Welcome to my “Best Of 2019” list. Yes, it’s March. But January and February are the most significant months for me seeing films from the previous year, so I’m just now compiling my thoughts on where I landed with everything. I saw 122 films released in 2019. Here were my favorites:


Directed by: James Mangold
Studio: 20th Century Fox
Release Date: November 15, 2019

Of all the films on my list this year, I was probably expecting the least from “Ford v Ferrari.” Based on the true story of Carroll Shelby and Ken Miles, two racing car experts who found themselves helping Ford Motor Co. take on Enzo Ferrari at the 24 Hours of Le Mans in France in 1966. I enjoy most racing movies, but they’re rarely on my “Best Of” lists. But there was something about James Mangold’s foray in the genre that rang unique. First of all, Mangold’s talent is undeniable. “Walk The Line,” “Logan,” and “The Wolverine” would all likely end be on my “Best Of” lists from their respective years. Also, the chemistry between Matt Damon and Christian Bale was electric to watch. Probably one of the best on-screen duos this year. Speaking of the best, Josh Lucas might be one of the best villains of the year because I despised him. Jon Bernthal and Tracy Letts were fun to watch too. And that editing. I was rallying for Andrew Buckland and Michael McCusker to win that Academy Award for Best Film Editing. You wouldn’t think after all the racing movies made, that an editing team could find new ways to build excitement when it comes to race time, but man, did they find a way to get me on the edge of my seat.


Directed by: Lorene Scafaria
Studio: STXfilms
Release Date: September 13, 2019

Don’t get me wrong; I love Laura Dern. But the biggest snub of the 92nd Academy Awards was Jennifer Lopez a) not even getting nominated for Best Supporting Actress and b) not winning. Dern was great in “Marriage Story” and, yes, I believe she’s a national treasure, but JLo had a better performance last year. Dern has played a version of that cut-throat lawyer in the previous two seasons of “Big Little Lies” and done a fantastic job at it, but that’s the point, she’s played that role before. Jennifer Lopez has been on the fringes for the last decade, acting in schlock like “Second Act” and “The Boy Next Door.” Then, out of nowhere, she delivers this badass role in “Hustlers,” and proves she still has what it takes to command the screen. Despite all the drama surrounding Constance Wu lately, as she tries to break free of the television series that got her to where she is, she, too, levels up with her performance here. Both women play strippers who become friends when they plot to drug and steal money from the Wall Street men that frequent their club during the 2008 financial crisis. Structuring the film around an interview setting and flashbacks was a nice touch to an otherwise basic premise. The film made tons of money ($157 million worldwide on a $20 million budget), but it feels like one of the more underrated films of the year.


Directed by: Anna Bode & Ryan Fleck
Studio: Walt Disney Pictures & Marvel Studios
Release Date: March 8, 2019

Unlike the angry fanboys, I loved Brie Larson as Captain Marvel. She made some interesting acting decisions, not all that I necessarily agreed with, but overall, no other female superhero has had me more captivated in their role than Larson. Anna Bode & Ryan Fleck did an excellent job of hiding their twists as the reveals completely caught me off guard, some pleasantly, other’s not so much. I loved the music track choices, many of which playing directly into the scenes they’re featured in (No Doubt, Nirvana, Hole, etc.). Just the fact that we finally got a solo female superhero film felt overdue. It’s not much, but the idea of my two girls being able to see themselves represented on screen by this powerful woman (arguably the most powerful superhero in the MCU) brought all types of unexpected emotions.


Directed by: Max Minghella
Studio: LD Entertainment & Bleecker Street
Release Date: April 19, 2019

There’s something to be said for simple, satisfying story arcs. Even if your film is not that original, just delivering on that one arc can be enough to make it worthwhile. “Teen Spirit” is about an aspiring singer who gets plucked from obscurity through a singing competition. Elle Fanning plays the singer, and she is such a good actress for such a young age, I could watch her in anything. Max Minghella, known for his acting roles in “The Social Network” and “The Handmaid’s Tale,” steps into the director’s chair for this one. Why he chose to tell this story, I’m not sure, but he delivers quite an excellent debut feature. The biggest highlight of the film is the soundtrack, with most of the vocals done by Elle Fanning.


