Honourable Mentions: Crazy Rich Asians, Black Panther, The Rider, BlacKkKlansman, Cold War, A Quiet Place, Game Night
20. Sorry to Bother You
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| L - R : Tessa Thompson and LaKeith Stanfield in Sorry to Bother You |
Cassius 'Cash' Green (Lakeith Stanfield), with the help of a newly adopted 'white voice', finds himself ascending up the ranks of telemarketing to the top of RegalView company, thrust into the odd, wacky and rather precarious environment of corporate greed.
What's to like?
As my attempt at a synopsis shows, there's a LOT to unpack in Boots Riley's directorial debut - and while it might be a bit messy and doesn't come together perfectly, there's a whole lot to like with regards to the thematically intriguing and entertaining screenplay, a couple of strong performances from an eclectic cast, and a great soundtrack.
Direction: B
Acting: B +
Screenplay: B +
Cinematography: B
Editing: B +
Music: A
19. Thoroughbreds
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| L - R : Anya Taylor-Joy, Anton Yelchin, Olivia Cooke |
Two highschoolers, sociopathic posh girl Amanda (Olivia Cooke) and academically-inclined and naive Lily (Anya Taylor-Joy) make plans to kill the latter's stepfather (Paul Sparks).
What's to like?
A sort of deconstruction of grungy 80s teen dark comedy fare like Heathers, the blunt, often darkly comic approach to the characters here gives first-time director Cory Finley a unique stamp on the 'genre'. Bolstered by two fantastic lead performances, and the late Anton Yelchin in an entertaining supporting turn, it's not the most accessible film and I wouldn't say I loved it, but it definitely makes for a compelling watch.
Direction: B
Acting: A -
Screenplay: B +
Cinematography: B
Editing: B
Music: A -
18. Mandy
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| L - R : Nicolas Cage and director Panos Cosmatos |
The idyllic countryside lifestyle of Red (Nicolas Cage) and Mandy (Andrea Riseborough) is shattered by some nutcase hippies. Cue madness and revenge.
What's to like?
I'll get my reservations out of the way first. The weakest elements of the film I'd say are its pacing, and its screenplay, which do make it feel like a bit of a slog at times, and the story is simplistic to the point where I'd say it felt a bit thematically inert at points. Having said that, it is visually engaging throughout, packs quite the emotional punch at specific moments, is filled with excellent performances - special mention to a particularly unnerving Linus Roache as the cult leader - and has a great swansong score by the late Jóhann Jóhannsson. Honestly with a re-watch, this could go up the list.
Direction: B +
Acting: A
Screenplay: C
Cinematography: A +
Editing: C +
Music: A
17. First Reformed
What's it about?
Reverend Ernst Toller (Ethan Hawke), still haunted by the loss of his son in the Iraq war, finds himself musing over questions of faith and morality, as he finds himself drawn into the life of a couple (Amanda Seyfried and Philip Ettinger), environmentalist radicalism, and the management of his dwindling church.
What's to like?
Paul Schrader's direction may be a bit heavyhanded, in its approach to merging big themes with an intimate character study, but for the most part it does work as essentially Taxi Driver with a priest at its centre, and the environment as its preoccupation. It largely succeeds on that front, with a none too subtle yet rather compelling screenplay, and most notably a downright brilliant performance by Ethan Hawke whose performance is worthy of the hype.
Direction: B -
Acting: A +
Screenplay: B +
Cinematography: B -
Editing: B -
Music: B -
What's it about?
You know the drill by now - Thanos (Josh Brolin) needs his infinity stones, the Avengers and Guardians of the Galaxy must team up to stop him.
What's to like?
The sheer scope of such big personalities teaming up with one another is in itself worth the price of admission. I will say that while there are flaws, some of the humour doesn't really work this time around, it takes a while to get going, and not every character gets the right amount to do, I still thoroughly enjoyed this as the blockbuster event of 2018. It does wear the Marvel Comic Universe formula on its sleeves, but the execution is impeccable, many of the cast step up their A-game, the CGI the best it's been in quite some time (Thanos is a fantastic visual creation), and the ending does pack quite a punch despite the nature of the Disney marketing machine meaning that none of the deaths really mean that much in the long run...yet.
