Britnee’s Top 15 Films of 2019

15. Sunkist Family A cute, sex positive South Korean family film. It’s all about the importance of being open and honest with all members of your family (spouse and children). As the first film from female South Korean director Kim Ji-Hye, it’s super impressive. I can’t wait to see what else she has up her sleeve.

14. Ready or Not Rich people are weird, and this movie takes that notion to another level. Watching Ready or Not was probably the most fun that I’ve had in a theater in all of 2019. There’s tons of dark humor, bloody violence, and cigarette smoking babes. All things that I enjoy in a horror movie.

13. Gully Boy Brandon raved about Gully Boy for quite some time, but I avoided watching it initially because it’s 2 ½ hours long. I finally got around to watching it when we did a podcast episode on hip-hop biopics, and I really enjoyed it. The film was so lively, and the time went by pretty quickly. To my surprise, I kind of wanted it to keep going for another hour or so at the end.

12. Booksmart Olivia Wilde’s directorial debut is one of the best coming-of-age comedies to ever grace the screen. It’s witty, realistic, and insanely funny. This is the teen movie that I so desperately needed to see as a teenager. I’m not bitter about it, though.

11. Paradise Hills While I found the plot of Paradise Hills to be interesting, that’s not why the film made it on my Top 15 Films of 2019 list. It’s sort of like Stepford Wives for teenagers, so I think I would’ve been stupid obsessed with this movie if I was like 15 years old. For 29-year-old me, the film’s success comes from its gorgeous futuristic visuals. Everything from the buildings, décor, costumes, etc. are breathtaking.

10. Leto I was clueless about Russian rock music until watching Leto, the coolest black and white Russian rock musical I’ve ever seen. It offers a glimpse into the Leningrad rock scene in the early 1980s, when the Soviet Union was alive and well. Somehow, the film is able to take what is a very revolutionary moment in history and make it not over-the-top dramatic. I think this is what makes it so compelling. Oh, and the film’s director, Kirill Serebrennikov, went to prison for essentially pissing off the Russian government during the last few weeks of the film’s production. How much more revolutionary can a movie get?

9. Us Watching Jordan Peele’s second horror film made me feel like I was trapped in a nightmare. Just when you think the film is over, there’s a bizarre twist that legitimately haunted me for weeks. It does everything that a good horror movie should do and as a bonus, it really makes you think about what class system looks like in American society.

8. Climax A dance party gone wrong that just feels so right. It’s really hard not to catch yourself bopping your head to the sick beats in the background while watching a dance troupe rip each other to shreds (emotionally, not literally). This movie is perhaps the darkest movie that I’ve seen all of 2019.

7. Greta I’m becoming what one might call a psychobiddy connoisseur, and I give the film Greta the psychobiddy stamp of approval. An older woman’s obsession with a young waitress turns into a bat-shit crazy nightmare before the film is even halfway through. Isabelle Huppert’s psychotic old-world charm makes modern day NYC seems like 1950’s Paris at times, and she serves 100% psychobiddy realness in every second she is on screen. While Huppert was a huge reason why I love this movie so much, Chloë Grace Moretz’s performance was surprisingly impressive. There’s some strange chemistry between these two extremely different actresses that makes for a very interesting experience.

6. Velvet Buzzsaw Paintings that kill, death by tattoo, and Toni Collette. What more could I ask for? The film’s satirical humor blends well with its truly horrifying imagery, which seems to be a difficult task for a film with a plot surrounding haunted, killer paintings. I love this movie for so many reasons, but what I am thankful for the most is my newfound love and respect for Jake Gyllenhaal.

5. Mister America The wild On Cinema universe continues to grow with a feature-length film. It’s a brilliant mockumentary that gives fans of Tim Heidecker the particular type of humor they crave while providing a bit of a character study of a self-absorbed small-town politician. It made me laugh more than any other film that came out in 2019.

4. Parasite Bong Joon-ho’s masterpiece was the talk of the town once it was released in theaters. It’s not every day that your family, friends, and coworkers are raving about a South Korean film with *gasps* subtitles. After sitting through a showing at a local theater, and I was stuck in state of awe. The way this film treats the explores the class structure of South Korea is truly brilliant.

3. In Fabric 2019 was a fabulous year for movies about killer inanimate objects (looking at you, Velvet Buzzsaw). In Fabric brings the idea of a killer dress to the table, and I absolutely loved it. Told in the style of an anthology, this horror comedy provides entertainment in just about every second while serving up gorgeous giallo-style visuals.

