Al's Review of 2018 in Film

Last updated January 20 2018. Updates can be followed on Letterboxd.

New films seem to interest me less with each passing year. You could blame Hollywood for churning out its usual slate of formulaic, bland sequels and remakes, and I find it hard to overlook the onslaught of writing clichés, hole-ridden plots, and hollow storytelling that plagues many major blockbusters. I should have been excited for a lot this year—a new Star Wars movie focusing on everyone’s favorite smuggler, a new Jurassic World movie that finally ramps up to some kind of dino-apocalypse, a Tomb Raider reboot fashioned after the 2013 video game, Eli Roth’s version of Death Wish, Shane Black’s The Predator. How did all these fall so flat?

These days, I find it harder to trust Hollywood to deliver quality entertainment like they used to. It behooves filmgoers to seek out their own tastes among independent artists, and fortunately for everyone studios like A24 have reliably produced bold and interesting projects worth beholding. I haven’t caught up with all their latest releases, but Hereditary was one of the very few that walloped me on a deeper level. It was a haunting, unsettling experience that kept me up certain nights. A clichéd story perhaps, but one told well with incredible talents and a fresh eye for detail.

Yep, it’s been the horror movies that wowed me the most this year by far. A Quiet Place and Bird Box both offer similar premises brimming with thrills. There are hip new versions of Halloween and Suspiria movie out. Lars von Trier’s The House That Jack Built remains the most challenging of the lot, equal parts frustrating and terrifying, but I appreciate the themes expressed through its composition. Even genre films—First Reformed, Upgrade, Venom—have a dark streak that hint at deeper, primal horrors that plague our current world.

Revenge movies rocked the hardest this year. Interestingly, revenge is a theme that crops up in many of the mainstream hits—Black Panther, Ant-Man and the Wasp, The Incredibles II, and Deadpool 2 all feature revenge as the motivation for their villains. For the more morally ambiguous stories, there is a small wealth of other options. The Death Wish remake stands as the least-impressive, but it only goes up from there. Peppermint offers its share of thrills, and there’s a solid attempt at crafting a good story. Upgrade is just plain awesome. Revenge delivers its harrowing tale with a greater level of exploitation and visual acuity, which makes it equally ugly and beautiful. I found the film compelling that way, but Mandy achieves the same on a whole new level. Flawed and plodding perhaps, but it’s the one film that feels like it came from another world.

Speaking of other worlds, there is one singular film that really pushed the boundaries of convention and rocketed to the top of my list. One film seeped into my eyes with its phantasmagorical visions of two worlds colliding. Alex Garland’s Annihilation is the one film of 2018 that surpassed all my expectations, to the point of becoming my top film of the year. This film just couldn’t have been more timely—not only was I digging deeper into the genre tropes of comic horror fiction (which, in turn, affects my own attempts at fiction writing), but the film’s themes of self-destruction spoke to me in a time when I doubted myself the most. It’s as if the film grabbed me by the eyeballs and slipped something into my mind: a new perspective showing that genre fiction (sci-fi, horror, or both) is not bound by common tropes or rules, but can become something more through mastery over details, scene, character, and ambiguity. To say nothing of the unsettling music score, the uncanny visual effects, and creditable performances. Above all though, this film seemed to reflect my own experience of late—having faced a certain darkness within myself, I feel as though I’ve also overcome it, but came out changed.

As much praise as I give to the scariest films this year, there have been a few other pleasant surprises. Marvel’s 2018 line-up has been pleasing—although Ant-Man and the Wasp comes off as more of the same, Black Panther has merit in its story and themes, while Avengers: Infinity War beings to pay off on the many previous films with a glorious extravaganza of action and emotion. I also applauded the unusual finale, but it’s hard to remain left in suspense knowing that the next phases will undo the damage and keep the franchises running for a long time (but I’m sure I’ll enjoy the hype of Endgame). I’ve also been quite happy with Spielberg’s Ready Player One, Brad Bird’s long-awaited sequel to The Incredibles, and the latest Mission Impossible, which boasts some of the best action scenes of the year. Even though I’ve been critical of most others, there are occasional thrills here and there. Most other films never really surpassed my expectations.

There have been very few films I graded highly, and fewer still generated any palpable hype or excitement. Of course, there’s always a chance I’ll find a wealth of great films I just haven’t discovered yet. Despite the disappointment in 2018’s slate, I will always value this year’s cinema for delivering Annihilation, and a good handful of other enjoyable films—both scary and comforting.

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Released films to be seen: Widows, Spider-Man: Into the Spiderverse, Suspiria, Blakkklansman, Rampage, Skyscraper, A Star Is Born, Tag

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Favorite film: Annihilation
Least favorite film: Higher Power
Favorite blockbuster: Avengers: Infinity War
Favorite arthouse film: Mandy
Favorite science fiction film: Ready Player One
Favorite fantasy/epic: Aquaman
Favorite drama film: First Reformed
Favorite action film: Mission Impossible: Fallout
Favorite superhero film: Avengers: Infinity War
Favorite comedy film: The Incredibles II
Favorite horror film: Hereditary
Favorite documentary: Full Circle
Favorite animated/family film: Incredibles II
Favorite foreign film: Along With the Gods: The Last 49 Days
Biggest guilty pleasure: Deadpool 2
Most disappointing film: A Wrinkle In Time
Favorite male performance: Josh Brolin in Avengers: Infinity War
Favorite female performance: Toni Collette in Hereditary
Favorite direction: Brad Bird, The Incredibles II
Favorite action scenes: Mission Impossible: Fallout
Favorite special effects: Annihilation
Favorite film score: Ben Salisbury and Geoff Barrow's score for Annihilation
Favorite theme song: Eminem's "Venom" from Venom
Favorite musical sequence: "Santa Claus Is Back In Town" from The Christmas Chronicles

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01: Annihilation

There is a solemn beauty in decay, and this is a rare kind of film that captures it with thoughtful quality. With the frightening premise of an alien ecology invading our own, the film drags us on an odyssey through an uncanny wilderness where truth and perspectives become distorted, and everything that makes us human is challenged by a darker, undefined shape. This is not just another alien invasion flick--it's a slow-burning, melancholic study of the unknown, both within and beyond us. This is the essence of horror--cosmic, existential, and psychological--and this is an experience that crept under my skin, seeped into my brain, and changed the way I viewed all genres and what they're capable of. Thanks to this film, everything I thought I knew burned away, and new truth rose out of the devastation. No other movie had this effect on me, and nothing will be the same.

