The Farewell is one of the best films of 2019. Heck, it might even be one of the best of the entire decade.

I do hope Toy Story 4 is the last of the series, if only because the bow it puts on Woody’s four-film expedition is tied with such loving perfection I have trouble imagining the filmmakers could ever do better than what they miraculously accomplish here.

Booksmart is one of the best movies of 2019.

Sunset is a daring, thought-provoking motion picture that overflows in disturbing resonance, Nemes drawing parallels between the personal saga of a woman looking for answers to questions she didn’t even initially know, the birth of WWI and the groundwork for the fascist resurgence we’re seeing in the United States and several European countries right this very second here in the 21st century over a hundred years after this story is set.

Not going to mince words: I’m in love with idiosyncratic director Yorgos Lanthimos’ mind-bending historical drama-comedy-thriller-satire-political commentary oddity The Favourite.

Roma is a feast. It is a feast for the eyes. It is a feast for the senses. Most of all, writer/director Alfonso Cuarón’s latest is a feast for the soul, this meditative marvel of memory, regret, friendship, family, history and love a majestic treasure trove of emotion that is stunning in its empathetically human largess.

The Guilty asks tough questions about right and wrong that straddle the line between good and evil with heartrending clarity, and no matter how selflessly pure the act innocence and guilt still mix via an uneasy symbiotic relationship with neither attribute able to exist without the companionship of its polar opposite sibling.

The simple truth is that there is more happening inside of The Miseducation of Cameron Post than initially meets the eye, its ability to tackle so many varying thematic ideas with such appealingly awkward élan incredible…Akhavan has delivered one of the best films I’ll see in 2018, and I have a sneaky suspicion this is one teenage drama I’m going to be waxing poetic about for many years to come.

I love Blindspotting. It’s the kind of film I want to stand up and cheer the moment the end credits come up on the screen, the type of nail-biting human drama I wish studios made more of and the kind of incisive, take-no-prisoners satire viewers of all persuasions owe it to themselves to take a chance on and see.