2. Midsommar Never have I seen daytime horror be so gruesomely terrifying. Super dark subject matter is played out in the bright sunny fields of Sweden, and it creates a really strange feeling that I’m unable to describe in words. You just have to see it to understand what I’m talking about. Ari Aster is making a name for himself as one of the greatest directors of horror with this incredible follow up to last year’s Hereditary.

1. Knife + Heart This is without a doubt the best film of 2019. I spent a good while trying to determine whether Knife + Heart (Un coteau dans le coeur) or Midsommar should take the number one spot, but after watching both films a second time, there was no doubt in my mind that Knife + Heart was the winner. The film contains all components of a classic giallo, except that every character is homosexual. The plot becomes more intriguing with each watch, and its bright, neon colors with the fabulous M83 soundtrack pulsating in the background will turn any room into a seedy nightclub. I love it all so much. This queer twist on the giallo genre is nothing short of perfection.

-Britnee Lombas

Brandon’s Top 20 Genre Gems & Trashy Treasures of 2019

1. Fighting With My Family This melodramatic biopic about WWE wrestler Paige does an excellent job conveying the appeal of pro wrestling as an artform, offers empathy to every character its story touches without shying away from their faults, and properly sketches out how much respect for women’s wrestling has evolved in the last decade (and how influential Paige was in that sea change). It’s also way dirtier than I expected, often playing like an R-rated Disney Channel Original.

2. Ma Octavia Spencer slums it as an unassuming small-town vet tech who parties with neighborhood teens in order to enact revenge for their parents’ past wrongs. It’s at first baffling to learn that Tate Taylor, the doofus responsible for The Help, also directed this deliciously over the-top schlock, but it gradually becomes obvious that the goon simply loves to watch Spencer devour scenery and it just took him a while to find the proper context for that indulgence – the psychobiddy.

3. Child’s Play An in-name-only, shockingly fun “remake” of the classic killer doll thriller by the same name. Much like the original, this is the exact kind of nasty, ludicrous horror flick kids fall in love with when they happen to catch them too young on cable, and it directly pays homage to that very canon in references to titles like Killer Klowns From Outer Space & Texas Chainsaw Massacre II.

4. Paradise Hills An impressive coterie of young actors (Emma Roberts, Awkwafina, Danielle McDnonald, Eiza Gonzalez) square off against veteran badass Milla Jovovich in a near-future Patriarchal hell. It’s essentially Guillermo del Toro’s Stepford Wives staged on the set of the rose garden from the animated Alice in Wonderland. A femme fairy tale that takes its over-the-top, Literotica-ready premise refreshingly seriously despite the inherent camp of its (sumptuous) costume & production design.

5. Read or Not A list of things that make this Clue & You’re Next genre mashup immensely enjoyable: the careful attention to costume design, the Old Dark house sets, Samara Weaving, Aunt Helene, that “Hide & Seek” novelty record and, most importantly, the rapid escalation of its final ten minutes into full unrestrained delirium. Great nasty fun.

6. Saaho A Indian action blockbuster that opens as a fairly well-behaved Fast & Furious rip-off in its first hour, then pulls an outrageous twist I’ve never seen in an action film before, and finally reveals its title card and the announcement “It’s showtime!” The next two hours are then a throw-it-all-in-a-blender mix of Mission: Impossible, Fast & Furious, The Matrix, John Wick, Iron Man, Fury Road and practically every other action blockbuster in recent memory you can name. Pure maximalism.

7. Pledge A nasty little VOD horror about a fraternity rush week from Hell. The dialogue and performances are alarmingly good for something on its budget level, which makes it all the more horrifying when characters you kinda like are tortured in extreme gore by frat bro monsters for a solid hour of “hazing.” It also sidesteps a lot of the usual misogyny of the torture porn genre by making both the victims & villains All-American macho types.

8. Good Boys Superbad is often praised for its final emotional grace notes shared between teen-boy BFFs who’ve struggled to maintain a tough masculine exterior throughout their entire preceding gettin’-laid adventures, to the detriment of their relationship. Here, the earnest vulnerability & emotional grace notes are constant & genuine from frame one, providing some much-needed hope for the men of the future. These are very good boys.

9. Braid Two amateur drug dealers escape police scrutiny by returning to the childhood home of a mentally unwell friend who’s trapped in a never-ending game of violent make-believe. A total mess but also a total blast. Gorgeous costumes & sets, gloriously self-indulgent film school cinematography, and genuinely shocking over-the-top turns in the “plot” every few beats. Think of it as Heavenly Creatures for the Forever 21 era.

