Today's two songs are Take Time and Kindergarten Graduation (Swell Version).. Take Time was written and recorded in 2015 but never released. Covering the hottest movie and TV topics that fans want. Quick View. May 3, 2019. Released months after the finale aired, Steven Universe: The Movie, a big, boisterous feature-length musical, effectively restarted the series, with Steven Universe Future, a miniseries fashioned as an epilogue to the main story, following closely behind. Commercial animation, especially animation aired squarely at children, is rarely this compassionately concerned with feelings. Directed by Dylan Brown. Independent writer Jo (Saoirse Ronan); conservative actress Meg (Emma Watson); prim painter Amy (Florence Pugh); and unwell pianist Beth (Eliza Scanlen). Gaspar Noé’s cinema routinely traces the line from harmony to chaos, and that’s once again true in Climax, the inspired-by-real-events tale of a dance party descending into hellish madness. 1 – 4 of 4 movies. This fourth entry in the popular franchise (and the first in ten years) wound up being the most mature, formally adventurous, gorgeously animated and emotionally complex entry in the entire franchise and perhaps the greatest sequel Pixar has ever produced. The story of an amputated hand that, following an accident (the exact details of which are saved until a big reveal towards the end), attempts to reunite with his lost body (belonging to a sweet, lovelorn Moroccan immigrant). Which – believe it or not – isn’t the final twist in One Cut of the Dead, a rollicking comedy that keeps viewers on their toes by constantly divulging new layers of reality. God and the Devil are at war in rural Louisiana in Burning Cane, and the former doesn’t appear to be faring too well. Klaus, his directorial debut, features all the hallmarks of his career thus far, including wonderfully designed characters and a storyline that mixes the sour and sweet in all sorts of delicious ways. 1 (current) of 1; 2019 . Pennywise the Dancing Clown (Bill Skarsgård), his rough-around-the-edges driver Ken Miles (Christian Bale), goes back to the 1969 Tinseltown of his dreams with, including the election and assassination of JFK, Best Movies In Theaters 2021: New Movie Releases This Month, Netflix New Releases 2021: What To Watch on Netflix Now, The Top TV Shows Coming Out in 2019 (So Far), 20 Best Songs and the Biggest Music Hits of 2019, The Best Romantic Movies of 2019 (So Far), The Best New Movies to See in 2020 (So Far), All the Best Netflix Movies and Shows Released in 2019. It’s been decades since Murphy has been this hilariously energized, his giant smile and brash talk elevating this underdog-makes-good effort from Craig Brewer (Hustle & Flow), which traces Moore’s transformative creation of both his famous alter ego, as well as the family of friends and collaborators who helped him realize his stage and screen dreams. Malick’s tale couldn’t be timelier, nor lovelier, as his poetic aesthetics —defined by swirling, sweeping, intimate-and-epic handheld cinematography, James Newton Howard’s soaring orchestral score, and hushed internal-monologue narration—impart a sense of the alternately harmonious and dissonant relationship between the material and the celestial. The end is here, at least for the cinematic year, which has gifted us with a bounty of audacious dramas, documentaries, comedies, thrillers and action-adventures. Its rah-rah renegade spirit is as robust as its racing footage, often shot from the driver’s inside-the-car POV. “I hate autofiction,” says the elderly mother of filmmaker Salvador Mallo (Antonio Banderas), a sly nod to the rooted-in-reality nature of writer/director Pedro Almodóvar’s somber, yet joyfully cathartic, latest. That imagery boasts breathtaking scale, conveying the literal and figurative enormity of everything involved with the Apollo 11 – making it ideally suited for IMAX. In the “nice” town of Centerville, chief Cliff (Bill Murray) and officer Ronnie (Adam Driver) are forced to contend with a zombie outbreak caused by…well, maybe it’s the polar fracking that’s knocked the Earth off its axis, or the MAGA-type insanity peddled by local farmer Frank (Steve Buscemi), or simply good ol’ fashioned American materialism. In this saga about the self-destructiveness of war, the kids aren’t alright. The first Frozen was a true phenomenon, capturing the zeitgeist so completely it was impossible to escape. Eggers eventually drowns his material in slithering sexualized imagery of a crazed sort, and caps things off in a manner that’s all the more cautionary-tale haunting for remaining so unforgettably oblique. From there, things go from bad to worse, with the emergence of a new villain Spinel (Sarah Stiles), who is animated in the "rubber hose" style of a character from 1930s animation, and a host of incredibly catchy songs written by Sugar and performed by pop stars like Chance the Rapper and Estelle. A trip to the gators’ egg-laying nursery is a particular highlight, although singling out one of the film’s showstoppers seems almost unfair. In the Austrian Alps circa the 15th century, young Albrun (Celina Peter) tends to her mother (Claudia Martini), a supposed witch, in their remote log cabin. The films most worth watching in the genre that ignites