Direction: B
Acting: B +
Screenplay: B
Cinematography: B +
Editing: A -
Music: B +
What's it about?
Three widows (Viola Davis, Elizabeth Debicki, Michelle Rodriguez) and another recruit (Cynthia Erivo) team up to finish off a heist left behind by their late husbands to pay off crime boss Jamal Manning (Brian Tyree Henry).
What's to like?
One of those films which strives for greatness yet doesn't quite attain it, this is at once both a very entertaining and somewhat frustrating film, as you see the hints of a masterpiece it doesn't fully realize, in part due to its screenplay, where many of its ideas and characters are at once compelling and underdeveloped. Having said that, the main thematic thrust of the film - a sort of artsy crime thriller merged with social commentary on the social divide in South Side Chicago - does work very well, Steve McQueen's direction is daring and often rather great, and the uniformly strong performances of an unfortunately SAG-snubbed ensemble are all excellent, with particular mention to a chilling Daniel Kaluuya as a mob enforcer, and Debicki as the widow with the most compelling arc.
Direction: A -
Acting: A +
Screenplay: B -
Cinematography: B +
Editing: B -
Music: C +
14. Shoplifters
What's it about?
An impoverished family in Tokyo, who rely on shoplifting to help make ends meet, take in a young girl they find on the streets.
What's to like?
The first half of this film is a masterful, as Hirokazu Koreeda and his cast strike such a brilliant balance between comedy and drama, serenity and pathos in depicting this very particular sort of family, and in such an understated fashion that works so well. He presents this fascinating dynamic and allows us to learn, experience, and engage with them in such an organic fashion, creating great moments throughout. Unfortunately, the second half of the film descends into overly convoluted and somewhat melodramatic territory, which is a shame, though that's not to say it ever becomes truly bad, just never does attain the heights of its first half.
Direction: B +
Acting: A -
Screenplay: B
Cinematography: B
Editing: B +
Music: B
13. Deadpool 2
What's it about?
The return of the titular Merc with a Mouth (Ryan Reynolds), this time going up against the no-nonsense Cable (Josh Brolin) who's come from the future to settle some business with a young mutant (Julian Dennison).
What's to like? I liked the first Deadpool film, but here's a sequel which I actually felt improved upon its existing foundations, to the point I actually quite loved it. It's as haphazard, random, self-referential and caustic as you'd expect, throwing in a series of superhero gags and pop-culture references that range from fairly funny to gut-busting hilarity, with special mention to any time Reynolds' own career is brought up. What really makes this particular superhero film stick with me rather well, however, is the heart at its center, and I must say the scene in the film that's stuck with me the most is almost entirely dramatic in its intentions.
Direction: B
Acting: B +
Screenplay: A -
Cinematography: B
Editing: B +
Music: A -
12. Blindspotting
What's it about?
Collin (Daveed Diggs), approaching the end of his probation, tries to get his life in order, but is continually beset by the racial tensions of the bay area and the problematic tendencies of his volatile best friend Miles (Rafael Casal) (not putting the trailer for this one here because it is very spoiler-y).
What's to like?
Another impressive directorial debut (by Carlos López Estrada), this relentlessly entertaining, thoughtful study of race relations through the initial lens of a buddy comedy, manages to combine these elements into an excellent film. Though a few plot points might feel a bit contrived, I didn't really care as I ended up really tuning in to the unique visual aesthetic, the stylized dialogue including its excellent use of rap music, and its compelling central relationship which doesn't simplify the friendship into just a 'white man, black man' dynamic, and finds something quite special in its examination of prejudice, the issue of white privilege, and crime.
Direction: B +
Acting: B +
Screenplay: A -
Cinematography: B +
Editing: B +
Music: B +
11. The Old Man & the Gun
What's it about?
