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I won't preamble anymore than I need to, a lot of stuff has consumed my life. This blog to a distant backseat to my new podcast, 'Echo'. However, I am loyal to this one tradition, and I've done my best to watch as many movies as I can prior to the Oscars, as usual. I've missed some stuff, but at this point, they're comparatively smaller titles. I'm content with this list being as it is while I continue to plough through the rest of the year's films. I love cinema now just as much as I did when I last posted, so if you're at all curious anymore, I feel it's only right to present to you this epic list of masterpieces.
Here, therefore, are my blindspots for 2018, the films I have yet to see but most desperately want to:
Blindspotting
Burning
Cold War
The Hate U Give
Mid90s
Minding the Gap
Rafiki
Shoplifters
Support the Girls
The Tale
And here for the briefest moment are my honourable mentions, in alphabetical order:
Black Panther
I understand a lot of the more legitimate criticisms directed toward the rushed finale and iffy special effects, but the film itself deserves so much credit for being so thrilling, thought-provoking and empowering for people the world over. Ryan Coogler, Michael B. Jordan and the rest of the cast and crew deserve every laurel they've earned so far. Marvel's game only got stronger for this film existing.
Eighth Grade
I wonder if I empathize with teenagers a bit more easily as an adult than I ever did as an actual teen. Either way, Eighth Grade is a wonderfully sincere film that captures the awkwardness of early high school while also being very funny, and tugging at your heart strings. Elsie Fisher is an actress to treasure.
The Favourite
Yorgos Lanthimos only becomes more fascinating with every film, and The Favourite is certainly his most grandiose statement of his aesthetic. Sharply written, bizarrely shot and acted to perfection by stars Rachel Weisz, Emma Stone and Olivia Coleman, this is one costume drama that's hard to forget.
The Old Man and the Gun
This marks the end of Robert Redford's acting career, and while director David Lowery insists that it wasn't made as a swan song, the film feels so sincere as a tribute to Redford's astounding legacy. Redford is charming as ever, and it's refreshing to watch a film that is both artful and optimistic.
They Shall Not Grow Old
Peter Jackson's documentary featuring restorations of film footage from the Great War is just as fascinating as a technical feat as it is heartfelt as a tribute to the soldiers who fought and died. It creates a potent image of life in the war, and leaves you in stunned silence afterwards.
Thus begins:
My 10 Favourite Films of 2018
10. First Reformed
It's very easy to draw parallels between First Reformed and any number of films from writer-director Paul Schrader's past. Most other critics have emphasized his seminal work as a writer on Scorsese's Taxi Driver. I myself have drawn parallels to his other Scorsese project The Last Temptation of Christ. It's an interesting comparison, for sure, but I wonder if that takes away from how truly powerful Schrader's latest masterwork is on its own terms. Schrader has captured in microcosm the perspective of people who make themselves live in constant doubt, questioning of their faith and their humanity, which makes for one of the most powerful religious dramas in recent memory, better even than Scorsese's own Silence. Ethan Hawke stands front and centre in this film and gives a career-defining performance, my personal favourite by an actor in 2018. Without even raising his voice, he conveys so much inner turmoil as he has to confront the questions of people in his community and the demons that his mind won't release, no matter how much everyone around him insists he must. The whole of First Reformed is stark, subdued and visceral, and it should be discussed just as much as a career highlight for both its star and its director as it has been discussed as a small chapter in their stories.
9. The Other Side of the Wind
It took more than 40 years to release Orson Welles' last feature film to the public, let alone in the theatre. The Other Side of the Wind could not have been more worth the wait. With a restoration of sorts overseen by producer Frank Marshall and director Peter Bogdonavich, Welles' wild and bizarre mesh of arthouse pretension and scathing satire of the 70s film industry comes vividly to life, whether on the small screen or the large. Welles and Oja Kodar's writing is so clever, whip-smart, and relevant in its critique of the audacious, controlling film director - played by the irreplaceable John Huston - that you would swear the two of them had a crystal ball to see the state of the industry today. What's perhaps more impressive for a film that stayed incomplete for so long is the editing is so tight, sharp and aggressive. The whole thing is such a rush, jumping between two separate styles of filmmaking, each presented masterfully in their own way, and I was locked to the screen throughout the entire movie; even in its moments of odd continuity errors, it feels so effective as a critique of the films of the French New Wave or Federico Felinni. I have yet to watch the companion documentary for this film, They'll Love Me When I'm Dead, although I most definitely plan to after experiencing the film for the marvel that it is all its own.