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02: Avengers: Infinity War

The setup was long, but the epic payoff finally arrives for the last ten years of Marvel films. Infinity War brings Thanos to the stage, which not only wallops the screen with impressive spectacles of destruction and war, but also paints a compelling portrait of a mad tyrant taking extreme measures to rectify a universal problem. What keeps Infinity War from sinking into formulaic nonsense is its heart, which turns this multi-character extravaganza into a cathartic tragedy. The finale achieves a bold and uncanny climax, which promises at least one more round of films that will surely provide an uplifting rise of heroism. But you can't have a rise without a fall, and this is the film that brings an entire universe to its knees.

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03: Ready Player One

Steven Spielberg takes us on one more adventure, this time into the heart of pop culture itself courtesy of Ernest Cline's geeky (and rather awesome) novel. Brought to life in eye-popping 3D, the many worlds of Oasis offer a colorful explosion of sights and characters movie-lovers and nerds will know and love--everything from a certain time-traveling DeLorean to Mechagodzilla. With this backdrops of dank avatars, the story offers an adventure full of action, heart, and spirit--not so much a result of endless SFX as it is a fair adaptation of the source material (with some of the plot improved or altered for the big-screen's favor) with a likable cast. I had a blast watching this army of young gamers take on the man--of all the blockbuster experiences, this is the one that feels the most fulfilling.

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04: The Incredibles 2

In 14 years, the Incredibles haven't aged a bit. The original movie aged like fine wine, and chances are good its sequel will too--the latest adventure pits everyone's favorite super-family against a new round of challenges, both personal and incredible. New issues reflecting modern-day media bias and technology are wrapped around the formula of the first film, with a new barrage of great action and humor. The characters remain a lovable bunch, and the family dynamic keeps all their stories compelling--I welcome more and I hope it doesn't take another 14 years to get a third film.

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05: Upgrade

The revenge film for sci-fi fans, but without the black-and-white morality of RoboCop. This simple, unassuming thriller sets an upgraded man on a vigilante quest, and it's just plain awesome to watch the gory, high-powered fight scenes. That in itself was rewarding, but the film pulls some intriguing twists that underscore the dangers of technology and transhumanism. This film is everything I wanted Hardcore Henry to be, but with more nuance.

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06: Hereditary

This film inherits its greatness from many other horror classics before it. Surely we've all seen ghost and possession stories before. But Hereditary is a bold breed of film that slows things way down, allowing us to feel the tension through every carefully-placed detail and eerie gaze. Dark and troubling themes erupt as a family slowly melts down, and the unsettling experience remains compelling thanks to the superb script and cast (with Toni Collette shining as maybe the best performance of all movies this year). It's all immortalized with classy photography and precision editing. Not only is this the best-looking film of the year, it's easily the most disturbing.

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07: A Quiet Place

In the most unique premise of the year, this modern talkie gives us a compelling drama with virtually no words spoken. In the shadow of monsters that attack things that give off sound, the characters use the full range of expression and detail to paint a clear picture of their taut, post-apocalyptic world. It bears all the desperation of a movie like The Road, but with the tension of a great monster movie. Equal parts delicate and brutal, A Quiet Place might just leave you speechless.

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08: Mission Impossible: Fallout

After five missions, Tom Cruise damn near kills himself in this series of grand stunt sequences that tops every other film in both scope and style. The action has never looked this good, courtesy of superb cinematography, ambitious action, and gorgeous locales. The story unveils important truths, especially regarding old and new characters, that pushes the series into more relevant directions. There has never been this much gravitas in a Mission Impossible film--it is a classy milestone for the saga and for action cinema.

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09: Revenge

Recent trends in glamorous and polished exploitation films continue. What a surprise, Revenge is a story all about revenge! Generally not much different from all those I Spit on Your Grave movies, except the style is very punchy and unique, elevating the film into something that feels more metaphorical and significant. The blood and grit gives the film intensity, but the cinematography, editing, and performances paints a vivid and memorable image of one woman rising above pain, humiliation, and adversity. It might be the most triumphant movie of its kind.

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10: Mandy

When you gaze at the screen to behold Mandy, it's not so much a film as it is a neon beam emanating from the blackest void of nihilism to your bleeding eyeballs. More than a simple revenge story, this is an otherworldly odyssey so insane that Nicholas Cage seems like a perfectly normal person by comparison. Nothing makes sense--it's not supposed to be understood or reconciled. All this film is meant to do is burn slowly in the mind, until you also feel the desperation, angst, and insanity. I value Mandy for scooping the gray matter out of my skull and replacing it with pure metal.

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11: Bohemian Rhapsody

For generations, Queen was the champion. To chronicle their early career through the silver shades of Freddie Mercury, Rami Malek delivers dynamite with a laser beam. Easily the best performance I've seen all year--it really is a kind of magic (and holy cow, the dude won an Oscar for it). The music will rock you, but most of the story is glued together from the stuff in between, showing the band under pressure. Even if it's a familiar biopic formula, it is more compelling than the average bicycle race. Is this fantasy, or is this the real life? Bohemian Rhapsody tackles both with style that pops, so either way the wind blows doesn't really matter to me.

