We’re about halfway through 2019 and there’s been no shortage of great movies. While the headlines may belong to the flops right now, you would do well to remember the worthwhile titles that have hit theaters and streaming so far this year. Although there are still some great movies on the horizon, we wanted to check in with the most noteworthy movies 2019 had to offer thus far, and looking at this list, it looks like our year-end Top 10s will be difficult to sort out. You could already make a pretty serious Top 5 list from these titles alone, and so if you need to start catching up with the year’s best offerings, check out our list below.
How to Train Your Dragon: The Hidden World
How to Train Your Dragon: The Hidden Worldis one of the best movies of the year and a strong contender for the best film in the franchise. Not only does it complete the trilogy in a satisfying way, the concluding chapter acts as a culmination of the story that began withCressida Cowell‘s books and continued on the big and small screen over the last 10 years.
What began as an unlikely friendship between an adolescent Viking and a fearsome dragon has become an epic saga that spans their entire lives over the course of three films. In this final installment, the heroic pair finally fulfill their destinies as Hiccup (Jay Baruchel) takes on his inherited responsibility as the village chief and ruler of Berk alongside Astrid (America Ferrera), while Toothless becomes the legendary leader of his own kind. In this concluding chapter, the Vikings and dragons of Berk face their darkest threat yet in the evil strategic genius Grimmel (F. Murray Abraham) while Toothless discovers his soulmate in the mysterious Light Fury; the bonds of Hiccup and Toothless’ friendship are tested like never before. It’s a solid film from beginning to end and a fitting finale for one of the best cinematic stories of the 21stcentury.– Dave Trumbore
Funanis one of the most important animated films I’ve ever seen. I can safely say that you’ve probably never seen anything quite like it. From writer/directorDenis Do, making his feature film debut, comes a true-to-life story about the arrival of the Khmer Rouge regime in 1975 and how it upended the lives of a Cambodian family, just one among many. Suffering exile, separation from their family members, and their grueling new reality in the work camps, a young woman named Chou will risk everything to reunite her surviving family members, no matter the cost.
It’s a story that should belong solely to our past but its characters and conflicts are also recognizable in the context of modern, ongoing atrocities. The tale itself would be powerful enough simply as a history lesson about the evils carried out by the Khmer Rouge but it becomes even more meaningful thanks toDo’s personal connection to the story. He opts to focus on the effects that the regime has on his characters rather than glory in the violence of the many awful and barbaric practices the soldiers carry out.Funanis a prime example of how animation is not, and never really has been, “just for kids” while also showcasing its versatility as a storytelling medium for difficult subject matter. It’s also one of the best films of the year, hands down.– Dave Trumbore
The romantic comedy genre has thankfully been attempting a comeback over the last couple years, andLong Shotis a swell addition. In the vein ofThe American PresidentandDave, directorJonathan Levine’s (The Night Before) comedy follows the U.S. Secretary of State (Charlize Theron) reconnecting with an old friend (Seth Rogen) who she hires to help punch up her speeches. Romance and hilarity ensues. Theron and Rogen’s chemistry is genuinely charming, and the film actually offers up something thoughtful and substantial to say about how the current U.S. political climate has affected relationships amongst its citizens. Plus,Boys II Men! –Adam Chitwood
WithGet Out,Jordan Peeleannounced himself as a challenging and talented filmmaker to watch. With his second film,Us, Peele solidified himself as one of the most exciting talents working behind the camera today. Bigger, deeper, and more severe thanGet Out,Usis a story about class and how one’s upbringing and social status can affect one’s outlook on the world. There’s plenty for nature vs. nuture nerds to fawn over here, and Peele packs every frame with intent and symbolism—indeed, from a directorial standpointUsis a major step up fromGet Out, which itself was mighty impressive. But on top of all of this,Lupita Nyong’ogives two of the best performances of the year in her dual roles here, reminding us the Oscar winner has been underutilized in the time since her12 Years a Slavewin. I sincerely hope she doesn’t get forgotten come awards season. –Adam Chitwood
