What are your most anticipated films of 2019?

[Dukefrukem]

Discuss

2018
2017
2016
2015
2014
2013
2012
2011
2010
2009
2008



1.The Lion King 2019
2.Once Upon a Time in Hollywood 2019
3.Captain Marvel 2019
4.Untitled Avengers Movie 2019
5.Spider-Man: Far from Home 2019
6.Us 2019
7.All You Need Is Love 2019
8.Untitled Danny Boyle/Richard Curtis film
9.Terminator 2019
10.Hellboy 2019
11.High Life 2018
12.Glass 2019
13.Shazam! 2019
14.The Wages of Fear 2019
15.Ford v. Ferrari
16.Pet Sematary 2019
17.It: Chapter 2 2019
18.The Woman in the Window
19.Cold Pursuit 2019
20.Godzilla: King of the Monsters 2019

----------------------------------Didn't make the list
21. Star Wars: Episode IX
22. The New Mutants
23. Joker

[Ivan Drago]

1. The Irishman
2. Joker
3. The Beach Bum
4. Uncut Gems
5. John Wick: Chapter 3
6. Once Upon A Time In Hollywood
7. Knives Out
8. The LEGO Movie 2: The Second Part
9. It: Chapter Two
10. Ad Astra
----------------------------
11. Antlers
12. Us
13. Blood on the Tracks
14. Godzilla: King of the Monsters
15. Hobbs & Shaw

[baby doll]

I'm still working on 2008-17.

2008:
Ballast (Lance Hammer)
El can dels ocells (Albert Serra)
Helsinki, Forver (Peter von Bagh)
Hipsters (Valeriy Todorovsky)
Lake Tahoe (Fernando Eimbcke)
Me and Orson Welles (Richard Linklater)
Mock Up on Mu (Craig Baldwin)
Shirin (Abbas Kiarostami)
Sita Sings the Blues (Nina Paley)
Tokyo Sonata (Kiyoshi Kurosawa)
La Vie moderne (Raymond Depardon)

2009:
About Elly (Asghar Farhadi)
Independencia (Raya Martin)
Let Each One Go Where He May (Ben Russell)
Le Père de mes enfants (Mia Hansen-Løve)
36 vues du Pic Saint-Loup (Jacques Rivette)
The White Meadows (Mohammad Rasoulof)

2010:
Aurora (Cristi Puiu)
The Autobiography of Nicolae Ceausescu (Andrei Ujica)
The City Below (Christoph Hochhäusler)
Carlos (Olivier Assayas) [330 minute version]
Get Out of the Cat (Thom Andersen)
Mysteries of Lisbon (Raùl Ruiz) [either version]
La Princesse de Montpensier (Bertrand Tavernier)
Promises Written in Water (Vincent Gallo)
Silent Souls (Aleksai Fedorchenko)
Ruhr (James Benning)
These Hammers Don't Hurt Us (Michael Robinson)

2011:
L'Apollonide (Souvenirs de la maison close) (Bertrand Bonnello)
Atmen (Karl Markovics)
Bonsái (Cristián Jiménez)
The Day He Arrives (Hong Sang-soo)
La Folie Almayer (Chantal Akerman)
Goodbye (Mohammad Rasoulof)
Impardonnables (André Téchiné)
This Is Not a Film (Mojtaba Mirtahmasb / Jafar Panahi)
Un amour de jeunesse (Mia Hansen-Løve)

2012:
Après mai (Olivier Assayas)
L'Enfant en haut (Ursula Meier)
Frances Ha (Noah Baumbach)
In Another Country (Hong Sang-soo)
The Last Time I Saw Macao (João Pedro Rodrigues / João Rui Guerra de Mata)
Leviathan (Lucien Castaing-Taylor / Véréna Paravel)
Like Someone in Love (Abbas Kiarostami)
Museum Hours (Jem Cohen)
La Pirouge (Moussa Touré)
Student (Darezhan Omirbayev)
Vous n'avez encore rien vu (Alain Resnais)
When Night Falls (Ying Liang)