8. Won't You Be My Neighbor?
It's been said by more than one person that Won't You Be My Neighbor? will restore your faith in humanity just ever so slightly... I won't presume anything... But even as someone who did not grow up watching Mr. Rogers' Neighborhood, I needed this movie to remind me that there are caring people in this world who want us to see ourselves in the very best light. Morgan Neville, who also made the previously mentioned They'll Love Me When I'm Dead, does not shy away from being sentimental with this new documentary, and in this context, that's absolutely the best thing you could do. The show overflows with a feeling of nostalgia and love, but not simply because the show made children happy. It's looking back on an era when a man like Fred Rogers would do everything he could to speak to every child as an intelligent human being and convey to them what they ought to know about the world, in both bright and dark times. This is the type of communication that is seriously lacking not merely in children's programming, but in so many fields the world over. There was one moment alone that proved to me that this movie mattered more than any other documentary I saw this year, a scene where I could not help but think to myself, 'I wish someone had said this to me as a kid.' I will only give you one word: duet... now excuse me while I cry. Watch this movie. Just do it. It may just be the best medicine you could ask for.
7. Spider-man: Into the Spider-Verse
WHAT IS GOING OOOOON!!!??? If any of you out there still remembers my Marvel movie marathon from about two years ago, you should know that I do not have a fond relationship with Spider-Man; I did not watch the Tobey Maguire movies as a teenager, I could not connect with them when I finally watched them in my University days, and I have been continuously underwhelmed by his other films since then. I was therefore skeptical of Spider-Man: Into the Spider-Verse basically from the get-go, aside from the possibility that the animation would look cool. Well, not only does it look cool, it's also well written, well acted, well structured, and basically a masterpiece of both the animation field and the superhero genre. The film is vibrant from head to toe, with colour, style and attitude flying at you left and right. The voice cast is off-the-charts, featuring Shameik Moore, Hailee Steinfeld, Mahershala Ali, Lily Tomlin, and the best ever use of Nicholas Cage in a superhero movie (which may not be saying a lot, but still!) So much care clearly went into the creation of this film, from the directors to the writers to the entire animation crew, and in a year where we lost an icon like Stan Lee, it feels so right to see one of his most iconic creations given such a - pardon the pun - Amazing film. I can finally say this unironically: Into the Spider-Verse is the best Spider-Man movie that has ever been made. Try to argue otherwise; you will lose.
6. Widows
You may disagree with me if you have a much shorter attention span, but Widows may just be the single strongest piece of pure entertainment I saw in 2018. Steve McQueen's follow up to the 2013 masterpiece 12 Years a Slave is not short on social commentary in its own right, pressing on issues like inter-racial marriage, the economic divide, and of course, its heavy emphasis on the struggles of its female leads. Even if it didn't have those things, however, I feel like I could not have been more utterly engrossed in this masterful slow-burn of a heist movie. Co-written by Gone Girl's Gillian Flynn, McQueen's film is presented so confidently and is so expertly crafted that you savour every second of the ladies planning their stakeout, taking their enemies' names and doing everything they can to survive for the sake of their families, their livelihoods and their dignity. Everyone in this movie is perfectly cast, with Viola Davis owning every scene she's in and yet still having to compete with the likes of Cynthia Erivo, Elizabeth Debicki and Danial Kaluuya. Widows left me riveted in every way. It may not be the most traditionally entertaining film of the year, but it's the kind of entertainment that I absolutely relish.
5. The Rider
Chloé Zhao's The Rider is the most unassuming film on this list. It does not strive to overwhelm you with spectacle or make you feel big grand emotions, and it's not driven by star power. In fact, none of the cast members are even professionally trained actors, just a rodeo rider, his family, and his friends. But it's that same quiet simplicity that made it so touching and so beautiful while I was watching it. Brady Jandreau's leading performance works so well because there aren't any actorly inflections in it. The words that he says hit so much harder because he says them like any ordinary person would. The film leaves you heartbroken at his desire to ride in the rodeo again, just as much as it makes you feel uplifted by the way he interacts with his horses or with another severely injured rider. All the while, the film draws you nearer to it with beautiful photography by Joshua James Richards. I was surprised to find myself watching this movie with an aunt, and we both had the same reaction to it. This was possibly the movie going experience that I was most touched by, and that unexpected company made it all the better as well.
4. Sorry to Bother You
Sorry to Bother You is the most insane movie to come out of 2018, which is both a blessing and a curse. I attended a screening of this film where there were maybe just seven people in attendance, and I'm not really surprised by that. In his directorial debut, Boots Riley has thrown everything into his savage takedown of corporate and racial inequality in the world of... telemarketing!? You know what, I'm not gonna question that. I hate talking on the phone for a living as much as anybody does, why not make a movie that takes it down a peg but with way more style and a lot more visual insanity!? Nearly every scene in this film features some kind of subtext, something in the background you may not notice the first time. Out of all of these, I most look forward to revisiting this film and picking up on all of its disparate ideas. Much like Get Out last year, the film is sharp in its commentary while also being riotously funny. Also, I just want to say this: I'm so glad that Tessa Thompson had a huge year. She was in so many features this year. Between this movie, my #3 movie, Season 2 of Westworld, even in just an average film like Creed II, she's such a talented actress and she deserves this kind of attention from studios. Sorry to Bother You is not the most accessible of those films, but it deserves to be seen for its audacity. Boots Riley clearly went all out with his debut, and in spite all of the crazy things that bombard the viewer at every moment, it absolutely, unquestionably works. I can't wait to see what he does next.