The real-life story of Forrest Tucker (Robert Redford), (in) famously cordial and gentlemanly bank robber and career-criminal whose string of heists become a sensation with the public, and befuddle the authorities, most prominently police detective John Hunt (Casey Affleck).
What's to like?
The most easygoing film on this list and probably the most low-key film involving crime you'll ever see. David Lowrey creates sort of this soothing lullaby tribute to this man for whom a life is crime is what energizes and drives him, granting a real old-school charm aided by Redford in a role he was born to play. It's a very cheeky and lovely film, and while it doesn't focus on the more brute truths of Tucker's lifestyle it doesn't shy away from them either. Everything about the film is rather 'nice', in the best possible way, and though it is indeed rather slight, it is rather remarkable in that slightness.
Direction: B +
Acting: A
Screenplay: B +
Cinematography: B +
Editing: B
Music: A +
10. Creed II
What's it about?
A continuation of Adonis Creed's (Michael B. Jordan) story as he continues to carve his own boxing legacy with the help of Rocky Balboa (Sylvester Stallone), facing off against Viktor Drago (Florian Munteanu), the formidable son of Ivan Drago (Dolph Lundgren) who killed his father Apollo in the ring.
What's to like?
The film manages to hit all the beats of the crowd-pleasing Rocky series formula, with variations here and there in execution to create something fresh, and the expansion of the Dragos this time round is particularly great. The fight choreography and cinematography, while not on the level of the first Creed, remains impeccable. In many ways it follows the formula of the original series sequels but in an effective manner, continuing to make you care about the characters, and packing quite the punch (no pun intended) when it needs to on an emotional and entertainment level.
Direction: B +
Acting: A
Screenplay: B
Cinematography: B +
Editing: A -
Music: A -
9. Isle of Dogs
What's it about?
A pack of stray dogs, living on an island where canines have been banished to in dystopian future Japan, help a young boy search for his lost dog Spots.
What's to like?
One of the most stunning films of the year in terms of production design, visuals, colours, this is quite the feast for the eyes as is to be expected for a Wes Anderson film. The story takes on a weird combination of childlike idealism and deadpan humour with pretty dark, even violent, sequences, but it straddles this fine line pretty well. It features an all-star cast of voices, which are largely very effective (particular mention to a perfectly cast Bryan Cranston), and makes for another very pleasaurable entry in Wes Anderson's filmography.
Direction: A +
Acting: B +
Screenplay: B +
Cinematography: A -
Editing: B +
Music: A
8. Burning
What's it about?
Childhood friends Jong-su (Yoo Ah-in) and Hae-mi (Jun Jeong-seo) cross paths and reconnect briefly before the latter goes on a trip to Africa; she brings back a mysterious new friend, Ben (Steven Yeun), from her travels, and soon ensues a strange (not quite romantic) triangle of sorts.
What's to like?
A slow-burningly tense atmosphere created by Lee Chang-dong makes for quite the cinematic experience. This is certainly no crowd-pleaser, and will test the patience of many a cinemagoer, yet give it time to seep in and absorb what it has to offer, and you'll find that it has much to offer beyond just technically immaculate filmmaking. It's a very subtle, nuanced film that never raises its voice, so to speak, but rather creates this unsettling sense of mystery, brought to life brilliantly by a trio of pitch-perfect performances, with particular mention going to Steven Yeun for a particularly chilling turn.
Direction: A
Acting: A +
Screenplay: A -
Cinematography: A -
Editing: B +
Music: B +
7. A Star is Born
What's it about?
A tale as old as time (well, 1937 technically), this third remake updates the romance of veteran/ingenue to country singer Jackson Maine (Bradley Cooper) taking the titular star being born, Ally (Lady Gaga), under his wing. Sparks immediately fly but tragedy isn't far off...
What's to like?
