Based on the book “Erasure” by Percival Everett, American Fiction utilizes an ambitious narrative style to show a Black author named Monk combating the system of racial prejudice. Monk writes as a joke the most stereotypically Black novel ever written, which like in the climax of Mel Brooks’ The Producers, ends up a massive accidental success. Since Monk’s content lacks the Black stereotypes that bring White readers comfort, he’s mistreated by the publishing industry, which directly parallels America in the real world. This movie is careful to address how much White Americans promote mediocre, safe Black stories, then hypocritically don’t consider what the Black community believes which African American stories should be celebrated.
​
Besides the hilariously unapologetic honesty this film expresses about America’s racial standards, it’s also greatly personal in depicting the confrontation between siblings as they deal with death and Alzheimer’s. With its heart in the right place, this motion picture bashes on the same Academy of Motion Pictures that routinely awards White savior drivel like Green Book instead of promoting stories about the true Black experience. Thus, it’s quite awesome to see this introspective satirical drama still receive much Oscar glory by winning the award for Best Adapted Screenplay! Its landmark win shall mark the instance when more courageous films in the future will be rightfully awarded for how they give minority groups their overdue opportunity to tell their own stories.

Based on the novel by Alasdair Gray, Poor Things mixes up the Frankenstein story by turning the “monster” into an attractive young woman with the brain of her unborn baby surgically placed into her cranium. This role of Bella Baxter was certainly quite difficult on paper to portray, a character unlike any ever written before, and only somebody like Emma Stone could pull the role off perfectly. The filmmaking style is also unlike anything ever done before, with the whole first act being black-and-white, and everything after that exploding in repulsive color combinations. The colorful fisheye cinematography is meant to resemble Bella’s point-of-view as she explores the steampunk world, like how a small child sees everything for the very first time.
​
At the beginning of her journey, Bella prances around with stilted limbs and a limited vocabulary, always referring to herself in the third person like a robotic toddler. But as she gradually gains her independence, she walks more properly like a grown woman and stops referring to herself in the third person. So that means she starts as a woman trapped in a restrictive box designed by men’s ideals, but then teaches herself how to break out of that mold to become her own woman. It’s a weird story indeed, but it’s also a beautiful testament to how sustaining a child’s fascination with life will restore the capacity to stand up for oneself.

Everything Everywhere All at Once is a family drama disguised as a martial arts movie that utilizes its weird content to conduct a study about existentialism and generational trauma from the perspective of a broken Chinese-American family. Many alternate realities are depicted across this multiverse, and each one has a distinct color palette, set of lenses, use of grain, and aspect ratios… which sometimes change on the spot in a single shot. They’re all designed to imitate a specific cinematic genre and have their own standalone story with a beginning, middle, and end, which in turn complement the main story.

Symbolic imagery is utilized to hold everything together, such as the round mirrors to represent the fear of self, or the everything bagel to represent the black hole that the main character, Evelyn, fears her daughter is getting closer to. This movie also sets a higher bar for how all movies, big and small, should approach their practical stunts and practical effects, even using an animatronic raccoon that looks like it came from the 1980s. But best of all, this incomparable movie speaks sincerely about traditional Chinese values in a way that will help make Asian cultures more mainstream in America’s media—which it does in a fashion that guarantees tears from the audience over the wounded bond between a mother and daughter that they can relate to all too closely.

It made history as the first foreign language film to win the Oscar for Best Picture, and director Bong Joon-ho is a big reason why it deserves that honor. He illustrates the differences between the upper and lower classes through complex yet subtle filming techniques, such as by dividing two actors with a vertical line hidden in the set. Yet there’s more symbolic imagery: Water represents capitalism pushing the already poor further down the economic ladder while those already high up get to remain above the rising floods. The poor people are always looking down at things while the rich people never look down at anything, and to enhance that detail, the poor people behave in ways that are comparable to bugs.
​
Making the gears grind for the intense symbolic imagery required lots of preplanning and visual effects work, starting with the street of the poor neighborhood, which was built entirely from scratch inside a massive water tank. The house of the rich people was made up of the most expensive décor the set dressers could find while the exterior of that house was two separate sets combined digitally with the upper-level set on top of the lower-level set. The extreme expertise of how Parasite was concocted, as well as the moral grey in every single character, is evidence enough as to why this heavily entertaining art film deserves its title as the best movie of 2019.

