Best Netflix Original Movies Of 2019

If you’re looking for something to watch as we say goodbye to 2019, here are the best Netflix original movies of the year. The streaming service continues to heavily invest in original TV shows and films, and this year released numerous awards season contenders. But the most high-profile films aren’t always the best in comparison to lesser-known international releases. Here, we break down 10 films that left a mark in 2019.

In 2018, Netflix released critically-acclaimed films such as Alfonso Cuarón’s Roma and the Coen brothers’ The Ballad of Buster Scruggs. This past year, films like High Flying Bird and Velvet Buzzsaw didn’t necessarily become pop culture talking points, but the throwback action film Triple Frontier did earn some buzz, if only for its popcorn entertainment appeal. Netflix scheduled the biggest releases for later in 2019 as part of a strategy to align with awards season contention.

So, let’s get to it. These are the best Netflix Originals of 2019: high-quality films that effectively balanced style with substance, and have something to say.

10. Fractured

Directed by Brad Anderson, Fractured relies heavily on Sam Worthington’s central performance. After a near-tragedy, Ray Monroe (Worthington) brings his injured daughter Peri (Lucy Capri) and frightened wife Joanne (Lily Rabe) to a hospital, only to lose sight of them and then be told that they were never really there. The psychological thriller excels through pacing and restraint, most notably when a subplot implies that Ray might have discovered a secret basement operation.

At 100 minutes in length, there’s a Twilight Zone effect to Fractured that creates a sense of sustained paranoia. Anderson essentially revs the engine early on, and doesn’t hold back as Ray increasingly becomes more disturbed and maniacal. He’s both a sympathetic figure and a man clearly on the edge of a breakdown. Structurally, the editing captures the essence of the film’s title. Fractured is a solid Netflix original, one that released without much buzz as the streaming wars escalated in October 2019.  

9. Always Be My Maybe

Explorations of culture fuel Nahnatchka Khan’s Always Be My Maybe, a romantic comedy with a loaded soundtrack. Ali Wong stars as celebrity chef Sasha Trana, while Randall Park plays her long-time pal Marcus Kim – an endearing San Francisco native who’s yet to fully take control of his life as an adult. The first half of Always Be My Maybe hits all the usual genre tropes, but the comedy significantly increases when Keanu Reeves makes a cameo as a caricatured version of himself.

By delivering an exaggerated performance as Sasha’s new boyfriend, Reeves shines a light on the natural chemistry between Wong and Park, who previously collaborated on ABC’s Fresh Off the Boat. Once Sasha and Marcus unload their feelings, both quietly and loudly, Always Be My Maybe suddenly feels more organic and less contrived. Whereas Netflix’s 2018 rom com Set It Up highlights the charisma of female lead Zoey Deutch, Khan’s film similarly does the same with Wong, only her character’s road to reality is much more intense. Despite all the genre cliches, Always Be My Maybe is indeed a smart romantic comedy – one that features characters who must truly humble themselves to find happiness. 

8. Atlantics

The epitome of original filmmaking, Mati Diop’s Atlantics revolves around dreams and nightmares in Dakar, Senegal. When construction worker Souleiman (Ibrahima Traoré) stresses about his financial security, he sets sail with numerous Dakar locals in search of better opportunities. Meanwhile, Ada (Mame Bineta Sane) plans to marry the brother of her star-crossed lover, Souleiman. As the Dakar narrative becomes more hectic, Atlantics’ visuals become moody and atmospheric. Diop initially pays homage to famous Senelgalese filmmakers like Ousmane Sembène and Djibril Diop Mambéty, only to establish her own cinematic voice.

Atlantics stands out for its visual style, but also through Diop’s messaging – specifically via the lost spirits that haunt Souleiman’s brother, Omar (Babacar Sylla). There are no clear-cut answers from act to act, but rather the implication that the characters must look deeply inward in order to find a sense of peace. Atlantics spotlights the work of a filmmaker-on-the-rise, and Diop even made history by becoming the first black woman to have a film in competition at the Cannes Film Festival.  