Very much in the vein of an old-fashioned 1970s/80s melodrama romance, I dug this despite the inherent predictability of the plot, and this might be my favourite version of the story so far. Cooper proves himself a very adept director, particularly in the musical sequences, and gives a career-best performance, and his leading lady ain't no slouch either. Again, though, it's all about the music, and the film delivers this in spades, from the viscreal power of 'Shallow' to the gentle lyricism of 'Maybe It's Time' and the devastating 'I'll Never Love Again'.
Direction: A -
Acting: A +
Screenplay: A -
Cinematography: B +
Editing: B
Music: A +
6. Mission Impossible - Fallout
What's it about?
Ethan Hunt (Tom Cruise) and co. are on the run again, having chosen to accept a mission, and dealing with the fallout of its results.
What's to like?
I should note that my rankings of #6 to #3 could change around at any point. The Mission Impossible series has made quite the incredible turn from a somewhat outdated franchise relying on nostalgia and old tropes, to a rejuvenated beast under the tutelage of Christopher McQuarrie. Rogue Nation was a blast, this one takes it up several notches for one of the most entertaining and flat-out awesome action films of recent years. Who cares if the general gist of the villain's schemes and revelations is a general copy + paste staple of the genre? It's all about watching Tom going on full-on Cruise with ridiculous stunt after ridiculous stunt, from bathroom brawls to Paris heists to helicopter hijinks, all to save the day. Probably up there already with some of my favourite action films of all-time.
Direction: A +
Acting: B
Screenplay: B
Cinematography: A +
Editing: A +
Music: A -
5. Can You Ever Forgive Me?
What's it about?
Biographer Lee Israel (Melissa McCarthy), whose irascible attitude and resistance to change to the current times leaves her struggling to make ends meet, turns her talents towards the art of deception through forging letters under the names of prominent literary figures.
What's to like?
Don't be fooled by my somewhat bland description of the plot - this is one of the most entertaining films of the year, all the more remarkable since it focuses on two misanthropic individuals - Israel and her friend Jack Hock (Richard E. Grant) - , who go out of their way to make life unpleasant for others. It's frequently very funny, with most of the best comic lines going to Grant's delightful, lively turn as an dashingly uncouth gay man, and who plays brilliantly off Melissa McCarthy's performance of a lifetime as the most blunt, abrasive, pretty horrible person you nevertheless utterly sympathize with. You watch, witness, and almost root for Israel's long trail of deceptions, thanks to Marielle Heller's excellent direction and a phenomenal screenplay.
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: B +
Editing: B +
Music: A
4. The Ballad of Buster Scruggs
What's it about?
A six story anthology of stories set on the American frontier, brought to you by the Coen brothers -
The Ballad of Buster Scruggs - the titular amiable singing gunslinger (Tim Blake Nelson) makes his mark on a small town
Near Algodones - an increasingly befuddled cowboy (James Franco) gets through a rough day
Meal Ticket - an ageing impresario (Liam Neeson) and his artist (Harry Melling) make their way from town to town
All Gold Canyon - a prospector (Tom Waits) mines gold
The Gal Who Got Rattled - a young lady (Zoe Kazan) travels west with a wagon train.
The Mortal Remains - five passengers (Tyne Daly, Brendan Gleeson, Jonjo O'Neill, Saul Rubinek, Chelcie Ross) travel to some unknown place on a coach.
What's to like?
Might as well go story by story with this -
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: A +
Editing: B +
Music: A +
3. Leave No Trace
What's it about?
Will (Ben Foster), a war veteran, and his thirteen year-old daughter Tom (Thomasin McKenzie) live happily together in the wilderness of Portland, Oregon. After they are discovered and placed in social services, their lives will never be the same again.
What's to like?
Debra Granik captures the same sort of grit and the beauty of the backwoods she evoked in Winter's Bone through the sense of time, place and the organic, natural way in which she allows the narrative to play out, and really embracing both the beauty and the problematic qualities of the living situation of the father and daughter. The two central performances are astounding, and there is a real poignancy to be found despite the extremely quiet tone of the film, yet it is never preachy or didactic, letting the audience make their own judgement. It's perhaps the most underseen film in my top 20, and hopefully more will watch it in due course.
