n\n

Like Joker<\/em>, the\nsuccess of Uncut Gems <\/em>heavily relies\non the commitment and talent of its lead actor. Needless to say by now, Adam\nSandler more than lives up to the task with his portrayal of Howard Ratner, an\nobnoxious and compulsive New York hustler\/jewelry dealer\/sports gambling addict\nwho digs his grave deeper and deeper with every word he speaks.<\/p>\n\n\n\n

What Sandler brings to the table is beyond remarkable. The weight\nof his famous, lovable persona mixes perfectly with his gung-ho commitment and\nshocking vulnerability to create an unforgettable character. While it\u2019s clear\nfrom the start that Ratner possesses no qualities of redemption that are beyond\nfleeting, Sandler\u2019s talent and presence make it nearly impossible for us not to\ncare about what happens to him.<\/p>\n\n\n\n

Directors\/cowriters (along with Ronald Bronstein) Benny and\nJosh Safdie have created a masterful depiction of greed, excess and addiction\nwith Uncut Gems. <\/em>Too much is never\nenough for Ratner, and the tension this insatiable character creates in\nachieving the unachievable is relayed through the Safdie\u2019s unrelenting and\nuncompromisingly gritty filmmaking. <\/p>\n\n\n\n

The film\u2019s overall impact is essentially the equivalent of anxiety porn. Uncut Gems <\/em>is a movie you shouldn\u2019t <\/em>like or relate to, but it still masterfully pulls you along for every inch of its white-knuckling, nail-biting ride.<\/p>\n\n\n\n

\"\"
Michael B. Jordan in Just Mercy<\/figcaption><\/figure>\n\n\n\n

10b. Just Mercy<\/strong><\/p>\n\n\n\n

What could have easily been a well-intentioned made-for-television-movie-of-the-week winds up packing a tremendous wallop\u2014both as a dramatic piece of entertainment and as a socially relevant history lesson. Based on Bryan Stevenson\u2019s non-fiction book, Just Mercy<\/em> is the kind of movie that deserves to be seen and needs to be made more often today.<\/p>\n\n\n\n

The film is executed with tremendous skill and grace by\ndirector\/cowriter (along with Andrew Lanham) Destin Daniel Cretton. Though Cretton\nisn\u2019t shy about inserting stances on selected issues or guiding the audience\u2019s\nhand towards specific themes, he manages to do so with intelligence and class.\nYou never feel like he\u2019s manipulating or condescending his audience because\nthere is an undeniable sense of passion and sincerity at the film\u2019s core\u2014one\nthat is impossible to ignore and even more impossible to fake.<\/p>\n\n\n\n

Jaimee Foxx portrays Walter McMillan, an Alabama man\nsentenced to death in 1987 for a murder he did not commit. Michael B. Jordan is\nAnthony Ray Hinton, a young and ambitious lawyer who decides to take on his\ndangerously complicated case\u2014which he soon learns has implications of\ncorruption and racism. Both Foxx and Jordan inhabit their characters fully,\ndownplaying their emotions to be true-to-life rather than obnoxiously\nOscar-grabby. Brie Larson offers excellent support as Jordan\u2019s law firm\nco-founder, Eva Ansley.<\/p>\n\n\n\n

In Just Mercy, <\/em>a stellar and tear-jerking courtroom drama co-exists with a number of thought-provoking social statements. A lesser film would have favored one intention over the other and ruined all chances of either succeeding. Cretton and company find the perfect balance, allowing for audiences of every color and background to hear and understand Just Mercy<\/em>\u2019s thoughtful and heartfelt shout against injustice.<\/p>\n\n\n\n

\"\"
Charlize Theron and Seth Rogen in Long Shot<\/figcaption><\/figure>\n\n\n\n

Top 10 Movies That\nWere Very Painful to Leave off My Top Ten Movies of 2020:<\/strong><\/p>\n\n\n\n

1.<\/em><\/strong> Long Shot <\/em>(I\u2019m verging on ashamed it did not end up on my top ten– Charlize Theron and Seth Rogen are the best romantic comedy pairing of the decade), 2.<\/strong> Pain and Glory <\/em>(ditto\u2014deeply personal filmmaking that is still entertaining and accessible), 3. <\/strong>Joker <\/em>(an arthouse character drama in disguise as a comic book movie), 4.<\/strong> The Highwaymen <\/em>(a great and thoughtful companion piece to Bonnie & Clyde<\/em>), 5. <\/em><\/strong>Under the Silver Lake <\/em>(an opera of the bizarre that gets better every time I see it), <\/em>6.<\/strong> The Perfection <\/em>(a twisty and twisted thriller about female revenge), 7.<\/strong> The Standoff at Sparrow Creek <\/em>(an amazing low-budget underdog of a thriller), <\/em>8.<\/strong> Hustlers <\/em>(a thoughtful and cutting look at the sex industry with a career-best performance from Jennifer Lopez), <\/em>9.<\/strong> Honey Boy <\/em>(an achingly vulnerable portrayal of addiction and past traumas), <\/em>10.<\/strong> A Beautiful Day in the Neighborhood <\/em>(a unique spin on the biopic with Tom Hanks taking advantage of his perfect casting)<\/p>\n\n\n\n