Directed by: Alma Har’el
Studio: Amazon Studios
Release Date: November 8, 2019

Despite his obvious troubles outside of acting, I find something about Shia LaBeouf endearing enough to keep coming back for his work. Add to that the autobiographical nature of “Honey Boy,” and you’ve got a Shia who’s completely put his heart on his sleeve and I admire that. His performance as his dad in the film is one of my favorite of the year. Noah Jupe, playing the young Shia, also captivates in a way that very few child actors can. Plus, there’s a certain sweet spot that independent films can nail that make them some of the best films of the year, and this one delivers in that regard. It goes back to delivering on a simple idea.


Directed by: Jon Watts
Studio: Sony Pictures & Marvel Studios
Release Date: July 2, 2019

Spider-Man will always be one of my favorite characters. Since Spider-Man comics were the only comics I read as I kid, when a new Spider-Man movie comes out, I’m usually already on board. But then add to it the fact that Mysterio was always one of my favorite villains, and you’ve completely sold me. Jake Gyllenhaal delivers an excellent rendition of the character, modernizing his abilities to fit the grounded nature of the cinematic universe. Even his motives work well in regards to the MCU as a whole. Much like “Iron Man 3” was hugely impacted by “The Avengers” that came right before it, so, too, is “Spider-Man: Far From Home” affected by “Avengers: Infinity War” and “Avengers: Endgame,” which [SPOILERS] saw the demise of Peter Parker’s mentor, Tony Stark (Robert Downey Jr). The nightmare sequence with Mysterio was comic book magic came to life and was one of my favorite scenes of the entire year. I didn’t agree with all the choices made, and parts of the film felt lazy compared to “Spider-Man: Homecoming,” but it was still an entirely enjoyable installment in the series.


Directed by: Martin Scorsese
Studio: Netflix
Release Date: November 1, 2019

“The Irishman” wasn’t Martin Scorsese’s most exceptional work, but even his lesser films are close to masterpieces. The man knows how to make a gripping film, and with his best players behind him, “The Irishman” is almost always entertaining. I have no problem with long movies. My favorite film of 2019 is up there in length as well. But, “The Irishman” did not need to be three-and-a-half hours long. Keeping it that extended not only felt over-indulgent, it felt lazy. And that sends me on a rant that I’ve had a lot lately. Netflix is a double-edged sword.

On the one hand, I’m happy it gives opportunities to filmmakers who otherwise wouldn’t be able to make their films. But for every Martin Scorsese film, we get a half-baked Adam Sandler comedy. For every tight-knit series, we get one that feels overlong just for the sake that it’s on Netflix and doesn’t have any time limit guidelines. Most of Netflix’s series didn’t need to be 13 episodes and suffered because of it. Long story short, again, “The Irishman” did not need to be so long. Also, there’s no reason younger actors weren’t cast as the younger versions of all the characters. That, too, feels lazy, even though using visual effects to make the older cast members look young was probably more work. The de-aging didn’t work for me. Marvel has been doing a better job at it for years.


Directed by: Andy Muschietti
Studio: New Line Cinema & Warner Bros. Pictures
Release Date: September 6, 2019

Not as good as the 2017 “It,” there were still enough good performances and stunning visuals to keep things entertaining. Having read the Stephen King novel, I was curious how they would make the end battle work on-screen. The 1990 version failed at it miserably. However, the writers of “It: Chapter Two ended up producing a finale to the saga that blew me away with how simply they changed the material to make it tolerable. They even went as far as to make jabs at Stephen King in a way, saying his endings suck. Jessica Chastain is a treasure and the perfect casting choice for this film. Bill Skarsgård’s performance also makes me realize there needs to be a new category at the Academy Awards that honors these truly outstanding performances that one else could ever pull off. Being able to bring an iconic character to life and make it your own is like taming a wild horse (“The Mustang” is coming up next, by the way). It would be an unsung hero award, where actors in films that are not going to be Oscar-nominated get honored for making a role their own. Skarsgård would earn one for his role as Pennywise. Nowhere near as endearing as the previous installment, I still found myself enjoying it immensely.