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: B +
Editing: A
Music: A
2. Roma
What's it about?
A year in the life of a middle-class family's maid in Mexico City in the early 1970s.
What's to like?
Alfonso Cuarón is undoubtedly one of the finest directors working today, but Roma is the first film of his I've flat out loved (though I have a great admiration for Y Tu Mama Tambien, Gravity, The Prisoner of Azkaban and especially Children of Men). The nature of the material seems to lend itself to smaller-scale storytelling, and Cuarón certainly adheres to this in depicting the main character Cleo (an excellent debut performance from Yalitza Aparicio) and the day-to-day interactions with the family she works for with a great deal of intimacy and understanding, keying us into this 'slice of life', yet what is special is Cuaron makes even the most mundane so cinematic and engaging, from the parking of a car. to a leisurely stroll to the cinema, to scrubbing the floors, is all rendered with incredible sound design, cinematography, and a real sense of 'being there'. And when Cuarón turns his hand to the big setpieces, and equally the big emotional moments, he really nails it to perfection; one particular sequence in a department store will stay with me for a long, long time.
Direction: A +
Acting: A
Screenplay: A
Cinematography: A +
Editing: A +
Music: A
1. First Man
What's it about?
Focusing on the life of NASA astronaut Neil Armstrong between 1961 to 1969 as he undergoes the journey to become the first man to walk on the moon.
What's to like?
Mark Kermode perhaps put it best when he described the film as looking to outer space in order to examine inner space. The trailers may have led many (myself included) to expect a thrilling action film-esque take on the Apollo missions with loud, dramatic beats mixed in - what we get instead is something altogether more insular (therefore instead of a trailer I have put a video of the beautiful Justin Hurwitz score). Damien Chazelle and screenwriter Josh Singer, rather than focusing on the grand scale of the space race, choose to hone in on Neil Armstrong the individual and his journey to the moon throughout the years of toil. Some have criticized this choice, deeming it slow and unengaging - I couldn't disagree more, I absolutely loved it, and which unfortunately seems to have put many off from the film, as shown by its underperformance at the box office and somewhat muted critical reception in contrast to Chazelle's previous works, the decidedly more audience-friendly Whiplash and La La Land. Which isn't to say there isn't grand crowd-pleasing spectacle here - the grandeur of space travel and outer space is conveyed beautifully through the breathtaking cinematography not just of space, but also creates such tension within the interiors of the aircraft, and even more importantly the sound design which really puts you into the position of Armstrong and his fellow astronauts.
Yet where the film really makes itself distinct is in its depiction of the inner maelstrom of Armstrong's life, and the emotional journey he takes towards setting foot on the moon with the family tragedy that opens the film. I'm a huge fan of Whiplash and I liked La La Land (though I have more than a few reservations), but a weakness of those films (in my opinion) was that I never really connected with them on an emotional level, with the more 'dramatic' scenes in the latter in particular falling a bit flat for me. No such problem here as I thought every sequence of Armstrong's personal plights, particularly the scenes where Armstrong deals with the fatalities of the space race, and the astonishing family dinner table scene where Armstrong is 'interrogated' by his family, builds up to a finale that made its impact in a way that I couldn't have foreseen. I haven't even mentioned the acting, which is just uniformly superb, with Ryan Gosling in particular giving what might be my new favourite performance of his.
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: A +
Editing: A +
Music: A +
Other great 'films' -
Pixar's short film 'Bao' was quite the charmer, and Westworld's episode 8, 'Kiksuya' was phenomenal too (there was lots of good television on this year, and still much more I need to catch up on - but that episode was almost a cinematic masterpiece in itself).
I should note that there's still a LOT of films I need to catch up on - including many foreign language, documentaries, etc. Feel free to leave any suggestions!
 |
| L - R : Ethan Hawke, Victoria Hill |
Reverend Ernst Toller (Ethan Hawke), still haunted by the loss of his son in the Iraq war, finds himself musing over questions of faith and morality, as he finds himself drawn into the life of a couple (Amanda Seyfried and Philip Ettinger), environmentalist radicalism, and the management of his dwindling church.