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12: The Favourite

This movie is so cheeky, Queen Anne couldn't possibly slap it hard enough. As appropriate to 1700s England, this script sharply disguises angst, lust, and vengeance beneath a thin layer of class and wit. The occasional burst of subtle expression and emotion are animated perfectly in Olivia Colman, Emma Stone, and Rachel Weisz, whose rivalry keeps the story compelling despite how stiff the subject matter is. Props should also be dispatched to the rest of the dedicated cast the vivid cinematography, lush production design, razor-sharp editing, and an even sharper script. Though I would have welcomed a firmer resolution, the film's sheer quality and personality won me over. Move aside Barry Lyndon, this is the new favorite.

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13: Aquaman

Aquaman is a joke to some people, and the film might come off as pure nonsense to many. I see it as a serious attempt to make the character and his world count, and it works. The kingdoms of Atlantis are easily the most magical sights I've seen since The Abyss, and it's a spectacular backdrop for epic battles you won't see anywhere else. Aquaman himself is an interesting character (could this be Jason Momoa's best role?), and his adventure underscores enough lessons on morality and birthright to  make him a hero worth rooting for.

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14: Sorry to Bother You

Weird, but shockingly relevant and compelling. This modern yarn offers a solid story, populated by a dedicated cast that collectively uncover the unsettling truths of modern corporations, politics, race relations, and personas. Combined with the occasional visual flair, the film is a twisty, surreal experience that has to be seen to be believed or understood.

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15: Halloween

In a year where horror cinema stands out so vividly, John Carpenter's original shape remains a shadowy specter in this year's stage of the macabre. Now replenished and released in a polished new form, Halloween delivers more of what fans love--gruesome deaths and scares grounded in suburbia. Only now, the tables turn and the line between human and inhuman shapes are blurred, courtesy of Jamie Lee Curtis' intense performance and her climactic duel with the iconic Michael Myers. The film's style is fresh, to the point of outclassing all other Halloween sequels. It's the send off this series always needed and deserved. Happy 40th birthday, Michael.

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16: First Reformed

Through the eyes of a troubled priest, this film offers a thoughtful, meditative, compelling critique on the modern world. One can't help but to feel the sheer desperation, conflict, and sorrow as Ethan Hawke's nuanced performance captures the fears of a world in decline. Pollution, climate change, loss of faith, politics, corporate greed--it's as if the film bottled up all of the world's worries and filtered them through disillusioned eyes. It's as nuanced and punchy as Taxi Driver, but with its own unique voice and style. Dark and troubling, but it's the film that reflects the most truth in 2018.

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17: Deadpool 2

Never before has the world seen a sequel as perfect as Deadpool 2. Not even The Godfather Part II could match the sheer ambition, scope, and storytelling depth. The exploration of social injustice uncovers more truth and sorrow than the entire Human Condition trilogy. This compelling testament to mankind's greatness is enshrined with luscious cinematography that puts Ron Fricke's work to shame. The script shows a great mastery of words that would have made Rod Serling blush. And the performances--the sheer talent outshines the last ten years of Academy Award winners. This is not just a movie, this is a powerful, life-affirming experience.





No seriously, cool movie bro.

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18: Ant-Man and the Wasp

Presented as the palate-cleanser following Infinity War, Ant-Man's latest adventure promises more of what we love with a little more polish. And the film delivers--the shenanigans with things shrinking and growing makes the chase formula fun and visually awesome. The stakes remain compelling thanks to its likable group of characters, but the film never beats you over the head with pomp or grandeur. It's a simple, laid-back, entertaining adventure, and like the world's best grandma it's perfectly lovable that way.

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19: Solo: A Star Wars Story

The backstory we never needed or asked for, but maybe the one we deserve after all. Solo does a surprisingly good job of checking off the checkboxes behind the famous smuggler's history, while giving the character personality and depth. With Ron Howard's sense of adventure, the film is stuffed with charm, thrills, and wit. I had nothing but good feelings about it.

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Other Great Titles Worth Renting:

Bird Box: A fair companion to A Quiet Place, just not quite as exciting or fresh.

Black Panther: At its best, culturally significant. At its worst, formulaic. It's a good superhero movie, plain and simple.

The Death of Stalin: There's solid comedic potential in this polished film, but like other high-class high-brow comedies this one just fell flat for me. Worth a look for its talent and occasional jab, but it is a dry affair.

First Man: I expected more from this director, but then again maybe it's just the staleness of the subject/genre. We've all seen astronaut movies before, and this doesn't feel much different than The Right Stuff, aside from having the modern polish and more grounded drama. Can't say I'm a fan of the documentary-style camerawork, but the film has its visually impressive scenes and the performances aren't bad.

The House That Jack Built: I'm really torn on this one. I do appreciate the cinematography, the narrative, and the spectacular hellish imagery of the last act. Don't appreciate the writing, characters, and the impossible yarns this film weaves. Artistically impressive, but also frustrating.

Isle of Dogs: Pretty standard Wes Anderson film. It has the distinction of being animated and set in Japan. There's some thrills and quirks to be had, and the film has its charm.

Overlord: The film cleverly blends the occult with WWII tropes, becoming a tense and gritty thriller. Everything else about the film--story, plot, characters, writing, acting, cinematography--bear a good-not-great workman quality, which holds the film back despite the few good punches it manages to land.

Red Sparrow: Surprisingly fulfilling in its story and quality. It is best seen as a modern piece of exploitation, but it's done with a fair amount of class thanks to the elegant cinematography and raw performances.

Roma: Easily the best-looking film of the year, and I can see why many would praise this as the best of the year. Story and characters fell flat for me, I really didn't care for it much, but I do appreciate it as a film.

Suspiria: There are probably hardcore horror fans who lament over Dario Argento's film getting remade. This Americanized production packs a surprising wallop though, as it presents edgy dances juxtapose to brutal body-bending and splitting. The film bears an arty edge that feels uncanny and unnatural enough to succeed as horror.

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Guilty Pleasures:

The Predator: Borders on being tasteless and stupid, but I do appreciate the throwbacks and the overall sense of fun this film exudes.