10. War Between this & Saaho, my two favorite action movies of the year are both big budget, Twisty blockbusters from India. This one is basically a beefcake calendar as directed by Michael Bay. It’s 70% abs & pecs, 20% stadium guitar riffs, 10% homoerotic eye contact, and I guess somewhere in there is a plot about a super soldier’s mentor who’s “gone rogue.”

11. Glass M. Night Shyamalan explodes his small-scale women-in-captivity thriller Split into an MCU-scale superhero franchise, but hilariously dodges all the accompanying genre spectacle that his budget can’t afford. I am very late to the table as a Shyamalan apologist, but by the time I was the only person in the theater cackling at his attempt to connect the mythology of his own cameos in Split & Unbreakable into a cohesive narrative arc, I was converted for life. What an adorable nerd.

12. Crawl A lean, mean, single-location creature feature in which a father-daughter duo fights off killer CG alligators during intense hurricane-related flooding. Only could have been improved by an alternate ending where they survive the storm only to discover that the entire planet has been taken over by gators while they were trapped inside. Should have ended with gators piloting the “rescue” choppers.

13. Escape Room Basically the ideal version of Saw, with all the nasty torture porn & (most of) the nu-metal removed for optimal silliness. All storytelling logic & meaningful dialogue/character work are tossed out the window in favor of full, head-on commitment to an over-the-top, truly preposterous gimmick: an escape room, except For Real.

14. The Head Hunter A medieval monster slayer seeks to add the head of the beast that killed his daughter to his trophy collection. An impressive feat in low-budget filmmaking that knows it can’t convincingly stage battle scenes on its production scale, so it makes up for it by leaning into what it can do well – mostly delivering grotesque creature designs & a nihilistic mood.

15. Booksmart Maybe not always the most hi-larious example of the modern femme teen sex comedy (in the recent The To Do List/Blockers/Wetlands/Slut in a Good Way tradition) but one with an unusually effective emotional core and more Gay Stuff than the genre usually makes room for. If nothing else, it felt good to know that the kids of Gen-Z are more than alright.

16. Greener Grass A warped Adult Swim-style comedy of manners about overly competitive soccer moms, featuring performances from D’arcy Carden, Mary Holland, Janicza Bravo, Beck Bennett, and similar Los Angeles comedy folks. Total illogical chaos and menacing irreverence from start to finish, with a particular debt owed to John Waters’s post-Polyester suburban invasion comedies.

17. The Breaker Upperers A New Zealand comedy about professional break-up for hire artists, a premise that’s pretty much a wholesome 2010s update to Dirty Work by way of Taika Waititi. Zings quickly & efficiently with incredibly well-defined characters, like a The Movie adaptation of a sitcom that’s already been going for years & years.

18. The Banana Splits Movie A SyFy Channel Original that’s somehow a genuine delight? It imagines a world where its eponymous Hanna-Barbera children’s show starred killer animatronic robots instead of failed actors in mascot costumes. Goofy & violent enough to be worthwhile despite how thin its character work is (with some especially nasty practical gore gags), which is more than you can say for most of the originals that network broadcasts.

19. Countdown Beyond just appreciating that there was a mainstream horror about a killer smartphone app in megaplexes this past Halloween, I admired this for adding three very distinct angles to the technophobic Killer Internet subgenre: the eerie unknown of user agreement text that no one reads; the startling menace of app notifications that unmute themselves every phone update; and car backup cam jump scares.

20. CATSTom Hooper’s deranged stage musical adaptation is the exact horned-up, ill-advised CGI nightmare that Film Twitter has been shouting about for months on end and I’m happy it’s been celebrated as such. Admittedly, though, I was absolutely exhausted by pro film critics’ competition to see who could dunk on the film online with the loudest or the funniest zingers, which tempered my enthusiasm before I got to enjoy its spectacular awfulness for myself (opening week!). As such, I suspect this is the camp gem of 2019 that will improve the most in years to come, once the hyperbolic discourse around it settles and it remains just as bizarre as ever.