What's to like?
Paul Schrader's direction may be a bit heavyhanded, in its approach to merging big themes with an intimate character study, but for the most part it does work as essentially Taxi Driver with a priest at its centre, and the environment as its preoccupation. It largely succeeds on that front, with a none too subtle yet rather compelling screenplay, and most notably a downright brilliant performance by Ethan Hawke whose performance is worthy of the hype.
Direction: B -
Acting: A +
Screenplay: B +
Cinematography: B -
Editing: B -
Music: B -
16. Avengers: Infinity War
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| L - R : Benedict Cumberbatch, Robert Downey Jr., Benedict Wong, Mark Ruffalo |
You know the drill by now - Thanos (Josh Brolin) needs his infinity stones, the Avengers and Guardians of the Galaxy must team up to stop him.
What's to like?
The sheer scope of such big personalities teaming up with one another is in itself worth the price of admission. I will say that while there are flaws, some of the humour doesn't really work this time around, it takes a while to get going, and not every character gets the right amount to do, I still thoroughly enjoyed this as the blockbuster event of 2018. It does wear the Marvel Comic Universe formula on its sleeves, but the execution is impeccable, many of the cast step up their A-game, the CGI the best it's been in quite some time (Thanos is a fantastic visual creation), and the ending does pack quite a punch despite the nature of the Disney marketing machine meaning that none of the deaths really mean that much in the long run...yet.
Direction: B
Acting: B +
Screenplay: B
Cinematography: B +
Editing: A -
Music: B +
15. Widows
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| L - R : Michelle Rodriguez, director Steve McQueen, Elizabeth Debicki, Viola Davis |
What's it about?
Three widows (Viola Davis, Elizabeth Debicki, Michelle Rodriguez) and another recruit (Cynthia Erivo) team up to finish off a heist left behind by their late husbands to pay off crime boss Jamal Manning (Brian Tyree Henry).
One of those films which strives for greatness yet doesn't quite attain it, this is at once both a very entertaining and somewhat frustrating film, as you see the hints of a masterpiece it doesn't fully realize, in part due to its screenplay, where many of its ideas and characters are at once compelling and underdeveloped. Having said that, the main thematic thrust of the film - a sort of artsy crime thriller merged with social commentary on the social divide in South Side Chicago - does work very well, Steve McQueen's direction is daring and often rather great, and the uniformly strong performances of an unfortunately SAG-snubbed ensemble are all excellent, with particular mention to a chilling Daniel Kaluuya as a mob enforcer, and Debicki as the widow with the most compelling arc.
Direction: A -
Acting: A +
Screenplay: B -
Cinematography: B +
Editing: B -
Music: C +
14. Shoplifters
 |
| L - R : Lily Franky, Shota Shibata |
An impoverished family in Tokyo, who rely on shoplifting to help make ends meet, take in a young girl they find on the streets.
The first half of this film is a masterful, as Hirokazu Koreeda and his cast strike such a brilliant balance between comedy and drama, serenity and pathos in depicting this very particular sort of family, and in such an understated fashion that works so well. He presents this fascinating dynamic and allows us to learn, experience, and engage with them in such an organic fashion, creating great moments throughout. Unfortunately, the second half of the film descends into overly convoluted and somewhat melodramatic territory, which is a shame, though that's not to say it ever becomes truly bad, just never does attain the heights of its first half.
Direction: B +
Acting: A -
Screenplay: B
Cinematography: B
Editing: B +
Music: B
13. Deadpool 2
 |
| L - R : Ryan Reynolds, Karan Soni |
The return of the titular Merc with a Mouth (Ryan Reynolds), this time going up against the no-nonsense Cable (Josh Brolin) who's come from the future to settle some business with a young mutant (Julian Dennison).