Venom: A breezy film--not necessarily a smart one, especially with Tom Hardy's off-the-wall performance and the goofy writing. Like a modern B-movie, it’s rather bad, but surprisingly entertaining.

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Coming 2019!

Alita: Battle Angel: I'm a fan of the anime (read one of the mangas and it's cool too), and I've been eager for this film since learning about it some years ago. The CGI faces might be a little weird, but so long as the story's faithful and the action delivers, I expect great things. And everything I've seen looks spot-on so far. In Robert Rodriguez I trust.

Avengers: Endgame: Infinity War pushed the Marvel series to a bold new level--I got to see what happens next.

Awaken: Could be the best thing since 2012's Samsara. Tom Lowe won me over with his simple, understated, but compelling photography in Timescapes. Now that he's taken his camera to more countries to capture more of our world, I expect a beautiful, awe-inspiring experience.

Glass: Is M. Night Shyamalan back on form for real? His next movie might make or break him. If nothing else, I'm just eager to see how the threads of Unbreakable and Split come together in this offbeat superhero mash-up. Who needs the Avengers when a simple thriller in a mental institute can encapsulate the fundamental elements of good and evil?

Once Upon a Time in Hollywood: Because Tarantino and his epic cast.

Star Wars Episode IX: Episode VII won me over with its characters and slick new rebranding. Episode VIII won me over with story (even if half of everybody else hates it to no end). I have to see this one to the end.

Writing Prompt: Oh Heck

A prompt from Writer's Digest. In turn, this might have been taken from other sources around the Internet. It's been way too long since I did prompts, and I need to get back into shape writing-wise.

So the prompt for today is:

Finding the underworld rather crowded, Satan has instructed his incompetent younger brother Stan to open a milder version of Hell, known as Heck, for low-grade sinners. How does one end up there, and what sort of punishments does Stan devise?

I came up with this. It's pretty rough and I winged the whole thing without a specific plan, so it might come off as choppy, tonally inconsistent, and undercooked. Won't be fleshing this out into anything greater, it's just for the fun of it (and the exercise).

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Cory tumbled out of the black tunnel and landed face-first in a shallow pool of tepid water. His nose scraped against the crusty white lakebed. When he lifted his head up to breathe, droplets of salty water coated his lips and trickled down his throat. Seeing the white and blue expanse around him, he realized he landed on a water-covered salt plain.

The sky above him was blank. No clouds, no stars, just an empty void. It wasn’t so much dark as it was bland. In fact, that was the word that defined the place and how Cory felt about it—bland. This couldn’t have been heaven—it wasn’t nearly pretty enough, and he should have been joyous about it. But hell should have been much more oppressive than this. Purgatory? Even that middle-ground would have elicited some feeling.

He wanted answers, and he knew there had to have been an angel or demon around to make him welcome in whatever afterlife this was. Right when he considered shouting out for help, something splashed behind him. Cory saw a pink-skinned figure flailing in the foot-deep lake, acting as though he as drowning in the Atlantic.

Cory took a few steps and extended his hand. The other fellow’s palm met his, with long fingernails gently pressing into his wrist. They were claws, but their tips were filed down. Surely a demon, but did they like pedicures?

The creature pulled himself up, spitting quarts of water from his purple lips. Black hair clung to his shoulders, thick enough to form a curtain over his face. When he parted his hair, Cory beheld boyish pink cheeks and a pair of dull yellow eyes.

“Oh man,” the creature stammered. “Oh sh*t, I’m sorry dude. I f*cked that up so bad. Don’t tell me bro about this, okay? He thinks I have this teleportation thing nailed, but I totally don’t. This is so hard!”

 The best response Cory was able to give was to squint his eyes and blurt, “What?”

“Oh sh*t, I forgot about the intro. I was supposed to have meteors behind me and this really awesome dragon, and then I would come out of this tesseract thing like some kind of a bad@ss—”

“Just tell me where I am. Is this hell?”

“Um, yeah…no, sorry, this is heck.”

“Are you serious?”

“This isn’t, like, the real hell. Hell’s been full for a while, so we needed more space and my bro set up this dimension for you guys.”

“What? Hell is full? How is that even possible?”

“You know how many sinners there are, man? I mean, sh*t, ever since they invented video games everybody became a murderer.”

“What?” Cory blinked. “Killing an NPC is murder now?”

“It’s not, like, real murder, but it is murder. You used to play that car theft game, right. You killed like a hundred cops. That’s so evil!”

“But they weren’t real, and it’s not like I enjoyed it…”

“Hey, it’s okay. We got dudes here who killed more people than Hitler did, because f*cking games man. You ever play that one where you can make a virus and kill the whole world? That’s like seven trillion murders in one playthrough. We got people here who’ve murdered whole galaxies, man!”

“This can’t be happening,” Cory rubbed his head. “Who are you, anyway?”

“Oh, sorry dude. Totally forgot my manners. I’m Stan, nice to meet you.”

When Stan extended his hand, Cory shook it, then withdrew his arm with the exasperated realization that he just welcomed the being that would torment him for untold eons for reasons he didn’t even know.

“Wait a minute,” Cory said. “You’re some kind of demon, right? And you’re here to torture me? For what again?”

“First of all dude, I’m a prince, not just ‘some kind of demon.’ I mean, do I even look like an imp to you? Sh*t man. Second, um…it’s not so much torture, because I don’t like torturing people that much. Lucifer wanted all this to be like lava and sh*t, but I’m like naw man, let’s just make it a nice gentle lake. Not a pretty lake or anything, but something a little more welcoming than boiling magma.”

“Yeah, thanks, it’s a nice lake.”

“Oh no, don’t say that man! You’re supposed to suffer a little.”

“Why though?”

“Well, obviously the games made you a mass murderer.”

“Not for real though!”

“Tell that to all the dead pixels, man. Uh, let’s see…you’ve watched about a thousand R-rated movies.”

