Kevin Parks
10. “Invention” (Dir. Courtney Stephens)
A nifty, shifty fictional memoir, Courtney Stephens’ hybrid is a work of magic, carried by a commendable lead performance from Callie Hernandez and the better-than-fiction story of her father, the volatile and enigmatic Dr. J.
9. “Pavements” (Dir. Alex Ross Perry)
Another winner in the docu-fiction category, Alex Ross Perry’s loving fable is a living testimony to a legend, and a legend in itself. (Read our review).
8. “Is This Thing On?” (Dir. Bradley Cooper)
The “Kramer vs. Kramer” that our generation was due. Best melodramatic decoupling comedy since “Marriage Story” that confirms two truths: (1) divorce is funny and (2) Bradley Cooper, director, is no two-trick pony..
7. “The Voice of Hind Rajab” (Dir. Kaouther Ben Hania)
Hard to find a through line between my #10, #9 and #7, but Ben Hania’s daring, extraordinary blend of harrowing reality and a gut-wrenching artistic interpretation of what was seen and heard, was an unforgettable thumb on an open wound.
6. “No Other Choice” (Park Chan-wook)
Park’s brash visual flourishes decorate what’s ultimately a sad, universal story into an fulfilling, riotous send-up of the zero-sum, one-way corporate ladder. So much fun.
5. “After the Hunt” (Dir. Luca Guadagnino)
My favorite American movie, in a year when both Paul Thomas Anderson and Kelly Reichardt published new work? Yes, because Guadagnino’s nasty campus anti-thriller deserved better than the predictable discourse surrounding its supposed politics. It’s a movie, not a manifesto, and I cherished the arch performances (Andrew Garfield and Julia Roberts, in particular) and the bold, cinematic mood swings. (Read our review).
4. “It Was Just an Accident” (Dir. Jafar Panahi)
In this epic, frightening Palme D’or winner, Jafar Panahi confirms his status as—among other superlatives—perhaps the greatest closer in the game.
3. “Who By Fire” (Dir. Philippe Lesage)
Earned and made proper use out of a lengthy run time. The great outdoors and indoors, long, don’t-blink dinner scenes and insufferable drunk adults: loved it all! (Read our review).
2. “Sentimental Value” (Dir. Joachim Trier)
A staggering family drama that tactfully weaves in some big ideas about life and art, too. Beautiful to look at, and the sibling confessional at the end between Nora (Renata Reinsve, so good so consistently that we’re already taking her for granted) and Agnes (Inga Ibsdotter Lilleas, revelatory) is an easy entry into the tearjerking hall of fame.
1. “Sirǎt” (Dir. Oliver Laxe)
BLOW IT UP! Volcanic, horrifying and totally original. I can’t wait to see it again, and I’m also dreading it.
Honorable mentions:
- “Eric LaRue” (Dir. Michael Shannon)
- “Mr. Scorsese” (Dir. Rebecca Miller)
- “Seven Veils” (Dir. Atom Egoyan)
- “Weapons” (Dir. Zach Cregger)