Directed by: Laure de Clermont-Tonnerre
Studio: Focus Features
Release Date: March 15, 2019

Every year that I watch all the films for the Oscars and the Spirit Awards, there’s a film that ends up surprising me. This year it was “The Mustang.” Already a movie I was looking forward to seeing, I still not believe I would love it as much as I did. My enjoyment of the film comes almost entirely from the leading performance from Matthias Schoenaerts. I’ve been a big fan of Schoenaerts ever since I saw him in an Oscar-nominated foreign language film titled “Bullhead.” I’ve been following his career ever since, and he plays the prominent, brooding character with depth better than anyone. Playing a convict that takes on breaking wild horses while in prison, the emotion is ripe to be mined in this role. He ends up delivering one of my favorite performances of the year. The rest of the film, I could give or take, but he was the absolute highlight.


Directed by: Matt Bettinelli-Olpin & Tyler Gillett
Studio: Fox Searchlight Pictures
Release Date: August 21, 2019

Let’s welcome Samara Weaving to stardom, because with her amazing turnout in “Ready Or Not,” I think we’ll be seeing her in everything. On her wedding night, Samara’s character must play a game of hide-and-seek with her new in-laws, who are apart of a rich family that made their fortune on board games. When the innocent game takes a sinister turn, the rest of the film because a game of survival. What I appreciated about “Ready Or Not,” apart from Samara’s performance, was how balls-out crazy the film ends up getting. It’s so tongue-in-cheek that the tongue eventual ends up going right through the cheek and I loved every wacky second of it.


Directed by: Todd Phillips
Studio: Warner Bros. Pictures
Release Date: October 4, 2019

When talks of “Joker” surfaced around late-2018, I was strongly in the camp of not wanting another Joker film. For starters, Warner Bros. had been on a rough track with their DC films. The idea of them branching off into some sort of “dark universe” with a villain none-the-less, was instantly abrasive to me. Top that off with Heath Ledger delivering one of the greatest Joker performances of all-time made me wonder what Joaquin Phoenix could possibly bring to the role, especially after Jared Leto butchered it in “Suicide Squad” just a few short years ago. And, nothing against the guy, but I questioned how the director from “The Hangover” movies could deliver a dark-natured film in general. They all completely proved me wrong.

Joaquin Phoenix is easily one of the greatest actors of our generation. For years I’ve been enthralled with how he disappears into his roles. The same goes here, as you empathize with this down-and-out clown who is being failed by everyone around him. Not only is Phillips able to make this feel like a Martin Scorsese film, specifically “The King Of Comedy,” complete with the performance from Robert De Niro as a host of a nighttime talk show, he infuses enough Batman lore into the film to make it feel unique. Just seeing Gotham City in certain places and hearing the names Bruce and Thomas Wayne add some weight to the story that wouldn’t have been there without it.


Directed by: Quentin Tarantino
Studio: Columbia Pictures & Sony Pictures
Release Date: July 26, 2019

Leonardo DiCaprio and Brad Pitt are so damn likable; it’s hard not to like “Once Upon A Time In Hollywood.” Also, Quentin Tarantino’s meticulous attention to detail in recreating “old Hollywood” is worthy of praise in and of itself. Despite Margot Robbie playing Sharon Tate in a rather dawdling fashion, she’s still enjoyable to watch, as is the era in which she’s meandering. My favorite scene, by far, is when Pitt visits Spahn Ranch and comes face to face, not only with Bruce Dern (who was also a supporting character in “The Mustang”) but with Charles Manson’s crew. Tarantino’s humor is on point, and I fully expected him to win the Best Original Screenplay award at the Academy Awards.