“What? That’s a sin too?”

“It’s not good for you, man. Same for all the porn you’ve seen, all the comics and pulp novels, listening to all that Mozart, eating pork, calling in sick when you weren’t, turning down Girl Scout cookies when they came around…”

“Okay, this is bullsh*t, seriously!” Cory shouted. “I haven’t sinned any worse than anybody else on Earth, so why am I really here?”

“Whoa dude, chillax. You think that just because everybody else does this sh*t you can get away with it too? No man. You’re here because of one thing. And because of that one thing, it all comes back in your face.”

“What one thing?”

“That’s the thing—it’s more like the thing you didn’t do, you know?”

“I don’t know, that’s the thing!” Cory paced in a circle, salty water splashing around his calves. There were thousands of things he didn’t do, and it wasn’t fair to judge him for any one of them. He couldn’t have earned his damnation for not giving up a seat on the bus, or not donating to charity when he should have. He never endangered a life or hurt anybody through inaction.

Then he realized he hurt himself through inaction.

“Of course,” Cory brought his palm to his face. “I didn’t go to church enough. Didn’t pray enough.”

“Yeah, that’s sort of it.”

“Sort of? Is it or isn’t it?”

“Chill dude. I didn’t take you for the angry type. You keep this up and my bro will knock you to Ring Five. You don’t want to go there, it’s nasty.”

“Just tell it to me straight—what didn’t I do in life?”

“You didn’t follow the path. You know, THE path.”

“The path…of Jesus?”

Stan suddenly brought his hands to his ears. “Oh, sh*t man, don’t even say that name!”

“What does that even mean though?”

As soon as the words left his mouth, Cory knew the answer. He had heard it all his life—follow in Jesus and he’d be saved. Except he never bothered to understand the meaning of it. If he had reached an understanding about it, he could have devoted his life to selflessness, generosity, and love.

What had he really done with the life he was gifted with? Senseless games, beer, and Internet trolling to filled his time. He spent most of it alone, ashamed, and depressed. Years of it ground against his heart, until it finally failed. He only had himself to blame.

“So what happens now?” Cory asked. “What’s the next level of…heck?”

“Oh, no, this isn’t like that man. This is it. What you see is what you get.”

“Really?” Cory regarded the flat expanse of salt and water with a scowl. “Where is everyone?”

“It’s a big dimension man, just keep wandering that way and you’ll find that group of backpackers who fell off of—”

“Wait a minute, is this really it? I’m just supposed to wander around here for eternity?”

“Yeah.”

“Is there no way out? No hope for salvation? I know what I should have done!”

“Do you though?” Stan’s yellow eyes glimmered briefly, and Cory took a step back. With a wide grin, Stan pointed behind him. “Here’s a secret for you. Head that way. Then maybe you’ll have a chance.”

It could have been a trick, but this was Stan and Cory didn’t take him seriously enough to think him capable of treachery. There was earnestness in Stan’s voice, and the glimmer in his eye was a challenge. Maybe there was a second chance, if he had the conviction to go through with it.

Stomping past Stan, Cory headed towards the boring white horizon. Nothing changed as he continued, step by step. Entire miles must have fell behind him, but he couldn’t tell. Time slithered with agonizing slowness, as the salt water stung against his ankles and calves.

Then, the water came to his knees. It wasn’t that the pool became deeper—he was shorter. Reaching down, Cory couldn’t feel his feet. They weren’t there—they had dissolved in the lake, and he was walking on the stubs of his legs. He wasn’t alarmed though. It didn’t even hurt. If anything, it was gratifying, because he knew this was the path. He’d become nothing, and by doing so, he’d rise into a new, better form.

He continued walking until his legs vanished. Then his stomach and hands. When his chest vanished, his head floated towards the infinite horizon, gradually sinking into oblivion.

On Earth, a newborn baby entered the world without crying. Too young to understand or know what soul now inhabited its pure body, but he would live a fresh new life full of chances to walk the path of love.

Al's Review of 2018 in Music

Listening to music in 2018 has not been quite as eventful as I wished it would have been. I've collected my fair share of music, including a lot of new soundtracks (films, games, etc), some new bands, and new stuff from old favorites. And yet, I haven't found much time to explore it all. If anything, I keep circling back to old favorites time and again.

Many of my usual favorite bands have pumped out some new music--NIN, Jack White, Saliva, Shinedown, Therion, Leaves' Eyes--but none of these albums were high points for me. At best, they delivered more of the same. At worst, I just couldn't get into them as deeply as I could their previous albums.

Few have surpassed my expectations though: new albums by Moby, A Perfect Circle, Klayton, and Muse are quite consistent and awesome. Wish I could comment on the modern pop scene, but my only glimpses of it have been with some occasional VA albums. The only single I can really name is the Chainsmoker's "Side Effects," which struck me as a nice, old-fashioned dance track, but like most other dance tunes it'll be forgotten pretty shortly I think.

There's been some superb rock put out, and the more I listen to the more I can hear the soul put into the vocals and lyrics. It's especially hard-hitting in Greta Van Fleet's work, which continues to impress. I've also been quite enamored by the new albums from Halestorm, Monster Magnet, and A Perfect Circle. It's also intriguing how the retrowave fad continues, not only through Scandroid, but now with Muse tapping into the style. Some folks probably hate the fad, but I welcome moar.

Been pretty happy with the latest electronica too, although very little of it hooked me as strongly as the rock. Was happy to get some more of The Prodigy and Juno Reactor, but the excitement faded when I heard the music and it didn't really stand out as strongly as their older works. Biggest electronic standout for me is Moby--his latest album delivered just what I expected and wanted.

Next best thing has been soundtracks, of which there are plenty. Video game music from Assassin's Creed: Odyssey is really nice. Plenty of film scores to choose from (including some nice, rhythmic works that went into Aquaman, Peppermint, Pacific Rim: Uprising, the Halloween remake, and more). Of course, you can't go wrong with the classy orchestral scores for the latest Star Wars or Avengers flick.