your imagination. And, it should be noted, I haven't gotten a chance to see Weathering With You yet, although I am, of course, dying to. Dark, demonic power courses through Hagazussa, a legitimately evil folk story of inheritance, corruption and damnation. His is a conservative celebration of the old at the very moment that the new took over (not to mention a wish for a fusion of the two), and an air of wistfulness – and desire to fight obsolescence – permeates the action. Fertility and desolation, creation and destruction, isolation and togetherness all intermingle in hypnotic fashion in High Life, Claire Denis’ sci-fi reverie. The story of two friends who, like their hometown, are in a state of uneasy transition, The Last Black Man in San Francisco affords narrative and aesthetic surprises around every corner. There are another five installments due sometime in the not-too-distant future. They can't come quickly enough. Director Julia Hart’s sophomore feature (co-written with Jordan Horowitz) is an unconventional superhero saga about Ruth (Gugu Mbatha-Raw), who in a near future decimated by lack of rain, flees government agent Bill (Christopher Denham) while trying to control her extraordinary abilities, which manifest themselves as seismic seizures. Growing old isn’t easy for Gloria Bell (Julianne Moore), the single heroine of Sebastián Lelio’s outstanding English-language remake of his 2013 Chilean drama. Kaili Blues director Bi Gan concludes his sophomore feature with a 56-minute single-take sequence shot in 3D, his camera trailing alongside (and above, and behind) his protagonist, Luo Hongwu (Huang Jue), as he navigates a rural dreamscape that he’s travelled to while sitting in a movie theater. Aided by unnervingly stoic, expressive turns from his leads, Alverson dramatizes this off-kilter madness via compositions of figures trapped in cramped, confining architectural spaces, set to ominous audio tones and blowing wind. With long hair and a fanny pack permanently affixed around his waist, McConaughey is a magisterial stoner hedonist, and if his rollicking escapades aren’t enough to deliver a potent contact high, Korine and cinematographer Benoît Debie’s rapturously colorful portrait of Florida’s posh and downtrodden milieus more than do the delirious trick. Upon release, Qiao strives to acclimate herself to a modernizing world that doesn’t care about the collateral damage left in progress’ wake. Their confined setting is a veritable labyrinth that –as with CGI-ified imagery of storm-ravaged communities – director Alexandre Aja imbues with underlying allegorical heft. Alongside their doting mother (Laura Dern), unpleasant rich aunt (Meryl Streep) and dreamboat neighbor Laurie (Timothée Chalamet), the siblings attempt to make their way in a world where, per Amy and Jo, female sovereignty is only achieved with money, and marriage is both an economic transaction and a bond forged by love. The set pieces on this sucker are rollicking good times, bursting with imagination and visual clarity. Which is exactly what we’ve done here, in the final installment of our rundown of the Best Films of 2019. ET ... 2019, and has been updated. standouts. A trifurcated tale split between the hand’s journey, Naoufel’s pre-accident life as a pizza delivery boy, and his early adolescence, Clapin’s two-dimensional gem is an arresting aesthetic experience, its daring visuals married to a soundscape of buzzing, barking and screeching that lends the action an immersive immediacy. ... All Actors Authors Books Leaders Movies Musicians Speakers Sports TV Shows. The first release to emerge from the Obamas’ production deal with Netflix, Julia Reichert and Steve Bognar’s eye-opening documentary begins on a high, as American and Chinese workers show equal enthusiasm for the new venture, which promises to bring opportunity (and, hopefully, prosperity) to a community hit hard by a prior GM plant’s closing. Brought to life by Pitt with a wellspring of bubbling-beneath-the-surface pain, yearning and hope, Roy is a man whose steady pulse rate is emblematic of his sorrowful, walled-off remoteness. Best-Reviewed Movies by Genre 2019 Best Movies Off the Radar 2019 ... due to the fact that your stories can be filled with endless imagination. Arriving in Marseilles, he befriends the African son (Lilien Batman) and wife (Maryam Zaree) of a former comrade. There are themes of maturity and understanding (on the human side of things) and an intricate time travel plot and a cameo by Bruce Willis (on the LEGO side). The stories we tell are relatable to a broad and varied audience, and are designed to inspire in a way that only film can. The fact that many are still referring to the movie as "live action" is as baffling as it is factually incorrect; this new Lion King was hand animated by a team of talented artists, just like the original 1994 classic. Thankfully, original directors Chris Buck and Jennifer Lee make sure we know that what really matters is the emotional arc of our favorite characters and pushing the storytelling from the land of fairy tale into something grander and more mythic, while also straining the limits of what the technology can accomplish, oftentimes blurring the line between backgrounds, effects, and character animation. (How