Directed by: J.J. Abrams
Studio: Walt Disney Pictures
Release Date: December 20, 2019

If you remember correctly, “Star Wars: The Force Awakens” was just a re-imagining of “A New Hope,” with Rey as the main protagonist instead of Luke Skywalker. Then, you got “Star Wars: The Last Jedi,” which let’s not forget was a slow-speed chase through space where all the side plots lead nowhere and almost nothing made sense, but damn, were the visuals some of the best of the franchise. So here we are with “Star Wars: The Rise of Skywalker.” Now, I didn’t give a crap that they brought back Palpatine. Why not make an over-arcing villain from beginning to end? Once again, the film was visually impressive, delivering some of the most memorable set pieces of the year. The fight amongst the rubble of the first Death Star? Come on! The film’s pace was breakneck in the best of ways and, although I didn’t agree with all the character developments, I thought where they ended up was serviceable. I was not expecting much from this final installment and, in doing so, I was okay with how it ended and wouldn’t ask for anything more.


Directed by: Céline Sciamma
Studio: NEON
Release Date: December 6, 2019

I said this last year at some point toward some film, but I’m repeating it, I’m a hopeless romantic. So any movie that can tap into that part of me usually ends up on my list somewhere. “Portrait of a Lady on Fire” did just that. Even though it’s told as a period piece, the premise easily translates to our era now. Tasked with painting a young woman who does not want to be, a young artist becomes her companion. Taking mental notes of his form when she’s not looking, the two eventually fall into a love for one another. You can imagine this is not acceptable, which makes the forbidden love that much more passionate. What ends up selling this film and making it my favorite international movie of the year, are the star-turning performances from Noémie Merlant and Adèle Haenel, who bring something fresh and aspiring to the roles.

6. US

Directed by: Jordan Peele
Studio: Universal Pictures
Release Date: March 22, 2019

The score and Lupita Nyong’o’s dual performances are what make this one of my favorite films of the year. Jordan Peele has a way of directing horror films that have me wholly on board. But even “Get Out” didn’t make my “Best Of” list that year. It felt a little overrated to me. “Us,” however, delivers in so many areas, from social commentary to straight-up slasher film. Lupita disappears into both roles and ends up facing off with herself by the end. The concept has a “Twilight Zone” feel that makes it feel like old school psychological horror. Also, the costumes are on point. And the score is truly awe-inspiring, taking an old song (“I’ve Got Five On It”) and adding orchestral elements to make it utterly haunting.


Directed by: Rian Johnson
Studio: Lionsgate
Release Date: November 27, 2019

Rian Johnson redeems himself from the woes that were “Star Wars: The Last Jedi,” by turning the “Clue”-like mystery genre on its head. The ensemble cast is stellar. But Daniel Craig and Ana de Armas could have sold the whole thing by themselves if they had to. Johnson gives you precisely what you want early on, revealing the exact truth to the mystery even before the halfway point. It was at that point that I knew there was something special happening here.

4. 1917

Directed by: Sam Mendes
Studio: Universal Pictures
Release Date: December 25, 2019

The first thing I heard about “1917,” apart from it being a World War I film, was that it was a story that had been told to Sam Mendes by his grandfather. Not so much based on a true story as based on a recounting. Then I heard Roger Deakins was the cinematographer. Both of those things had me excited. Then, I heard that the entire film portrays as a single take, and I thought that they buried their lead. So much so that I found myself informing my group of friends that it was portrayed as a single take, getting them exponentially more excited about the film, just as I was. And “1917” did not disappoint. The single-take approach can often feel like a gimmick, but here, it had a blatant reason for existing and took liberties here and there, if only to prove they’re not using the approach as a gimmick. The unknown leads are phenomenal; the visuals are breathtaking, and, by all accounts, this will not only be a film remembered as one of the greatest of 2019, but one of the most memorable war films are all-time. It was also my pick to win the Best Picture award at the 92nd Academy Awards, as I believe ten years from now, people will remember this film from 2019 much more than “Parasite.”