Honorable Mentions: <\/strong><\/p>\n\n\n\n

Leaving Neverland <\/em>(it would have made my Top 10 of the year, but it\u2019s probably more accurate to describe it as a two-part cable documentary\u2014excellent, regardless), Knives Out, The Peanut Butter Falcon, Black and Blue, Ready or Not, Light of My Life, Fractured, 21 Bridges, A Hidden Life, Queen & Slim, Marriage Story, The Report, The Dead Don\u2019t Die, Late Night, Anna, Toy Story 4, Crawl, The Art of Self-Defense, The Man Who Killed Don Quixote <\/em>(mainly for hardcore Gilliam fans, but an interesting accomplishment regardless), It: Chapter 2, Doctor Sleep, Dumbo, Unicorn Store, Bombshell, Teen Spirit, The Professor and the Madman, John Wick: Chapter 3\u2014Parabellum, The Man Who Killed Hitler and then Bigfoot, Captain Marvel, Us, Gloria Bell, 1917, Star Wars: Rise of Skywalker <\/em>(but only if you\u2019re a casual fan), Jay and Silent Bob Reboot <\/em>(but only if you\u2019re the hardest of the hardcore fans\u2014which I\u2019m proud to say I am)<\/p>\n\n\n\n

And, since the above covers what I\u2019d nominate for Best Picture of 2019, here\u2019s a brief rundown for the other major awards:<\/p>\n\n\n\n

Best Actor:<\/strong><\/p>\n\n\n\n

1.<\/strong> Joaquin\nPhoenix for Joker<\/em>, 2. <\/strong>Adam Sandler for Uncut Gems,<\/em> 3.<\/strong> Eddie Murphy for Dolemite\nIs My Name,<\/em> 4.<\/strong> Roman Griffin\nDavis for Jojo Rabbit<\/em>, 5<\/strong>. Michael B. Jordan for Just Mercy<\/em><\/p>\n\n\n\n

Best Actress:<\/strong><\/p>\n\n\n\n

1.<\/strong> Naomie Harris for Black and Blue<\/em>, 2<\/strong>. Saoirse Ronan for Little Women<\/em>, 3.<\/strong> Charlize Theron for Long Shot<\/em>, 4.<\/strong> Thomasin McKenzie for Jojo Rabbit<\/em>, 5.<\/strong> Julianne Moore for Gloria Bell<\/em><\/p>\n\n\n\n

Best Supporting\nActor:<\/strong><\/p>\n\n\n\n

1.<\/strong> Shia LaBouf for Honey Boy<\/em>, 2.<\/strong> Tory Kittles for Dragged Across Concrete<\/em>, 3. <\/strong>Timoth\u00e9e Chalamet for Little Women<\/em>, 4.<\/strong> Brad Pitt for Once Upon at Time in Hollywood<\/em>, 5.<\/strong> Jaime Foxx for Just Mercy<\/em><\/p>\n\n\n\n

Best Supporting\nActress:<\/strong><\/p>\n\n\n\n

1.<\/strong> Jennifer Lopez\nfor Hustlers<\/em>, 2.<\/strong> Da\u2019Vine Joy Randolph for Dolemite\nIs My Name<\/em>, 3.<\/strong> Julia Butters for\nOnce Upon a Time in Hollywood<\/em>, 4.<\/strong> Laura Dern for Marriage Story<\/em>, 5.<\/strong> Scarlett\nJohansson for JoJo Rabbit<\/em><\/p>\n\n\n\n

Best Original Screenplay:<\/strong><\/p>\n\n\n\n

1.<\/strong> Dragged Across Concrete<\/em> by S. Craig\nZahler, 2.<\/strong> Once Upon a Time in Hollywood <\/em>by Quentin Tarantino, 3.<\/strong> Dolemite\nIs My Name<\/em> by Scott Alexander and Larry Karaszewski, 4.<\/strong> Honey Boy<\/em> by Shia\nLaBouf, 5.<\/strong> Long Shot <\/em>by Dan Sterling and Liz Hannah<\/p>\n\n\n\n

Best Adapted\nScreenplay:<\/strong><\/p>\n\n\n\n

1.<\/strong> Little Women<\/em> by Greta Gerwig, 2.<\/strong> Jojo\nRabbit <\/em>by Taika Waititi, 3.<\/strong> Hustlers <\/em>by Lorene Scafaria, 4<\/strong>. A\nBeautiful Day in the Neighborhood <\/em>by Noah Harpster and Micah Fitzerman-Blue,\n5.<\/strong> Just Mercy <\/em>by Daniel Deston Cretton and Andrew Lanham<\/p>\n\n\n\n

Best Director:<\/strong><\/p>\n\n\n\n

1.<\/strong> Quentin Tarantino\nfor Once Upon a Time in Hollywood<\/em>, 2. <\/strong>S. Craig Zahler for Dragged Across Concrete<\/em>, 3. <\/strong>Taika Watiti for Jojo Rabbit<\/em>, 4.<\/strong> Greta Gerwig for Little\nWomen<\/em>, 5.<\/strong> Gaspar No\u00e9 for\nClimax<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

2019 featured an array of films from rising talents, seasoned greats and everyone in-between. Scorsese, Malick, Gilliam, Almod\u00f3var, Tarantino, Kevin Smith, Greta Gerwig, Gaspar No\u00e9, Harmony Korine, Lorene Scafaria, Jordan Peele, James Mangold, Deon Taylor, Bong Joon-ho, S. Craig Zahler, Taika Waititi and many other notable filmmakers had a hand in creating the perfect closing […]<\/p>\n","protected":false},"author":2,"featured_media":1848,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-1847","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-columns"],"_links":{"self":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1847","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/comments?post=1847"}],"version-history":[{"count":17,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1847\/revisions"}],"predecessor-version":[{"id":1885,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1847\/revisions\/1885"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/1848"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=1847"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=1847"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=1847"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}