Tuesday, December 31, 2019
The decade supplied ammunition for both arguments. It was the time of new and exciting voices like Yorgos Lanthimos and Christian Petzold, and of lazy underachievers like Uwe Boll. It was the age of billion-dollar blockbusters, and tiresome trends yielding colossal flops. Established filmmakers plodded along in a career trajectory that allowed for new and exciting ventures. Some promising newcomers like David Robert Mitchell, meanwhile, diversified their portfolio between solid entertainments (“It Follows”) and disastrous aberrations (“Under the Silver Lake”). But all the same we showed up, watched, and responded with our constant passion as moviegoers. A great film was never far from grasp at local art-house movie houses; so, too, was a bad one inevitably playing in the mainstream chains, where it stood a better chance of rising to notoriety, unintentional or otherwise. The common bond among all of them, you could say, was their ability to remind us that there is a bigger world outside of the Walt Disney brand, whose choke-hold on the financial market of moviegoing has cast an impenetrable shadow going into the next decade.