Directed by: Taika Waititi
Studio: Fox Searchlight Pictures
Release Date: October 18, 2019

Taika Waititi is a gift. He is unapologetically himself in all the best ways. He’s always brought that to his acting and directing, but now, he also brings it to his writing. He even went as far as to win Best Adapted Screenplay at the Academy Awards. Imagine walking into a pitch meeting to sell a World War II film about a Hitler youth who has an imaginary friend version of Hitler. Thank God Taika went through with it, because I have not laughed harder during a film in such a long time. Every single performance is on point, from Taika as Hitler, to Roman Griffin Davis and Archie Yates as Hitler youths, to Thomasin McKenzie as a Jew hiding in the wall of the main character’s home. Not to mention, Scarlett Johansson and Sam Rockwell offer up career best performances. “Jojo Rabbit” is, by far, the most original film out of 2019, and I’m almost mad that the two films I picked as my number one and two choices came out in this year, because I really want to call it my favorite film of the year.


Directed by: Mike Flanagan
Studio: Warner Bros. Pictures
Release Date: November 8, 2019

How do you even begin to take on a sequel to “The Shining?” Sure, you’ve got Stephen King’s source material from the novel, but you’re going into it needing to please two camps, King’s camp and Stanley Kubrick’s camp, both of which are opposing forces. Mike Flanagan stepped in and delivered on all fronts, pleasing everyone in the process. Mike had to have had fun making this film. Imagine getting to run around the halls of the Overlook Hotel again, paying homage to a fantastic novel and a classic movie. I enjoyed King’s “Doctor Sleep” novel, but once again, the ending is not cinematic. The way Mike handles the conclusion of “Doctor Sleep” not only gave me chills and had me wanting to give him a standing ovation right then and there, but it solidified the film as one of my favorites of the year. Top that with stellar performances from Ewan McGregor and the young Kyliegh Curran and one of my favorite female performances of the year from Rebecca Ferguson, and there’s no question I’m hanging on to this film for decades to come. Every change Mike makes to the novel is brilliantly done. From turning a small chalkboard in the book to a chalkboard wall in the film to the visual of Rebecca Ferguson being sent end over end, flying through the air during her astral projection scene, which also made me want to applaud in the theater openly. He brings dead-on visuals to many of the moments in the novel that were hard to visualize. The man has a distinct vision, and I can’t wait to see what he does next. We can only hope that Warner Bros. hands him the keys to all future Stephen King projects.


Directed by: Joe and Anthony Russo
Studio: Walt Disney Pictures & Marvel Studios
Release Date: April 26, 2019

What a cinematic achievement. Not only is “Avengers: Endgame” a great film in and of itself, it delivered the perfect bookend to more than ten years and twenty-one films worth of world-building. That is unprecedented and probably won’t ever happen again. The momentum built throughout that time and throughout all those films lead to this moment. “Avengers: Infinity War” made history by leaving fans in the dust (literally) by the end of it. That, too, was my number one film of 2018 and Avengers: Endgame” picks up right where it left off. And, unlike “The Irishman,” it earns it three-hour runtime. As a comic book fan, as a fan of movies in general, the last half hour of the film brings me to tears every single time I watch it. As a kid reading Spider-Man comics that I bought at garage sales in Minnesota to seeing almost every superhero we’ve ever even heard about represented onscreen at the same time feels overwhelming every time I see it. That may seem silly, but damn, does it ring true for me. Not only that, but Tony Stark’s eventual hero moment will go down in history as one of the single best moments in the history of cinema. Not only does it call back to previous lines of “Infinity War” and “Endgame,” but it goes back to the end of the very first “Iron Man,” the film that got this whole enterprise rolling in the first place. This man spent ten years working his way to this moment. And the line he utters when all is said is done is a stroke of genius that is rarely ever seen in any form of entertainment. “Avengers: Endgame” refuses to pull any of its punches, lays all its cards on the table, and creates so many “holy shit” moments that I find a new one every time I watch it. I will always remember where I was when I saw this film for the first time. Much in the same way “Star Wars: A New Hope” is talked about by the generation that saw it opening weekend, I feel we’ll talk about “Endgame” in much the same way to our kids when we’re thirty years removed from it. Yes, I’m making a superhero film my number one pick two years in a row, and that may never happen again, but no other film checked all my boxes like “Avengers: Endgame.”