There was no screenplay, everything was instead laid out on detailed storyboards, which fit director George Miller’s artistic vision that depended on visual details to offer worldbuilding exposition. As Miller crafted his reimagining of his 1970s/1980s film series, production grew gradually more insane, seeing how the crew relied on practical stunts in the Namibian desert with elaborate large vehicles moving at a hundred miles an hour. Stunt actors had to leap from vehicle to vehicle in the air, and the climax utilized these long swinging poles that served as extra transportation between the cars and trucks. It got immensely difficult and dangerous to film the more than 300 stunts between the 150 uniquely designed vehicles for this motion picture, but it paid off.
​
The action is unnaturally fast yet surprisingly fluid, the sound quality is earsplittingly loud yet crystal clear, and the views of the desert are every bit as spectacular and mesmerizing as a Renaissance painting. Every element chosen to make up this ambitious blockbuster is chosen with careful intentionality—the average person will be rewarded with multiple rewatches as new details will be spotted after every viewing that further illustrates this post-apocalyptic future where everyone’s been degraded to being mere things. So along with its pioneering new techniques in editing, sound design, and cinematography, Mad Max: Fury Road will continue to inspire other filmmakers on what “show don’t tell” really looks like.

While this famously underperformed at the box office, The Shawshank Redemption’s life on TV and video helped make it into the classic it’s known as today.  With its innovative use of cinematic spectacle that enhanced the story’s various complex morals, director Frank Darabont’s masterpiece presents a rich understanding of the rarely explored world of prison. Each of the stories and substories told within this overarching story about Andy ranges from suspenseful to heartbreaking, together encapsulating the most complete depiction of prison life in all of cinema.
​
It's all thanks to the production crew that made this relevant character study tick; filming took place in a real prison facility that had been previously shut down, which must have created plenty of challenges for the cinematographer when it came to maneuvering through the prison walls with wide high angles. The soundtrack works just as well in giving the movie’s melancholy tone, not just because of Thomas Newman’s score, but also because of the iconic scene where Andy plays opera tunes on the speakers to demonstrate the therapeutic power of music. These examples were among the many sequences that clearly had to be difficult to realize in both sound and image, yet they all worked perfectly. Its ending leaves the viewer with a realization that when prison becomes all one has ever known in life, the outside world no longer feels so welcoming. It raises the question: What is freedom anyway?

This shook the world with its brutally realistic portrayal of the Holocaust, one that took filmmaking techniques from documentaries, including a handheld camera during more chaotic scenes. The gorgeous monochrome cinematography further contributes to the sensation of watching real archive footage of the horrific events, while the long 3+ hour runtime runs smoothly with the masterful editing. It certainly helps in the film’s authenticity that director Steven Spielberg is of Jewish background, which naturally led to a sharper recreation of the setting. Other Holocaust survivors were also there on set, including one of the producers, who spent three years in several Nazi labor camps as a child.
​
The structure of this narrative is quite genius when promoting the true value of life: rather than a traditional story with a beginning, middle, and end, the stories of individual Jews at the concentration camps are used to tell the story of Oskar Schindler, who started off as a con artist intending to make money off of the war, but over time lets his mysterious character come out more clearly. While the cast does put on some pretty awful fake accents, and there are many historical inaccuracies (for instance, the real Oskar Schindler never even created this list of his), Schindler’s List is still a powerful, important story about the failure to act on injustice. Hard to believe that Spielberg made this while also managing post-production remotely for Jurassic Park!