If there is anything that really stood out above-and-beyond all others, it's actually the film score for Annihilation. The movie itself is an unforgettable experience that I couldn't stop obsessing over--the music accentuated the experience, and on its own it managed to creep under my skin. It takes a lot for an instrumental piece of music to scare me--this one managed to do just that, and it's stirred my imagination with dark, disturbing visions of otherworldly things. The perfect inspiration for some of the weirdest stories in my head. As unconventional and eerie the music is, I can't help but to regard it as the best work of musical art in 2018.

Although, I will give the edge to A Perfect Circle's album as my favorite of the year. Heavy where it needs to be, but surprisingly mellow for most of its songs--it's such a moody listening experience, but the lyrics speak to me on a more fundamental level and it can be fairly inspiring in its own right.

So, that's all I really have to say about this year. Found a few good rock, techno, and soundtrack albums, but the rest fell a little flat.

Al's Favorite 2018 Albums

Generally in order from most-favorite onwards. Only listing the ones I've heard in full and really loved.

01: A Perfect Circle - Eat the Elephant

Man, how long has it been since APC put out anything? Few of their new songs have some good oomph to them, but surprisingly it's the slower songs I find most compelling. Songs like "Eat the Elephant," "Disillusioned," and "The Contrarian" strike a slow, steady beat, but with haunting lyrics that evoke strong themes anybody can draw inspiration from. It's a consistent, well-structured album that sticks. Go ahead, take the bite.

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02: Ben Salisbury and Geoff Barlow - Annihilation Film Score

Annihilation haunted me throughout 2018. The music is one of the reasons why it crept under my skin--tracks like "The Alien" ooze with an unearthly sound, courtesy of rhythmic pulses, sliding strings, and ungodly vocals. Few acoustic riffs provide some pleasant cues for the more grounded scenes, but they offer little respite from the atmospheric terror the rest of the sounds invoke. The movie inspired many things for me this year, and its music inspired some of the scariest things I've come up with. I think this makes the soundtrack a work of art in itself.

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03: Halestorm - Vicious

This is the first time I can say I enjoyed a Halestorm album all the way through, with hardly any tracks I'd want to skip. Maybe a few at the end, but Vicious offers a wealth of rock full of energy, tempo, and spectacular hooks. Lizzy Hale's voice exudes power that might just outmatch the rip-roaring guitars. Easily the funnest rock album of 2018.

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04: Muse - Simulation Theory

This might be the first Muse album I've appreciated in full. Big part of it is the retrowave angle, which gives all their songs a slick neon vibe. And yet, the band's signature style remains, thanks to Matt Bellamy's unique voice and the band's confident guitar work. A fair amount of catchiness makes songs like "The Dark Side" stick. "Dig Down" has a surprisingly Queen-like quality to its structure and vocals. The album overall is full of surprises--who would have thought that a mere simulation of the 80s would result in an album that feels like real, compelling music? I may have found a new muse.

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05: Moby - Everything Was Beautiful, and Nothing Hurt

Not all of Moby's albums are palatable, but I do feel that this is some of the guy's best work in a while. The album is a consistent blend of beat, rhythm, airy synths, and lightweight vocals. The melodies and harmony are solid enough to make the album flow as one continuous experience--one that's rather mournful, but also full of soul and beauty.

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06: Greta Van Fleet - Anthem of the Peaceful Army

Greta Van Fleet's EPs from previous years blew me away with how fundamentally primal and classy their brand of rock was. Fortunately, those qualities remain. It still feels like I'm hearing a blast from the past, but the fresh instruments and vocal talents breathe life into catchy new tunes. Maybe the music scenes needs more bands like this--I know my collection does, and I welcome our new rock overlords.

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07: Various Artists - Philip K. Dick's Electric Dreams Soundtrack

Haven't seen this show yet, but I had a good feeling that this brand of sci-fi would have the quality music to match. And it does. There are some odd cues here and there, but it gives variety to an anthology that covers all different moods and styles. A lot of it sounds nice and classy, and chances are good I'll be drawing inspiration from this whole album for many different ideas of my own.

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08: Circle of Dust - alt_Machines

The year just wouldn't be complete without a bunch of FiXT remixes, now would it? Circle of Dust's resurgence was a powerhouse as it was, but this remix album adds more oomph to the beats and electronic aspects. Nothing necessary, but quite welcome as many songs are given a power boost (and the remixed versions of "Deviate," "Nothing Sacred," and "Bed of Nails" I'd argue are better--if you haven't heard them from the remastered CoD albums, better pick this album up and give them a spin!).

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09: The Glitch Mob - See Without Eyes

Not quite as hard-hitting as their last album, not as catchy as their first, but their third full-length album still has some charm to it. The beats are strong, the songs are well-structured, and the vocals are gorgeous. It alternates smoothly between pleasant ambience and thumping dance. Regardless of the tempo, the mood is consistently uplifting.

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10: Entropy Zero - Star A War

As it is with the occasional Celldweller project, this is like a blend of score music and industrial metal. The guitars are really rockin' and there's a lot of impact in between the swells. Pretty cool stuff--perfect fodder for gamers or weirdos like me trying to write futuristic war stories.

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11: Monster Magnet - Mindf*cker

Ironically, this album didn't really blow my mind. But if you crave more of Monster Magnet's hard rock sound, this will satisfy. The guitars are nice and crisp, each song rocks really hard, and the vocals add a good amount of soul. Especially in the song "Soul," which exudes the very spirit that makes all great rock music awesome.

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12: Flight - Assassin's Creed: Odyssey Game Soundtrack

If you've played the game, you know what to expect. There's thunderous drums and rhythm during the battles, and softer ambience as you explore ancient Greece. All the soundtracks in this game series offers powerful standouts, and the latest offers a lovely old-world flavor with some modern instruments and embellishments. It's soothing when it needs to be, exciting other times. And if you get the companion world music album, your ears will be blessed with a small wealth of sea shanties. They are seriously catchy.

