The ink isn’t yet dry on the art that will frame the Great Recession. The few films that have been made around the defining event of the ‘00s each focus on a different subject; The Big Short shines a light on those who made out like bandits, The Wolf of Wall Street points the blame directly at its titular location, and Sorry to Bother You interrogates the human motivation behind greed. Hustlers, the newest addition to 2008 financial crisis’ wall of shame, is a street-level perspective of the working-class victims who could no longer afford to play it straight.
Writer-director James Gray follows up his criminally-underrated The Lost City of Z with a film that may just top it. Ad Astra sends Brad Pitt hurtling through space, interspersing peerless set pieces with character study, introspection, and societal commentary. No 2019 film has aspired to such awe-inspiring heights. No film in years has aspired to such heights and surpassed them.
With movie studios scrambling to produce (and re-produce) recognizable intellectual property, famed author Stephen King and his work are in high demand. Directors Kevin Kölsch and Dennis Widmyer were brought on to adapt Pet Sematary, a 1983 King novel of the same name. The novel’s second adaptation in 30 years, the studio should’ve followed the book’s choice wisdom: sometimes dead is better.
If aliens came to Earth demanding to see the art that best represents us as a species, I would advocate for The Shawshank Redemption as the single film that embodies everything it is to be human. 1994’s The Shawshank Redemption is a tale of hope and despair, purity and corruption, and, perhaps most of all, victory and defeat.
Pulp Fiction defined careers, a genre, and an era. With a plot that balanced three intertwining narratives more successfully than any film before or since, its praise is well warranted. Director Quentin Tarantino broke onto the film scene with 1992’s Reservoir Dogs, but Pulp Fiction, released two years later, got Hollywood’s attention like a shot of adrenaline to the heart.
In his 2013 directorial debut, writer-director James Ward Byrkit (Rango) delivered a science-fiction classic on a $50,000 budget. As Coherence will teach you, stranger things can happen.
First shared as a story on the radio show This American Life, The Farewell is the second feature-length film by writer-director Lulu Wang. The Farewell is a deeply personal, both cheerful and solemn film about identity, the immigrant experience, and the role of family.