3. Annihilation
Existentialism... Do I really need to explain my love for this movie anymore than that? Alex Garland has followed up Ex Machina with yet another science fiction masterpiece, this time bringing a heavy dosage of Andrei Tarkovsky with him for safe measure. Annihilation's meaning has been debated by more than a few people the world over, whether it be symbolic of depression, disease, or just how significant humans truly are in the universe. I have my own idea of what concept it is trying to convey, but even before you start questioning what its meaning is, you have to see the film for yourself. This movie is filled with some of the most stunning imagery I've seen all year, with beautiful visual effects, art direction and creature designs peppered throughout. It features the heaviest atmosphere of any movie this year, some of the finest subdued performances from Natalie Portman and (yep) Tessa Thompson, and it contains the single scariest scene of any movie in years, better than any horror movie could even try to match. It does make me somewhat sad that so few people got to see this movie on the big screen before it was rushed to Netflix; the film works best when you let it envelop you with its majesty, its ideas and its complex emotions. Hopefully, the wider distribution on Netflix has benefited the film slightly more than the box office returns would indicated. The movie deserves to be discussed in the same conversation as other recent thinking-mans sci-fi like Under the Skin and Arrival. I also look forward to finding someone who will have that conversation with me, but one step at a time.
2. BlacKkKlansman
It's about goddamn time for another great Spike Lee joint. From Do the Right Thing to Malcolm X to 25th Hour, Spike Lee owns a place on my list of all time favourite directors. His filmography is not perfect, but when he has absolute control over a film, it is something to behold. BlacKkKlansman is his sharpest, funniest, most provocative and most complete film of this decade, and one of his very finest films. People can take the historical account of this film as they will, but the style, presentation, writing and acting are more than enough to make this stand out above any need for absolute accuracy. John David Washington and Adam Driver are amazing both separately and together, giving the audience an amazing dynamic that makes you laugh at one point and sear with rage the next. The photography and editing are beautiful, and the ending left me absolutely stunned in the absolute right way. The second that this movie began all the way until it ended, I was convinced that this was the year the Spike Lee was going to win Best Director. At this point, it only makes sense. No other director who released a film in 2018 has the same kind of legacy as Spike Lee, and it's about time that he was acknowledged for it. This is the year that he most deserves this kind of award, and this is the movie he deserves it for.
And then it happened.
1. Roma
I tried to think of whether or not I could give this position to BlacKkKlansman. For a long time after I saw it, I just wanted the year to end so that I could name it the best of the year. But how can I complain when the film that takes its place is Alfonso Cuarón's Roma!? No other film took me off-guard the way that this movie did. I joked on Twitter before seeing it, asking if I was ready for what Cuarón was going to throw at me... That's a very subjective question. I was ready to see what perspective Cuarón would present the film from, but I wasn't ready for where that film was going to take that character. Yalitza Aparicio gives a performance that I don't want to ruin by describing it in too many superfluous words. Like Hawke and Jandreau did in First Reformed and The Rider, she draws you in without asking you to pay attention to her. She just carries you through the life of this housemaid living in Mexico City as she watches her life and the family she works for slowly come apart at the seams, lifting your spirit and breaking your heart all the way through. Cuarón likewise does so much without imposing anything on the audience, shooting the film himself with simple set-ups and long takes, employing no musical score, and just letting you watch this lady and this family live. He does not manipulate, he does not compromise, and he does not take the easy way out of any of these situations. I can think of a number of films that this film reminds me of, but at this point, none of them matter so much as how Roma made me feel in the moment on its own. These are feelings that I had never expected to feel, but often felt like I ought to. No other film in 2018 has made me feel so empathetic to its main characters. No other film succeeds like it does in every single way. Welcome to Roma.
In the tradition of the person who started this blog long ago, here are my predictions for who will be nominated for Best Picture before the nominations are announced in the morning:
The top five, in alphabetical order:
BlacKkKlansman
The Favourite
Green Book
Roma
A Star is Born
The next most likely:
Black Panther
Bohemian Rhapsody
If Beale Street Could Talk
Vice
More than any other race in the last few years, I feel the need to emphasize that I'm only saying I expect these films to get nominated, not that I want them to. I wish Widows was in the conversation as I had initially expected, but I can't bank on my indulgence picks anymore. I've grown wise to that problem.
I'll see you in the morning.
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