2013:
Camille Claudel 1915 (Bruno Dumont)
Closed Curtain (Jafar Panahi / Kambuzia Partovi)
Le Dernier des injustes (Claude Lanzmann)
Hard to Be a God (Aleksei German)
Heli (Amat Escalante)
La Jealousie (Philippe Garrel)
Le Passé (Asghar Farhadi)
Norte, the End of History (Lav Diaz)
The Strange Little Cat (Ramon Zürcher)
Stray Dogs (Tsai Ming-liang)
Upstream Color (Shane Carruth)

2014:
Aimer, boire et chanter (Alain Resnais)
Amour fou (Jessica Hausner)
Beautiful Youth (Jaime Rosales)
Deux jours, une nuit (Jean-Pierre and Luc Dardenne)
L'Homme qu'on amait trop (André Téchiné)
Horse Money (Pedro Costa)
Jauja (Lisandro Alonso)
Leviathan (Andrey Zvyagintsev)
Mr. Turner (Mike Leigh)
The Owners (Adilkhan Yerzhanov)
P'tit Quinquin (Bruno Dumont)
Phoenix (Christian Petzold)
A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson)
La Sapienza (Eugène Green)
Timbuktu (Abderrahmane Sissako)
While We're Young (Noah Baumbach)

2015:
The Arabian Nights (Miguel Gomes)
The Assassin (Hou Hsiao-hsien)
Carol (Todd Haynes)
Chi-Raq (Spike Lee)
I, Dalio (or the Rules of the Game) (Mark Rappaport)
Knight of Cups (Terrence Malick)
L'Ombre des femmes (Philippe Garrel)
Queen of Earth (Alex Ross Perry)
Right Now, Wrong Then (Hong Sang-soo)
Sunset Song (Terence Davies)

2016:
Elle (Paul Verhoeven)
La Fille inconnu (Jean-Pierre and Luc Dardenne)
A Lullaby to the Sorrowful Mystery (Lav Diaz)
Ma loute (Bruno Dumont)
Nocturama (Bertrand Bonello)
Paterson (Jim Jarmusch)
A Quiet Passion (Terence Davies)
Rester vertical (Alain Guiraudie)
Sieranevada (Cristi Puiu)
The Student (Kirill Sebrennikov)

2017:
Did You Wonder Who Fired the Gun? (Travis Wilkerson)
Foxtrot (Samuel Maoz)
The Green Fog (Guy Maddin / Evan and Galen Johnson)
The Meyerowitz Stores (New and Selected) (Noah Baumbach)
Milla (Valérie Massadian)
Nos années folles (André Téchiné)
On the Beach at Night Alone (Hong Sangsoo)
Streetscapes [Dialogue] (Heinz Emigholz)
24 Frames (Abbas Kiarostami)
Un beau soleil intérieur (Claire Denis)
Visages villages (Agnès Varda / JR)

[Ezee E]

I need to dig into this.

[Ezee E]

DUH, I’ll see, skip to the interesting stuff:
-Star Wars: Episode X
-The Irishman (Martin Scorsese)
-Once Upon a Time in Hollywood (QT)

DAY 1 MUSTS:
-Gemini Man (Ang Lee) - Will Smith as over-the-hill hitman facing off against a younger clone
-Woman in th Window (Joe Wright)
-Us (Jordan Peele’s social thriller)
-Knives Out (Rian Johnson)
-Ad Astra (James Gray does space)
-Velvet Buzzsaw (James Gilroy horror about LA art world)
-Dolemite is My Name (Craig Brewer) w/Eddie Murphy and Wesley Snipes

LIKELY WILL SEE UNLESS TERRIBLE REVIEWS:
-Lion King
-Joker
-Ford VS. Ferrari (James Mangold) - Bale vs. Damon (?) and Jon Bernthal
-Wendy (Ben Zeitlin)
-Fonzo (Josh Trank) - Tom Hardy as Capone

CURIOUS:
-Pale Blue Dot (Noah Hawley) - Natalie Portman as an astronaut that loses touch with reality
-Extremely Wicked, Shockingly Evil and Wild (Ted Bundy from gf’s perspective)
-Light of my Life (Casey Affleck)
-Far Bright Star (Casey Affleck) - Cavalryman have to survive in the desert
-Music (Sia)
-Untitled Miranda July project
-The Nightingale (Jennifer Kent)

[Dukefrukem]

I feel like The Irishman was due to come out every year for the last 3 years.