-Brandon Ledet

The Overlook Film Festival 2019, Ranked & Reviewed

Last year’s sudden appearance of the Overlook Film Festival on the local calendar was an unholy, unexpected blessing. There are only a few substantial film fests that are staged in New Orleans every year, so for an international horror film festival with world premieres of Big Deal genre movies to land in our city was a major boon, almost too good to be true. I attended the festival as a volunteer, catching three artsy-fartsy creature features (all directed by women) and a couple live podcast recordings over the course of a few days, hungry (bloodthirsty?) for more. This year, Swampflix attended Overlook with legitimate press credentials, meaning we were able to cover even more films playing at the fest, which was majorly exciting.

There were 23 features and 18 shorts from 11 different countries screening at the festival over the course of a single weekend in early June. It was overwhelming. Self-described as “a summer camp for genre fans,” The Overlook was centrally located, corralling all of its movie screenings to just a few venues: Le Petit Theatre for its more prestigious premieres, the UNO Performing Arts Center for a repertory screening of The Faculty (with Robert Rodriguez in attendance), and what is now the ghost of the old Canal Place theater for the bulk of its heavy-lifting. It was wonderful to be able to take fuller advantage of this super cool genre film extravaganza, especially considering that Canal Place’s closure might persuade them to leave us for another city, which would be a total shame.

Listed below are all eleven features we were able to catch at The Overlook Film Festival that weekend ranked in the order that we most appreciated them, each with a blurb and a link to a corresponding review. For a more detailed recap of our festival experience beyond these reviews, check out our podcast discussion of the fest.

1. In Fabric “Wholly committed to over-the-top excess in every frame & decision, whether it’s indulging in an artsy collage of vintage fashion catalog advertisements or deploying a killer dress to dispose of a goofball victim entirely unaware of the occultist backstory of their sartorial selections. It’s both funny and chilling, beautiful and ludicrous. It’s perfect, as long as you can tune into its left-of-the-dial demonic frequency.”

2. One Cut of the Dead “So much of One Cut of the Dead is on shaky logical ground because of the limitation of its filmmaking resources, but horror fans who are inclined to watch low-budget, high-concept zombie movies in the first place should be used to making those allowances. What’s brilliant about the film is how it transforms those awkward low-budget details into something brilliantly executed & purposeful. Revealing how it performs that miracle in a review would be a crime that I’m not willing to commit. You just have to afford it your attention & trust long enough to see it for yourself.”

3. Ma “It’s at first baffling to learn that Tate Taylor, the doofus responsible for The Help, also directed this deliciously over the-top schlock, but it gradually becomes obvious that the goon simply loves to watch Octavia Spencer devour the scenery and it just took him a while to find the proper context for that indulgence – the psychobiddy.”

4. Paradise Hills “This is far from the first fairy tale to allure characters in with a bounty of sensual pleasures only for the fruits therein to be revealed as rotten, cursed, or poisonous. In that tradition, Paradise Hills presents a fairytale Eden that’s deadly dangerous precisely because the pleasures it offers on the surface are so tempting. It would be far too easy to lose yourself in this pleasure palace – both literally and figuratively.”

5. Come to Daddy “As Elijah Wood’s cowardly protagonist sinks further in over his head in sinewy ultraviolence, the picture begins to play like a farcical mutation of a Jeremy Saulnier picture – not unlike Wood’s recent turn in I Don’t Feel at Home in this World Anymore, just creepier.”

6. Greener Grass “Whether it’s grossing you out with the moist, passionless sex of its suburbanite goons or it’s breaking every known rule of logical storytelling to drive you into total delirium at a golf cart’s pace, the film is uniquely horrific & punishing – and hilarious. You should know approximately thirty seconds into its runtime whether or not its peculiarly antagonistic humor is something you’ll vibe with; there’s just very little that can prepare you for what it’s like to experience that aggressive irreverence for 100 consecutive minutes.”

7. Knives & Skin “Filters the Lynch Lite teen melodrama of Riverdale through a hallucinatory overdose of cough medicine, so that it sticks with you only as a half-remembered dream. You can recall laughing, but you’re not entirely sure why, or whether that was even its desired effect.”

8. The Vast of Night “The film chooses a very difficult path in distinguishing itself, relying more on the strength of its performances & written dialogue than its sci-fi chills & scares. It’s more akin to intimate walk & talk dramas like Dogfight, Before Sunrise, or My Dinner with Andre than the sci-fi horror tones you’d usually expect from an alien invasion story template.”