High Flying Bird
Steven Soderberghis no stranger to ambition, and his Netflix filmHigh Flying Bird—which was shot entirely on an iPhone—hones in on this theme both in front of and behind the camera to swell results. Taking place over the course of a single day, the film follows a sports agent (Andre Holland) who wheels and deals to try and relinquish a basketball lockdown. It’s a testament to the talent of both Soderbergh and screenwriterTarell Alvin McCraneythat you’re never distracted by the lack of specific NBA mentions or imagery, and indeed this character-focused drama propels from scene to scene with delightfully forward-thinking pacing and momentum. All hail Steven Soderbergh, a man seemingly incapable of making an uninteresting film. –Adam Chitwood
Always Be My Maybe
Netflix brought the romcom back in a big way with 2018’sSet It Up, and the streaming service’s 2019 effortAlways Be My Maybeis similarly charming and delightful. Co-written by and starringRandall ParkandAli Wong, the film follows a pair of teenaged best friends who have since drifted apart and are pushed together once more in adulthood, even though their lives have followed very different paths. Park and Wong are dynamite together, and the film takes time to breathe with some well-paced dramatic sequences. It’s also not lacking in scene-stealers, asMichelle Buteauis a hoot andKeanu Reevesonce again proves his talent knows no bounds. –Adam Chitwood
The Kid Who Would Be King
I like to imagine a future whereThe Kid Who Would Be Kingwill be a cult hit that savvy parents show their kids even though they missed it in theaters.Joe Cornish’s long-awaited follow-up toAttack the Blockis a wonderful spin on the legend of King Arthur where young Alex (Louis Ashbourne Serkis) must bring together his friends and enemies to defeat the forces of darkness led by Morgana (Rebecca Ferguson). It’s a story about leadership and honor in the face of prevailing cynicism and despair. It’s perfectly of its time yet harnesses a timeless quality that should inspire and delight future generations. –Matt Goldberg
Behold the new gold standard in footage restoration.Todd Douglas Miller’s ingenious documentary is comprised entirely of contemporary footage of the launch, reveling in a widely-documented event and then editing it perfectly with eye-popping restoration to make it look like the footage is both from 1969 and yet still pristine. Through skillful cutting and pacing,Apollo 11is as exhilarating as something likeFirst ManorApollo 13but with the benefit of all the footage being authentic. Don’t be surprised to see this as a serious contender for Best Documentary at the end of the year. –Matt Goldberg
Under the Silver Lake
Before seeingUnder the Silver Lake, I was worried this would be either too-L.A. (something locals would appreciate but too esoteric for the rest of us) or something likeSouthland Taleswhere the director’s reach surpassed his grasp. Thankfully, it’s neither despite being a very odd duck. The basic story is how a directionless 30-something (Andrew Garfieldat his scuzziest) starts to “investigate” the disappearance of his hot neighbor whom he barely knows. But the core ofUnder the Silver Lakeis a damning indictment into the world of weak men who feel entitled to the world despite contributing nothing and consuming the most disposable aspects of pop culture. It’s a weird, unwieldy movie, but writer-directorDavid Robert Mitchellhas a very particular target in mind, and he absolutely eviscerates it as long as you’re on the movie’s wavelength. –Matt Goldberg
Fast Color
For those who like their tales of superpowers grounded, you won’t do much better thanFast Color.Julia Hart’s thoughtful tale spans three generations as the conflicted Ruth (Gugu Mbatha-Raw) comes home to her mother (Lorraine Toussaint) and daughter (Saniyya Sidney), and while all three have the power to dissemble and reassemble matter, Ruth’s powers have become buried beneath guilt and shame. Set in a marvelously-realized world where it hasn’t rained in eight years,Fast Colorfeels both otherworldly and immediate with its harsh landscape symbolizing the fractured relationships between the characters. It’s a marvelous movie that would probably get a lot more attention if it was an adaptation of an existing character rather than an entirely new story. –Matt Goldberg