[Ezee E]

I feel like The Irishman was due to come out every year for the last 3 years.

I think it's only been pushed back once, and even then, it was mostly critics thinking it was going to be released winter of this year.

[Spinal]

I just went through all the 2019 films on IMDb and Wikipedia. I found exactly 2 that I would say actually have me somewhat excited: Us and Once Upon a Time in Hollywood. I can throw in Climax, which is essentially a 2019 film for my purposes. I'm interested in The Beach Bum, although McConaughey dampens my anticipation somewhat. I'm also morbidly curious about Cats, although I don't expect it to be any good. I do not have interest in anything to do with superheros, horror reboots, Disney sequels/remakes or Star Wars.

[transmogrifier]

I do not have interest in anything to do with superheros, horror reboots, Disney sequels/remakes or Star Wars.

No Country for Discerning Men.

Current big-budget film-making is depressing.

[Dukefrukem]

I feel bad for you guys.

[Irish]

I do not have interest in anything to do with superheros, horror reboots, Disney sequels/remakes or Star Wars.

I watched mainstream films for the water cooler conversations but man ... these days it's exhausting. I see stuff like "Venom" and "Predator" floating around and I just do not give a shit.

Anyway, on a more positive note: The best movies I've seen this year were either (a) foreign or (b) indie with little exposure. I've found https://www.justwatch.com to be a godsend in terms of discoverability.

[Dukefrukem]

Justwatch.com combined with icheckmovies is the way to live.

[transmogrifier]

I watched mainstream films for the water cooler conversations....

That's pretty much all I watch them for (or for Kiwi boys like Waititi making good).

Just watched the new Captain Marvel trailer, and it looks so generic. Basically, I think Infinity War 2 is my last Marvel, unless Waititi comes back or someone super interesting directs one.

[Watashi]

*shrug*

I still enjoy genre filmmaking. I will still check out superhero films because a) I grew up on comics and b) to my favorite heroes adapted to a big screen. I think films like Into the Spider-Verse and Black Panther is keeping the genre fresh with interesting voices without feeling like recycling material (Chloe Zhao is directing a Marvel movie!) I don't care about the Disney remakes unless they are done in an interesting way and not shot-for-shot (see: Pete's Dragon). Blockbuster filmmaking hardly land on my best-of list, but they are harmless and independent and foreign films are still thriving so it's not like they are being drowned out of multiplexes.

[baby doll]

I watched mainstream films for the water cooler conversations but man ... these days it's exhausting. I see stuff like "Venom" and "Predator" floating around and I just do not give a shit.

I'd rather not have conversations with people than have to sit through films I have no interest in seeing. Then again, I rarely have the time these days to watch the films I do want to see.

Regarding the current state of mainstream cinema, I don't think we need to commit ourselves in the name of pluralism to the notion that there must be great Hollywood films being made today, as good in their way as the best films of the studio era. Rather, I think we should seriously consider the possibility that it's virtually impossible to make a genuinely great film for 100 million dollars, that even the most accomplished contemporary mainstream directors (Wes Anderson, David Fincher, David O. Russell, et al.) are operating at a far lower level of achievement, both in terms of style and storytelling, than the great Hollywood filmmakers of the '30s, '40s, and '50s (Ford, Hawks, Hitchcock, Lang, Lubitsch, McCarey, Ophüls, Preminger, Siodmak, Sirk, Sturges, and Wilder to name only the first dozen names that spring to mind), and that mainstream audiences are much less sophisticated today than they were in earlier decades. Just because something sounds elitist doesn't mean it's not true.