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13: Simon Franglen - Peppermint Film Score

 Still haven't seen the movie--I am a sucker for action movie scores like this though. In the same vein as John Wick or The Equalizer, this soundtrack offers swells of guitar and crescendos, presumably to match whatever fury occurs in the movie. Everything in between the action beats are nice though, thanks to the subtle beats and strings that suggest intrigue and drama. Occasional piano adds some class at times. There are also cues that feel like they belong in a spy movie--maybe that's intentional, but I find it smooth and slick.

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14: Various Artists - Ninjawerks Vol. 1

Happened across this compilation on Amazon by chance, and it turned out to be a nice little bento box of electronica. There's one or two I can do without, but most of the tracks are solidly-built with pleasant instruments and beat. There's a few lovely ambient tracks, some more upbeat dance tracks, and uplifting pop vocals. I like what I hear and I'm ready for another volume already.

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15: The Anix - Shadow_Movement

A slick combination of rock and electronica, which genuinely exudes a style that feels at home in our 21st century world. Even though the beats and guitars run hard, the vocals and melodies keep the songs surprisingly mellow. It makes the album even-paced and pleasant, while the occasional hooks keep my ears glued to the futuristic lyrics.

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16: Ministry - AmeriKKKant

Never was a Ministry fan, given their extraordinarily high tempos. Few parts of their latest album are still quite aggressive, but the overall industrial sound achieves a depth and heaviness I can appreciate. Beat and guitars appeal to me. It hammers in political rants in each song, and I'm not entirely sure I find it compelling or not--I'm just digging the sound.

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17: Juno Reactor - The Mutant Theater

A fair selection of fast, hard-hitting anthems that offer dance-able beats with a taste of the otherworldly. "Return of the Pistolero" is a nice variation on an old favorite, and it seems to be where the bulk of the stylistic fusions are heard. The rest of the album has a few uncanny undertones, but comes off as rather standard fare. It's solid for the non-discerning techno fan, but I've heard better from them.

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18: Scandroid - The Darkness

Klayton continues on his retro kick, and the latest Scandroid album offers a fresh helping of 80s-themed synthwave. The beats are still nice and hard, the synths are still beautiful, and Klay's voice is still harmonious. The Darkness rocks a little harder than previous albums, with "Phoenix" shredding the guitar spectacularly. The one disappointing thing is the length--18 tracks really only gets you 6 new songs, a few remixes, and instrumentals of each. I find it strange that previous singles ("Time Crime," "New York City Nights") are not included. Despite those gripes, the album's still pretty rad.

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19: Mike Shinoda - Post Traumatic

This is one from the heart--after Chester Bennington's passing, Shinoda channels grief and pain into this stirring collection of alternative music. It's easy to see where songs like "Promises I Can't Keep" and "Crossing a Line" come from, as these lyrics exude pure expression in the wake of loss. Some tracks I find less palatable or relatable. But, "Nothing Makes Sense Anymore" stands out as one of my favorite songs of the year--it's one of many that simultaneously achieves an uplifting tone despite the mournful vocals. The album overall is rather impressive for a debut solo act.

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20: The Gorillaz - The Now Now

Can't say that Humanz really stuck with me, but maybe I just haven't listened to it enough times. The Now Now doesn't feel quite as fully fleshed-out, and not nearly as well-marketed. Even if Albarn whipped this out on the fly, it does manage to hook me with its steady beats, luscious vocals, and a smooth sense of groove. It's an even and pleasant listening experience, plain and simple.

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21: The Prodigy - No Tourists

The Prodigy still delivers a sound I crave--hard, heavy, deep electronica with pounding beats, disjointed vocals, and rhythmic noise. This album has its fair share of shouting and screeching, to the point where melodies and hooks come up a little dry. This stuff will push your speakers to the limit, but if it's real power and soul you want, The Day Is My Enemy still resonates.

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22: Various Artists - Black Panther Motion Picture Soundtrack

A little bit of rap, and little bit of R&B, all in support of the Marvel movie that rocked our culture the hardest this year. Despite some rough spots, the album flows rather well in spite of the smooth, steady beats and the fusion of African instruments and vocals, which fills most songs with soul. Easily one of the best soundtracks of its kind.

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23: Saliva - 10 Lives

As much as I enjoy the occasional Saliva song, I lost touch with their work after Josey Scott left the band. It's good to hear that they still pump out some kick-ass jams--although I find most of their albums to be a hit and a miss, I think their latest effort is consistent and palatable. The hooks are decent, the guitars are great, and everything here is on-par with their other work.

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24: Therion - Beloved Antichrist

Therion was once my favorite band, and I used to listen to their songs relentlessly. For some odd reason, I barely touched their latest album. Maybe it's daunting--it's not an album where songs can be cherry-picked, it's a rock opera spanning three discs (46 digital tracks) that's best heard in one continuous sitting. It tells a story--not sure entirely what, but it's based on some old Russian novel. The best I can say right now is that the album delivers what I usually love from the band--crisp, catchy guitar work, boisterous choir and operatic vocals, beat and rhythm, and a touch of the occult that gives their music an old-world feeling. It's still quite the classy rock act.

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25: Leaves' Eyes - Sign of the Dragonhead

The band's work has been consistently solid, and this album is no exception. Good vocals, intense guitars, and a strong Nordic flavor--everything necessary to invoke a deep sense of epic adventure with serious edge.

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26: Leah - The Quest

Yep, I backed the Kickstarter for this album to get the instrumentals and swag. Definitely got my money's worth, and once the album dropped I was rather pleased. Leah's voice is lovely, the guitar work is spectacular at times, and the overall mood and tone is spot-on. A solid listening experience for anybody wanting metal with an epic, celtic flair. The only reason I don't rank this higher is that I would have appreciated stronger melodies or hooks.

