I think that when the smoke clears, director Todd Phillips’ “Joker” is going to be a lesson to Hollywood that—people want dark, violent comic book movies… which shouldn’t be what’s learned, if you ask me. “Joker” lends credence to the long held opinion that comic books are art and not just pop fodder for adults that refuse to grow up. Comic book movies, much like comic books, can be compelling art, and “Joker” proves that, even in spite of its inherent flaws. “Joker” is a shockingly good movie, even though it really wants to be a Scorsese film.
As with every single year, we try to cover as much indies as possible, but we just never have the time to see them all, sadly. As with previous years, this top five comprises five of the best indies I saw all year. It’s not to say the films that didn’t make the list are terrible films, or that the films the other writers on Cinema Crazed enjoyed aren’t good, either. This is merely my own subjective list of five independent film shorts I highly recommend to you that I saw this year. It’s good to remember this is opinion, and not gospel.
If you want to see what films the Cinema Crazed collective consider A+ Indies, visit the link included!
Also, be sure to let us know some of the best indie films you saw all year!
At the end of the day you can’t even call “Black Christmas” a remake. It’s not even a re-imagining when you get down to it. At first it bears a slight resemblance to the original film’s themes, but once it shows all of its cards, it’s just aping the title for brand familiarity. And it fails, big time. “Black Christmas” has good intentions with a very relevant message, but it forgets story, suspense, and inherent terror, in exchange for a silly, preachy, and convoluted premise.
In 1969, America was forever rocked by the vicious Tate-LaBianca murders which saw the Charles Manson family convicted for murdering five people including up and coming actress Sharon Tate. Decades later, Hollywood and many artists are still considerably fascinated not just by Charles Manson, but the Manson Family. On the anniversary of Sharon Tate’s murder, a lot of Hollywood jumped on the band wagon to find a way to highlight or explore the events leading up to her terrible murder. Except for Quentin Tarantino. “Once Upon a Time in Hollywood” has managed to become yet another Tarantino masterpiece that has sparked endless discussion and arguments.
Despite the fact that Tarantino stages another alternate reality where the bad guys endured horrible deaths, “Once Upon a Time…” still managed to get approval from Sharon Tate’s family. And that’s probably because, refreshingly, Tarantino takes the piss out of Charles Manson and the Manson Family.
Quentin Tarantino has always been a connoisseur of Hollywood and the concept of filmmaking and storytelling. There’s a certain peculiar magic that comes with creating a narrative and how it allows the creator to do whatever they want. With all of Tarantino’s movies, he’s paid tribute to ideas like Chopsocky cinema, gangster pictures, blaxploitation, and with “Once Upon a Time… in Hollywood” he pays tribute to Hollywood and the one and only Sharon Tate.
At this point I’m just glad that the new “It” adaptation didn’t get split in to a trilogy. “It Chapter One” was great just as it was, I thought “Chapter Two” needed to be the book end. Thankfully it truly is the finale I was hoping for as a poignant, complex, and heartbreaking film about the horrors of the past, and trying to prevent the nightmares of our childhood from deciding who we are and can become as adults. Once “The Losers Club” is forced back in to Derry Maine, they have no choice but to confront their own personal monsters before fighting the physical manifestation of their demons known as Pennywise.
Director Flavio Alves’ art house drama is one of the most important indie films released in 2019. It’s a movie about the LGBTQ community and how much battles are left within the community. Especially in a world where it’s become even more dangerous than ever for the transgender community to simply function. Although imperfect, “The Garden Left Behind” is an award winning drama that is about as relevant and engaging a statement about the trans community as Sean Baker’s 2015 film “Tangerine.”
If anything, Deon Taylor’s crime thriller is a perfectly fine if somewhat overlong and derivative thriller that skates by mainly because of its charismatic cast including Mike Colter, Tyrese Gibson and Frank Grillo, respectively. It’s a shame because in a world where we’re discussing body cams, police corruption, and inner city crime, “Black and Blue” has the golden opportunity to tackle the issue head on. Instead it hits it briefly and doesn’t do much with the topic, instead building a thriller that feels oddly derivative of Antoine Fuqua’s “Training Day.”