[Spinal]

I feel bad for you guys.

I always find plenty to enjoy, but I rarely know what it's going to be months in advance. It's fun to be surprised. And, you know, there's always books.

[Watashi]

I'd rather not have conversations with people than have to sit through films I have no interest in seeing. Then again, I rarely have the time these days to watch the films I do want to see.

Regarding the current state of mainstream cinema, I don't think we need to commit ourselves in the name of pluralism to the notion that there must be great Hollywood films being made today, as good in their way as the best films of the studio era. Rather, I think we should seriously consider the possibility that it's virtually impossible to make a genuinely great film for 100 million dollars, that even the most accomplished contemporary mainstream directors (Wes Anderson, David Fincher, David O. Russell, et al.) are operating at a far lower level of achievement, both in terms of style and storytelling, than the great Hollywood filmmakers of the '30s, '40s, and '50s (Ford, Hawks, Hitchcock, Lang, Lubitsch, McCarey, Ophüls, Preminger, Siodmak, Sirk, Sturges, and Wilder to name only the first dozen names that spring to mind), and that mainstream audiences are much less sophisticated today than they were in earlier decades. Just because something sounds elitist doesn't mean it's not true.

I guarantee if you gave 100 million dollars to Hitchcock or Wilder, they would take it and still make a great movie.

[baby doll]

I guarantee if you gave 100 million dollars to Hitchcock or Wilder, they would take it and still make a great movie.

I believe Wilder's biggest budget was for The Private Life of Sherlock Holmes (10 million), which is not one of his better pictures. As a film's budget increases, studio interference tends to multiply exponentially.

[Spinal]

Side note: this led me to investigate how many foreign language films have been made with a budget of $100 million.

The answer is three. Before 2018, the answer was one.

https://en.wikipedia.org/wiki/List_o...language_films

[Watashi]

I can't believe The Tale of Princess Kaguya costs almost 50 million dollars.

[Watashi]

I believe Wilder's biggest budget was for The Private Life of Sherlock Holmes (10 million), which is not one of his better pictures. As a film's budget increases, studio interference tends to multiply exponentially.

Unless you're James Cameron.

[Spinal]

I'm wondering if those Asterix movies are any good. Now there's a comic book adaptation I'd be interested in.

[Irish]

mainstream audiences are much less sophisticated today than they were in earlier decades.

Glance at a bestseller list or a box office report from any given year and you'll see that audiences were just as dumb then as they are now.

Let's take top grossers from 1972, to cherry pick one year as an example: https://en.wikipedia.org/wiki/1972_i...ing_films_(U.S.)

Note that the second film on the list is "The Poseidon Adventure" and the fourth film on the list is literally porn. (And for every "Last Tango" that tops its week or its month, there's always a "Daughters of Satan" following right behind.)

There are more shitty Westerns, teen flicks, and titty films in history than anything else, and those "sophisticated" audiences of yesteryear loved it all.

[Ivan Drago]

Glance at a bestseller list or a box office report from any given year and you'll see that audiences were just as dumb then as they are now.

Let's take top grossers from 1972, to cherry pick one year as an example: https://en.wikipedia.org/wiki/1972_i...ing_films_(U.S.)

Note that the second film on the list is "The Poseidon Adventure" and the fourth film on the list is literally porn. (And for every "Last Tango" that tops its week or its month, there's always a "Daughters of Satan" following right behind.)

There are more shitty Westerns, teen flicks, and titty films in history than anything else, and those "sophisticated" audiences of yesteryear loved it all.

Huh. How about that.

Sidebar: When I read the line, '...and the fourth is literally porn', I legit thought it was Emmanuelle before I clicked the link. There had to be a reason there were so many sequels of that back then.

[Spinal]

I'll take the titty films over Toy Story 4 ... he said, surprising nobody.