Disney hasn't released something that looks like this is beyond me.) Led by bravura turns from its leads (Pesci quiet and menacing; De Niro stoic and empty; Pacino fiery and charismatic), it’s an epic about American corruption and underworld dishonor. The Oscar season may be just kicking into high gear, but at Esquire, we’re ready to crown the year’s 50 (!) The Showrunner and Actor on Why Season 1 Was the Right Time to Reveal Her Identity. And then, it becomes a story about how those artists are in fact overrun by a real zombie threat. Revelation, resurrection, abandonment and mourning all factor into her haunting story. Every product was carefully curated by an Esquire editor. Peter Strickland’s fondness for ‘70s and ‘80s European genre cinema continues unabated with In Fabric, the amusingly menacing tale of a red dress possessed with unholy power. No clear-cut answers await those who make it to the end of this alluring voyage, only a mood of enigmatic ennui, bursts of sexualized violence and hunger (the latter coming via Binoche’s mind-bending visit to a room known as the “f--k box”), a superbly cagey Pattinson turn, and a finale of cautious optimism. In the near future, Major Roy McBride (Brad Pitt) is sent on a top-secret mission to Neptune, where his commanders believe his renowned father Clifford (Tommy Lee Jones) – missing for decades on a quest to find intelligent E.T. The movie is an undeniable technical accomplishment, for sure, but should be heralded for what it is: one of 2019's most successful animated films. Director Josh Cooley wasn't happy with repeating what worked about the previous films, instead pushing this installment into uncharted territory, exploring both the existential quandary of the birth of a toy (with Tony Hale's frantic, lovable Forky) and what happens when a toy gets "lost." Search the world's information, including webpages, images, videos and more. At nearly four hours, the film imparts an overpowering sense of its characters’ despair, and the misfortune that befalls them whether they remain alone or try to engage with others – a despondency only amplified by its empathy. Awash in talk about movies and moviemaking, Hogg’s feature is elevated by Byrne’s star-making turn as a young woman caught between genuine love, her recognition that her relationship is perhaps doomed to fail, and her desire to find her voice – personally and artistically – on her own. Beginning, portentously, with interviews seen on a television set surrounded by the director’s favorite VHS horror films, the French auteur’s latest is arguably his least provocative to date. From start to finish, Crawl is the sort of edge-of-your-seat, cringing-with-delight thriller that Hollywood rarely makes these days. Employing expansive and boxy aspect ratios to denote different time periods, and embellishing his action with pop songs (including the theme from John Woo’s “The Killer”), Jia dramatizes the romance between gangster Bin (Liao Fan) and girlfriend Qiao (Jia’s wife and favorite leading lady, Zhao Tao), which abruptly ends after the latter is imprisoned for using a firearm to save her beau during an attack. October 4, 2019. Here are 27 quotes about imagination to help you reshape reality. There are codes within codes within codes in Under the Silver Lake, David Robert Mitchell’s deliriously shambolic neo-noir about stoner sleuth Sam (Andrew Garfield, never better) traversing a Lynch-ian L.A. landscape in search of a mysterious missing beauty (Riley Keough). With a light tough that allows for instances of escapist lyricism (none better than recurring shots of Gloria spinning amidst swirling colors), Lelio fashions a tender, incisive, heartbreaking ode to the myriad complications of adulthood, where efforts to move forward are burdened by regrets, entanglements and longing for connection. Vs. The go-to source for comic book and superhero movie fans. A Dog's Journey. Teen Titans has reached a level of sublime goofiness that few animated features ever achieve. Regardless, it’s still an escalating freak-out scored to thumping electronica and populated by a raft of potential monsters. Those decisions left the third film largely adrift, story-wise, and everything, from its ace cast (what was Cate Blanchett doing, exactly?) Co-written by Amelie screenwriter Guillaume Laurant (and based on his novel Happy Hand), the movie is gently absurd, occasionally quite surreal, and often deeply philosophical, with co-writer/director Jérémy Clapin wringing an almost uncomfortable amount of suspense out of the hand doing pretty much anything. There’s plenty of shrieking horror to be found here, as well as droll comedy, as the writer/director never loses sight of the inherent humor of his out-there conceit. Indoctrinated from a young age by his surrogate-parent gang leaders (Bill Camp and Vera Farmiga), Widner preaches xenophobia and division until he meets single mother Julie (Danielle Macdonald). At a remote late-18th century manor house, Marianna (Noémie Merlant) is commissioned by a countess (Valeria Golino) to paint her daughter Héloïse (Adèle Haenel), recently returned from a convent, engaged against her will to be married, and already defiant enough to have rejected one painter. 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