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.