9. Gwen Gwen looks, sounds, and feels like Elevated Horror™. Its monochrome portrait of a family in crisis is illustrated mostly by the grey hues of soot & snow. There’s very little dialogue & no musical score to speak of, somewhat mistaking total quiet for atmospheric dread. Those drab, miserable textures lull the audience into a foggy calm, only to be shocked out of our seats by loud, violet stabs of lightning, medical fits, and nightmares of self-mutilation. This movie has genuine jump scares! But it’s not horror.”

10. Satanic Panic “It may not be the pinnacle of joke writing or emotional drama, but it at least knows how to deliver the goods when it comes to over-the-top ultraviolence & softcore sexual mania.”

11. Porno “When most comedies fail to make you laugh, they leave you very few opportunities to be entertained otherwise. To its credit, Porno entertains throughout by relying on the most tried & true attractions in the entertainment business: sex & violence. Even if you’re impervious to its proper Jokes, there’s still plenty of blood-soaked juvenilia to keep you occupied.”

-Brandon Ledet

Paradise Hills (2019)

Like all genre films, Paradise Hills feels like a loose collection of themes & imagery we’ve all seen before. Is it exactly fair or accurate to describe it as Guillermo del Toro’s Stepford Wives set in the Queen of Hearts’s rose garden from Alice in Wonderland, featuring extras from The Hunger Games & Bram Stoker’s Dracula? Probably not, but that rambling assemblage of references at least hints to how familiar individual elements of its fantasy world feels, even if you’ve never seen them arranged in this exact configuration before. What makes Paradise Hills a great genre film is that it still feels entirely unique & spellbinding despite those pangs of familiarity. This is a dark, femme fairy tale I presume was conceived by first-time director Alice Waddinton after a poisonous tea service left her hallucinating & scared for her life. She may be painting with a familiar palette, but the resulting picture is wonderfully warped in new & exciting ways, especially considering how she conveys dread & menace through an overdose of the feminine.

An impressive coterie of young actors (Emma Roberts, Awkwafina, Danielle McDnonald, Eiza Gonzalez) square off against veteran badass Milla Jovovich in a near-future Patriarchal hell. Spurned by their parents for being too queer, too fat, too rebellious, and too difficult to control, the young women are imprisoned in a high-femme reform school that feels as if it were borrowed from a lingerie fetishist’s erotic fiction. Jovovich keeps her prisoners in line as a green-thumb dominatrix who plans to excise their offending idiosyncrasies in the same way she snips the thorns from her endless supply of roses. On the surface this femme obedience school that transforms young rebels into proper mademoiselles feels almost paradisiac. The young women’s torture is mostly a PG-rated barrage of ballet, yoga, and garden tea service. There’s a sinister sexuality & dystopic undertone of Patriarchy to their entire ordeal, though, something that bubbles up to the surface with increasing violence as the unruly students bring their rejection of traditional gender roles to a boil.

The most immediately satisfying aspect of Paradise Hills is the visual splendor of its costume & production design. Although the titular obedience school is obviously an evil force that must be destroyed, there’s an intoxicating allure to its high-femme paradise. The lacy house robes & white leather bondage harnesses that serve as the school’s uniform are their own kind of gendered prison that erase the individual women’s distinguishing features, yet are also undeniably gorgeous & covetable on their own merit. Similarly, the school itself appears to be a romantic spa getaway for the ultra-rich, not the brainwashing torture chamber that it truly is. This is far from the first fairy tale to allure characters in with a bounty of sensual pleasures only for the fruits therein to be revealed as rotten, cursed, or poisonous. In that tradition, Paradise Hills presents a fairytale Eden that’s deadly dangerous precisely because the pleasures it offers on the surface are so tempting. It would be far too easy to lose yourself in this pleasure palace – both literally and figuratively.

Many people are going to roll their eyes at how earnestly this film commits to its over-the-top, Literotica-ready premise, but I found that sincerity to be refreshing. Undercutting the absurdity of its fantasy scenario with snarky one-liners or tongue-in-cheek camp would have broken its dark magic spell. Waddington (boosted by a cowriting credit from the increasingly fascinating Nacho Vigalondo) carves out a very peculiar, particular mood & aesthetic here, even if she uses familiar genre tools to get there. Welcoming in audiences who aren’t already on the hook for the film’s high-femme fairytale mystique with ingratiating humor would only deflate what makes it special. Paradise Hills’s uncanny sense of femme menace works best if the sensual surface pleasures of its fantasy realm instantly appeal to you as a world where you could lose your sense of time and self. It’s a film you sink into, like a warm familiar blanket, until you suffocate.

-Brandon Ledet