R (DLSNV)
Drama/Historic
3 hr. 15 min.

Watch it to THINK.
Watch it to LEARN.
​Watch it to feel HAPPY, SAD, and AFRAID.

This surprise box office hit had a teeny-tiny budget of only $320,000, making it the most profitable independent film release ever at the time. Director John Carpenter skillfully staged the scares by recreating what he loved about scary carnival rides, with some touches of techniques introduced by Alfred Hitchcock for good measure. He particularly understood the key ingredient to making a villain so scary: never getting a good look at the attacker, which explains why Michael Myers continues scaring audiences to this day. Yet there’s another ingredient to his success as a villain: he’s not in faraway castles or mountains like Dracula or Frankenstein, he haunts an average American suburb.
​
John Carpenter knew how to utilize these components to churn up some solid screams, and complemented them with an intense musical score he wrote and performed himself. These efforts ended up giving birth to the slasher film, which in full honesty may just be a bad thing because of the painful genre cliches they started. Not to mention the sequels that erupted afterward paved the way for a groan-worthy franchise that, like Michael Myers himself, refuses to die. Even then, Halloween made the necessary push by enlightening the concept of the horror movie monster, which at the time hadn’t been done for a while. Yet more importantly, this defining feature film of the Halloween season opened the door for many independent filmmakers who needed the push to get noticed.

R (DLSNV)
Horror
1 hr. 31 min.

Watch it for FUN.
​Watch it to feel AFRAID.

Inspired by a real condition where people die while having a nightmare, A Nightmare on Elm Street helped define the slasher movie with its innovative use of surreal special effects. The clever spectacles all were done under the constraints of time and budget, yet still made tremendous use of their resources to send shivers down the audience’s spine. Two of the characters’ deaths were filmed inside a revolving set, and it made possible the horrific sight of blood cascading upward from a bed onto the ceiling. There are more visual tricks to explore the possibilities of a killer who can use any means possible to attack his victims in their nightmares by bending reality, be it by turning the stairs into goop or by chopping off his own fingers.
​
Yet none of this would have been nearly as impactful without the iconic design of Freddy Krueger, a villain whose appearance was inspired by a scary drunk man Wes Craven ran into as a kid. With his red and green striped sweater that’s meant to hurt the eye, and with his burnt skin made to resemble pepperoni pizza, Freddy Krueger has become one of the greatest horror villains ever. Wes Craven’s career-defining film right here may be just as flawed as any slasher movie, but it sure as heck set the gold standard for what any scary movie must do to make the audience feel a bit queasy!

R (DLSV)
Horror
1 hr. 31 min.

Watch it for FUN.
​Watch it to feel AFRAID.

Of all the slasher films that started their own endless franchises, Scream is perhaps the best of all of them. With its self-aware storytelling that cleverly mixes humor and terror, it leads to no surprise that the movie’s original title was going to be, "Scary Movie.” Its plot revolves around a bunch of teenagers who love scary movies and ultimately are forced to face the very scenarios from the genre they claim to know so much about, and on the way, every cliché of the slasher genre is addressed. In fact, the script is so self-aware that director Wes Craven even includes critical references to himself and the movies he’s directed!
​
Yet this film also works as an excellent showcase of generating fear, as established by the famous opening scene where Drew Barrymore’s character is the victim of a tense phone call. The rest of the cast was full of actors who were well-known on television until starring in this movie helped launch their careers on the big screen. But the real star of this genre-defining piece of entertainment is its chilling soundtrack, which kicks up the adrenaline as it turns the suburban setting into a massive house of horror. It’s hard to think of anyone who wouldn’t get the creeps from watching Wes Craven’s masterpiece, a movie that made future slasher films lean more toward the real world instead of the supernatural.

R (DLSV)
Horror/Thriller
1 hr. 51 min.

Watch it for FUN.
Watch it to feel HAPPY.
​Watch it to feel AFRAID.