Direction: B
Acting: B +
Screenplay: A -
Cinematography: B
Editing: B +
Music: A -
12. Blindspotting
 |
| L - R : Rafael Casal, Daveed Diggs |
Collin (Daveed Diggs), approaching the end of his probation, tries to get his life in order, but is continually beset by the racial tensions of the bay area and the problematic tendencies of his volatile best friend Miles (Rafael Casal) (not putting the trailer for this one here because it is very spoiler-y).
Another impressive directorial debut (by Carlos López Estrada), this relentlessly entertaining, thoughtful study of race relations through the initial lens of a buddy comedy, manages to combine these elements into an excellent film. Though a few plot points might feel a bit contrived, I didn't really care as I ended up really tuning in to the unique visual aesthetic, the stylized dialogue including its excellent use of rap music, and its compelling central relationship which doesn't simplify the friendship into just a 'white man, black man' dynamic, and finds something quite special in its examination of prejudice, the issue of white privilege, and crime.
Direction: B +
Acting: B +
Screenplay: A -
Cinematography: B +
Editing: B +
Music: B +
11. The Old Man & the Gun
 |
| L - R : Sissy Spacek, Robert Redford |
The real-life story of Forrest Tucker (Robert Redford), (in) famously cordial and gentlemanly bank robber and career-criminal whose string of heists become a sensation with the public, and befuddle the authorities, most prominently police detective John Hunt (Casey Affleck).
The most easygoing film on this list and probably the most low-key film involving crime you'll ever see. David Lowrey creates sort of this soothing lullaby tribute to this man for whom a life is crime is what energizes and drives him, granting a real old-school charm aided by Redford in a role he was born to play. It's a very cheeky and lovely film, and while it doesn't focus on the more brute truths of Tucker's lifestyle it doesn't shy away from them either. Everything about the film is rather 'nice', in the best possible way, and though it is indeed rather slight, it is rather remarkable in that slightness.
Direction: B +
Acting: A
Screenplay: B +
Cinematography: B +
Editing: B
Music: A +
10. Creed II
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| L - R : Florian Munteanu, Michael B. Jordan |
A continuation of Adonis Creed's (Michael B. Jordan) story as he continues to carve his own boxing legacy with the help of Rocky Balboa (Sylvester Stallone), facing off against Viktor Drago (Florian Munteanu), the formidable son of Ivan Drago (Dolph Lundgren) who killed his father Apollo in the ring.
What's to like?
The film manages to hit all the beats of the crowd-pleasing Rocky series formula, with variations here and there in execution to create something fresh, and the expansion of the Dragos this time round is particularly great. The fight choreography and cinematography, while not on the level of the first Creed, remains impeccable. In many ways it follows the formula of the original series sequels but in an effective manner, continuing to make you care about the characters, and packing quite the punch (no pun intended) when it needs to on an emotional and entertainment level.
Direction: B +
Acting: A
Screenplay: B
Cinematography: B +
Editing: A -
Music: A -
9. Isle of Dogs
 |
| Doggos (voiced by Jeff Goldblum, Bill Murray, Bob Balaban, Bryan Cranston) |
A pack of stray dogs, living on an island where canines have been banished to in dystopian future Japan, help a young boy search for his lost dog Spots.
What's to like?
One of the most stunning films of the year in terms of production design, visuals, colours, this is quite the feast for the eyes as is to be expected for a Wes Anderson film. The story takes on a weird combination of childlike idealism and deadpan humour with pretty dark, even violent, sequences, but it straddles this fine line pretty well. It features an all-star cast of voices, which are largely very effective (particular mention to a perfectly cast Bryan Cranston), and makes for another very pleasaurable entry in Wes Anderson's filmography.
Direction: A +
Acting: B +
Screenplay: B +
Cinematography: A -
Editing: B +
Music: A
8. Burning
 |
| L - R : Yoo Ah-in, Jun Jeong-seo, Steven Yeun |
Childhood friends Jong-su (Yoo Ah-in) and Hae-mi (Jun Jeong-seo) cross paths and reconnect briefly before the latter goes on a trip to Africa; she brings back a mysterious new friend, Ben (Steven Yeun), from her travels, and soon ensues a strange (not quite romantic) triangle of sorts.