(Films that everyone was raving about that fell a little flat for me)


(Films that I wanted to be good and had tons of potential, but were some of the worst films of the year)


Directed by: Tom Hooper
Studio: Universal Pictures
Release Date: December 20, 2019

What, in the absolute fuck, were the people behind this thinking? Being my first and only experience of the “Cats” musical, within the first song, I was asking, “what the fuck?” Then to find out that it was a full musical, meaning the entire runtime is set up with song after song after terrible song, I felt physically sick to my stomach. The songs are so atrocious, how has anyone ever said they liked “Cats,” ever, in the history of the god awful play? What is wrong with people? Who, in the cast, thought any of this was a good idea? Who, in the crew, did not say, “what the fuck is this?” Who, anywhere doing anything, didn’t say, “wow, this is a real piece of shit. How is this ever going to see the light of day?” The only decent song in the bunch was the song performed by Jennifer Hudson, and they had her sniffing and snotting her way through every single fucking word, ugly crying her way through the entire song. We already know Rebel Wilson, James Corden, and Jason Derulo are terrible. Still, this film made Ian McKellan, Idris Elba, and Judi Dench awful, which is so hard to do, I didn’t even think it was possible. Goddammit, this film pissed me off.


Directed by: Ruben Fleischer
Studio: Columbia Pictures & Sony Pictures
Release Date: October 18, 2019

I’m hard-pressed to say I’ve ever seen a more useless sequel. There’s almost nothing redeemable about this entire film. The returning cast looks like zombies themselves, sleepwalking through the film. That especially goes for Emma Stone, who looks like this is the last place she wants to be. Zoey Deutch, whom I usually adore, is a caricature of a person and, therefore, unbearable. Most of the new cast, in general, are portrayed like caricatures, including Luke Wilson and Thomas Middleditch, who are mirror images of Woody Harrelson and Jesse Eisenberg, making me ask, “what was the fucking point?” What was the point of this sequel? The first “Zombieland” felt so original and distinctive and worthwhile. “Zombieland: Double Tap” felt like a homework assignment that someone put off until the night before and then stayed up all night and just jammed out a rough draft that they then turned in as a completed work. Also, it’s worth noting; this is the second year in a row a Ruben Fleischer has been in my “Biggest Disappointment” section.


Directed by: Elizabeth Banks
Studio: Columbia Pictures & Sony Pictures
Release Date: November 15, 2019

Not that I was expecting anything from this film, but talk about entirely unnecessary. Why did this have to be “Charlie’s Angels?” What couldn’t they have done if they hadn’t slapped that IP name on it? What fresh new idea did it add to the series that it had to have the title? They could have been any lady spies. Why. Charlie’s. Angels? Now, I’m warming up to Kristen Stewart, so don’t get me wrong, but when she’s the best part of your film, by a lot, then there’s something off in your movie. Again, I like Elizabeth Banks and applaud her in undertaking the writing, directing, producing, and acting of a passion project, but still, I ask, why did it have to be a “Charlie’s Angels” film? Also, we cannot blame a movie doing poorly on men not wanting to see it. I’ll see any film featuring women kicking ass. Sometimes people don’t see films because they look terrible, feel terrible, and genuinely are terrible. Make better films. Then people will go to see them.