7. Soni

A Hindi-language film, Ivan Ayr’s Soni explores gender roles in New Delhi. More specifically, it’s about the danger that women face when challenging authoritative figures. In this case, Geetika Vidya Ohlyan stars as the title character, a no-nonsense police officer trying to deal emotionally with a divorce. As Soni’s inner turmoil escalates, she becomes increasingly aggressive. When she slaps a Navy officer, Soni must face the consequences and confront a patriarchal system that protects its own.

As with Fractured, Soni features a strong central performance. To complement the lead character’s morose mood, cinematographer David Bolen keeps a saturated color palette throughout, making it seem that Soni is living in steady rain. Ayr’s film plays out like a regular police procedural, allowing for he and co-screenwriter Kislay to focus on the systematic oppression that Soni confronts. And Soni isn’t quite an innocent figure, either. She’s rough around the edges, and makes various questionable decisions. But such is life, though. As Soni suggests, a change of scenery can sometimes lead to a refreshing new perspective.

6. Dolemite Is My Name

In Dolemite Is My Name, a comedy icon delivers a master class in situational humor. Eddie Murphy stars as real-life filmmaker Rudy Ray Moore, who made and starred in the 1975 Blaxploitation classic Dolemite. Written by Scott Alexander and Larry Karaszewski, Dolemite Is My Name pops from scene to scene with sharp one-liners, while Craig Brewer’s direction captures  all the atmospheric flavor of Rudy Ray’s world, much like he did with the 2005 music drama Hustle & Flow. But Dolemite Is My Name is ultimately a showcase for Murphy, who proves that he’s still a viable leading man.

There’s a true nostalgic quality to Dolemite Is My Name thanks to Murphy’s dialogue delivery. Long-time fans will surely think of comedic gags from the Beverly Hills Cop franchise, or even Murphy’s classic ‘80s stand-up shows. But what’s fascinating is Murphy’s versatility as a performer. Time and time again, he’s shown a unique ability to improvise in the moment, but also scale it down for genuine and heartfelt interactions with supporting characters. Dolemite Is My Name may not go down as one of the most enduring Netflix Originals of 2019, but its weak spots are few and far between. The attention to detail is immaculate, specifically in how Brewer re-creates the most famous Dolemite moments. It’s a well-oiled machine made by seasoned Hollywood pros. 

5. The Forest Of Love

Directed by Japanese filmmaker Sion Sono, The Forest of Love is a bizarre, 151-minute dramedy about meta filmmaking and manipulation of power. It’s a violent and provocative film centered on the mysterious Joe Murata (Kippei Shiina). At first, he’s viewed as a menace to a group of young guerrilla-style filmmakers, and could even be a sexual predator. But he’s also charismatic and motivated, which sparks a downward spiral for everyone that he interacts with.

It’s not an easy watch, as The Forest of Love includes scenes of suicide, sexual assault, and graphic depictions of murder. Beyond all the cinematic provocations, however, there’s an interesting character study to consider for not only Murata, but also the youths that he preys upon. By slowly revealing the truth about his personality, Murata somehow manages to gain more power, just like wealthy individuals who choose to double down with bravado rather than repeatedly apologizing for questionable acts. The Forest of Love drags at certain points, but it’s always evident that Sono is making the film that HE wants to make; a Dostoevskian-inspired tale about crime and punishment. And Sono seems to be having one helluva time, allowing for a rollercoaster viewing experience. 

4. I Lost My Body

A French animated film directed by Jérémy Clapin, I Lost My Body features a surreal premise for a commentary about acceptance and fate. The film begins with a severed hand trying to find its body, a subplot that complements the primary storyline about a lonely pizza deliver boy named Naofel. He secretly obsesses over a customer named Gabrielle, and secures a workshop job with her father. I Lost My Body has the tone and mood of a Guillermo del Toro film, but the key to its effectiveness may be the increasing suspense and visual foreshadowing about the inevitable severing of Naofel’s hand.