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27: Smashing Pumpkins - Shiny and Oh So Bright

Despite the notoriety of Smashing Pumpkins, I bought this CD more on the merits of the songs I sampled. They generally don't disappoint, but I can see how they'd disappoint longtime fans. Nothing here will surpass their hits from the 90s. What I do like is the sheer amount of soul and structure pumped into "Knights of Malta," which I find purely uplifting. Everything else is fine.

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28: Imagine Dragons - Origins

After hearing "Radioactive," Imagine Dragons is a band I want to like and enjoy, but find a lot of their songs a little too saccharine for my tastes (although I did manage to get my mom hooked on them). Origins is no exception, but I have to give it credit to "Natural," which is a real kick-ass single. The rest of the album softens, but it's not a total meltdown--a lot of these songs strike a pleasant balance between style, rhythm, and melody that even I can appreciate. Maybe I'm warming up to them more.

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29: Jack White - Boarding House Reach

I love Jack White's brand of rock and I love the fact he keeps making it. His solo work never really stuck with me, and his latest one does have its share of noise that keeps me from loving it outright. Do like the beat, guitar, and overall spirit of the work--it's good rock, I just wish some aspects were toned down a bit.

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30: Nine Inch Nails - Bad Witch

I love NIN,but I'm not sure I love their recent rounds of EPs. I can't fault them for much though--Bad Witch does aim for a different, more artistic sound. It's especially surprising to hear a track like "Play the G*ddamned Part," which sounds like Reznor's attempt at jazz. To my ears, it sounds like pure noise...and not the good kind. But, I can still dig the album for tracks like "Ahead Of Ourselves" and "God Break Down the Door,"which offers a fairly catchy hook and lyrics I can appreciate. Everything else is pure atmosphere.

Other Listenings

Alan Silvestri - Avengers: Infinity War Film Score: Pretty much variations on the Avengers theme, with occasional emotional surges. If you've seen the movie, you know what it sounds like. It's pretty nice at times, but I'm more partial to the first movie's score.

The Coup - Sorry To Bother You Film Soundtrack: Was mostly hoping for actual score music from the movie, but this is the best we have--a collection of upbeat pop, dance, and rap songs. They're pretty catchy.

John Massari - Killer Klowns From Outer Space Reimagined: Gotta love how this ridiculous 80s B-movie has received so much love lately, as the film itself was rereleased by Arrow with top-notch quality and a crap-ton of extras. So too does the soundtrack get a rerelease, only redone with sharper quality. A lot of the movie's themes are rather bland, but it's the punkish guitars that stand out, and those awesome rock tracks are given a nice makeover on the Reimagined album. Worth it for fans.

John Powell - Solo: A Star Wars Story Film Score: It's Star Wars, we all know what it sounds like. I'll be listening to this soundtrack once in a while for the things that don't sound like Star Wars, and there are a few surprising flourishes.

Jonathan Davis - Black Labyrinth: I wish I could get behind Davis' solo album, not only in appreciation of his work with KoRn, but also because I dug some of this other solo works (like "Silent Hill"). Unfortunately, I found this album tonally weird, melodically bland, and a little whiny at times. I mean, moreso than usual. There are a couple of tracks worth listening to, but the rest left me lost in the dark.

Klayton - Red Zone and Weapons of War: Love Klayton's work, but I find it hard to get excited over some of these solo releases sometimes. These albums collect a lot of the work he's done for TV, commercials, video games, and the like--they're purposefully mixed with sound effects and other odd things, which probably fit many specific projects. The tracks are very sharply and precisely edited, so they're great to hear in short bursts. As full albums, it can get rather old fast.

Lacuna Coil - Rarities and B-Sides: You can find this disc in the complete Lacuna Coil box set, released this year. The set itself is a must for fans, since it's stuffed not only with the band's main albums but also the bonus discs for Comalies and Shallow Life. As a bonus, the Rarities and B-Sides disc offers some rare tracks that are absolutely vital: "Virtual Environment" being a huge standout for its haunting melody and mood, "Dark Adrenaline" for its urgent beat and ethereal vocals, "Soul Inmate" for its sheer catchiness, and a small wealth of alternate mixes and versions of certain singles. Most of these are tracks I never owned before and never knew about--for one of my all-time favorite bands, getting a hold of this disc was a real treasure.

Lorne Balfe - Pacific Rim: Uprising Film Score: If it's pulsing, throbbing score music you crave, this should satisfy. Might not break new ground, but the variations and remixes of the Pacific Rim themes are exciting at times.

Ludwig Göransson - Black Panther Film Score: Pretty standard movie music, but with the added oomph of African folk sounds and some modern electronica. Pretty cool at times.

POD - Circles: Often achieves the same spirit and sound that defined their original hits. Some songs I don't care for though. Solid effort regardless.

Shinedown - Attention Attention:  Used to love these guys, and I still rank their first three albums rather highly. Their latest album offers a different sound--something that seems less raw and more commercialized. Uplifting perhaps, but I find these melodies/hooks bland. Might take a few more spins to sink in, but this album will never outshine Leave a Whisper or anything.

Tenacious D - Post-Apocalypto: I'm probably missing out on some big joke, given that I've never seen Tenacious D's sketches or TV work. Post-Apocalypto seems to support one of these things, so listening to it on its own is a rather strange and humorless affair. The rock is solid, but surprisingly short. That is all.

Various Artists - Ready Player One Soundtrack: Not to be confused with the Alan Silvestri score, the soundtrack offers a small helping of tracks I've heard everywhere else. Prince, Tears for Fears, Springsteen, Blondie, New Order, and more. It's a fair compilation, except it is missing some key tracks from the movie (like Van Halen's "Jump," which set the tone for the movie in the opening credits and feels like it should be the overall theme song, so what the hell?). The only really new thing here is the pop update on "Pure Imagination," which is kinda nice.

Al's Favorite 2018 Songs