January: 0
February: 0
March: 3
April: 2
May: 0
June: 0
July: 2
August: 1
September: 2
October: 2
November: 5
December: 3


9 out of 20

“Captain Marvel” (Brie Larson)
“Hustlers” (Jennifer Lopez & Constance Wu)
“It: Chapter Two” (Jessica Chastain)
“Knives Out” (Ana de Armas)
“Portrait of a Lady on Fire” (Noémie Merlant & Adèle Haenel)
“Ready Or Not” (Samara Weaving)
“Star Wars: The Rise of Skywalker” (Daisy Ridley)
“Teen Spirit” (Elle Fanning)
“Us” (Lupita Nyong’o)


(1) It has to have at least two [named] women in it
(2) Who talk to each other
(3) About something besides a man

14 out of 20

“Avengers: Endgame”
“Captain Marvel”
“Doctor Sleep”
“It: Chapter Two”
“Jojo Rabbit”
“Knives Out”
“Once Upon A Time In Hollywood”
“Portrait of a Lady on Fire”
“Ready Or Not”
“Star Wars: Episode IX – The Rise of Skywalker”
“Teen Spirit”


8 out of 20

  • Anna Bode (“Captain Marvel”)
  • Laure de Clermont-Tonnerre (“The Mustang”)
  • Alma Har’el (“Honey Boy”)
  • Sam Mendes (“1917”)
  • Jordan Peele (“Us”)
  • Lorene Scafaria (“Hustlers”)
  • Céline Sciamma (“Portrait Of A Lady On Fire”)
  • Taika Waititi (“Jojo Rabbit”)


Walt Disney Pictures: 3
Warner Bros. Pictures: 3
Universal Pictures: 2
Fox Searchlight Pictures: 2
20th Century Fox: 1
Sony Pictures: 1
Columbia Pictures: 1
Lionsgate: 1
Focus Features: 1
Bleecker Street: 1
STXfilms: 1
Amazon Studios: 1
Netflix: 1
Neon: 1


$0 – $20 MILLION (Low Budget)

Honey Boy$3.5 million
Portrait Of A Lady On Fire$4.3 million
Ready Or Not$6 million
Jojo Rabbit$14 million
Teen Spirit$16 million
The MustangUnder $20 million

$20-100 MILLION (Moderate Budget)

Hustlers$20 million
Us$20 million
Knives Out$40 million
Doctor Sleep$45 million
Joker$55–70 million
It: Chapter Two$79 million
Once Upon A Time In Hollywood$90–96 million
1917$90–100 million
Ford v Ferrari$97.6 million

$100-$200 MILLION (Big Budget)

Captain Marvel$152–175 million
The Irishman$159 million
Spider-Man: Far From Home$160 million

$200 MILLION PLUS (Mega Budget)

Star Wars: The Rise Of Skywalker$275 million
Avengers: Endgame$356 million


Avengers: Endgame$858.3 million$2.797 billion
Doctor Sleep$31.5 million$72.2 million
Jojo Rabbit$33.1 million$86.3 million
1917$155.8 million$362.3 million
Knives Out$164.6 million$307.6 million
Us$175 million$255.1 million
Portrait Of A Lady On Fire$2.4 million$8 million
Star Wars: The Rise Of Skywalker$514.6 million$1.072 billion
Once Upon A Time In Hollywood$142.5 million$374.3 million
Joker$335.4 million$1.073 billion
Ready Or Not$28.7 million$57.6 million
The Mustang$5 million$6.4 million
It: Chapter Two$211.5 million$473 million
The Irishman$961,224
Spider-Man: Far From Home$390.5 million$1.131 billion
Honey Boy$3 million$3.2 million
Teen Spirit$441,366$1.5 million
Captain Marvel$426.8 million$1.128 billion
Hustlers$104.9 million$157.5 million
Ford v Ferrari$117.5 million$225.3 million


DOCUMENTARY: “Apollo 11”
INDEPENDENT: “The Mustang”
INTERNATIONAL: “Portrait of a Lady on Fire”


  1. “Breakthrough”
  2. “Cats”
  3. “Give Me Liberty”
  4. “Colewell”
  5. “Wine Country”
  6. “Burning Cane”
  7. “Life Overtakes Me”
  8. “Rocko’s Modern Life: Static Cling”
  9. “UglyDolls”
  10. “Diane”

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