Naofel is a tragic figure in I Lost My Body, having been traumatized by a childhood car accident that left his parents dead. If he doesn’t initially feel relatable due to his low-key stalking, that changes once he builds a genuine friendship with Gabrielle. They’re both stuck in a moment, unsure about what the future will bring, especially given that Gabrielle’s father is sick. As a whole, I Lost My Body is memorable for its visual aesthetic, and also for the unorthodox narrative. But Clapin’s film becomes incredibly moving, and subversive, once the severed hand finds it way back to Naofel.

3. Marriage Story

Noah Baumbach wrote and directed this Netflix Original, a film that was partially inspired by his relationship with Jennifer Jason Leigh. In Marriage Story, Scarlett Johansson and Adam Driver star as separating couple Nicole and Charlie Barber, who discover just how emotionally draining divorce proceedings can be. The film is surprisingly lighthearted and full of memorable performance moments, courtesy of the acclaimed ensemble cast.

For example, Merritt Wever has a relatively small role as Nicole’s sister Cassie in Marriage Story, but capitalizes on her brief screen time with numerous comedic moments. Similarly, Alan Alda takes a naturalistic approach with his lawyer character Bert Spitz, a man whose empathy grounds every one of his conversations with Charlie. The Marriage Story headliners are Driver and Johansson, of course, and they showcase their full skills sets through deeply intense and casual conversations. Incidentally, Marriage Story captures all the ups and down of a divorce, and how on-going events affect everyone associated with the couple in question. Baumbach always seem fully in command of his craft, but Marriage Story seems a little more refined than his past films, large in part because of the vulnerability factor that translates on screen.  

2. The Two Popes

Whereas Marriage Story is grounded in everyday concepts, The Two Popes is more philosophically expansive. Directed by Fernando Meirelles, the drama focuses on the relationship between Pope Benedict XVI (Anthony Hopkins) and Cardinal Jorge Mario Bergoglio (Jonathan Pryce) who form a unique bond while discussing the future of the Catholic Church. Bergoglio was selected for the papacy (Pope Francis) after Pope Benedict XVI stepped down in 2013. The Two Popes addresses well-publicized scandals associated with the Catholic Church, but never becomes so intense that it feels like a traditional drama about religion. Instead, it the character interactions that keep the film from becoming too heavy, even if that means fictionalizing certain events. 

The lead performances by Hopkins and Pryce are the main attraction, but it’s Meirelles’ direction that makes The Two Popes far more than just a decent character study. The filmmaker floods the screen with a variety of Vatican-themed colors, while cinematographer César Charlone does God’s work through visually symmetric framing that establishes a sense of order, but also clearly separates the main character in certain moments. And The Two Popes would be an inferior film without Anthony McCarten’s script, one that peppers humor into each papal conversation, but also features some truly visceral dialogue as well. The Two Popes is a masterful piece of filmmaking. 

1. The Irishman 

With The Irishman, Martin Scorsese shows that he’s still one of cinema’s most daring filmmakers. The 209-minute drama is based on the book I Heard You Paint Houses, which details the murder confessions of alleged hitman Frank Sheeran. Thematically, The Irishman hearkens back to many of Scorsese’s most beloved crime classics, only the scope and structure requires a little more directorial polish, most notably in relation to the de-aging technology used for stars Robert De Niro (Sheeran), Al Pacino (Teamsters leader Jimmy Hoffa), and Joe Pesci (Philadelphia mob boss Russell Bufalino).

Given the unreliable narrator (Sheeran), The Irishman isn’t quite a purely factual account of what transpired before Hoffa’s 1975 disappearance. But Scorsese’s epic runtime and narrative structure allows for a slow burn viewing experience that properly explores the totality of Sheeran’s confessed timeline. Some performers barely speak at all, like Anna Paquin as Sheeran’s unnerved daughter Peggy. But therein lies the beauty of The Irishman, as Scorsese provides all the expected mayhem from male characters, but also delivers subtle commentaries via what’s kept below the surface, a la Ernest Hemingway’s Iceberg Theory. Even if Sheeran’s account isn’t true, The Irishman remains a fascinating Netflix Original about revisionist U.S. history.

About The Author

Q.V. Hough
(1892 Articles Published)

Q.V. Hough is a senior writer at Screen Rant. He’s also the founding editor at Vague Visages, and has contributed to RogerEbert.com and Fandor.

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