A slow-burningly tense atmosphere created by Lee Chang-dong makes for quite the cinematic experience. This is certainly no crowd-pleaser, and will test the patience of many a cinemagoer, yet give it time to seep in and absorb what it has to offer, and you'll find that it has much to offer beyond just technically immaculate filmmaking. It's a very subtle, nuanced film that never raises its voice, so to speak, but rather creates this unsettling sense of mystery, brought to life brilliantly by a trio of pitch-perfect performances, with particular mention going to Steven Yeun for a particularly chilling turn.
Direction: A
Acting: A +
Screenplay: A -
Cinematography: A -
Editing: B +
Music: B +
7. A Star is Born
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| L - R : Bradley Cooper, Lady Gaga |
A tale as old as time (well, 1937 technically), this third remake updates the romance of veteran/ingenue to country singer Jackson Maine (Bradley Cooper) taking the titular star being born, Ally (Lady Gaga), under his wing. Sparks immediately fly but tragedy isn't far off...
What's to like?
Very much in the vein of an old-fashioned 1970s/80s melodrama romance, I dug this despite the inherent predictability of the plot, and this might be my favourite version of the story so far. Cooper proves himself a very adept director, particularly in the musical sequences, and gives a career-best performance, and his leading lady ain't no slouch either. Again, though, it's all about the music, and the film delivers this in spades, from the viscreal power of 'Shallow' to the gentle lyricism of 'Maybe It's Time' and the devastating 'I'll Never Love Again'.
Direction: A -
Acting: A +
Screenplay: A -
Cinematography: B +
Editing: B
Music: A +
6. Mission Impossible - Fallout
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| L - R : Henry Cavill, Tom Cruise |
Ethan Hunt (Tom Cruise) and co. are on the run again, having chosen to accept a mission, and dealing with the fallout of its results.
What's to like?
I should note that my rankings of #6 to #3 could change around at any point. The Mission Impossible series has made quite the incredible turn from a somewhat outdated franchise relying on nostalgia and old tropes, to a rejuvenated beast under the tutelage of Christopher McQuarrie. Rogue Nation was a blast, this one takes it up several notches for one of the most entertaining and flat-out awesome action films of recent years. Who cares if the general gist of the villain's schemes and revelations is a general copy + paste staple of the genre? It's all about watching Tom going on full-on Cruise with ridiculous stunt after ridiculous stunt, from bathroom brawls to Paris heists to helicopter hijinks, all to save the day. Probably up there already with some of my favourite action films of all-time.
Direction: A +
Acting: B
Screenplay: B
Cinematography: A +
Editing: A +
Music: A -
5. Can You Ever Forgive Me?
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| L - R : Director Marielle Heller, Melissa McCarthy |
Biographer Lee Israel (Melissa McCarthy), whose irascible attitude and resistance to change to the current times leaves her struggling to make ends meet, turns her talents towards the art of deception through forging letters under the names of prominent literary figures.
Don't be fooled by my somewhat bland description of the plot - this is one of the most entertaining films of the year, all the more remarkable since it focuses on two misanthropic individuals - Israel and her friend Jack Hock (Richard E. Grant) - , who go out of their way to make life unpleasant for others. It's frequently very funny, with most of the best comic lines going to Grant's delightful, lively turn as an dashingly uncouth gay man, and who plays brilliantly off Melissa McCarthy's performance of a lifetime as the most blunt, abrasive, pretty horrible person you nevertheless utterly sympathize with. You watch, witness, and almost root for Israel's long trail of deceptions, thanks to Marielle Heller's excellent direction and a phenomenal screenplay.
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: B +
Editing: B +
Music: A
4. The Ballad of Buster Scruggs
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| L - R : Zoe Kazan, Bill Heck |
What's it about?
A six story anthology of stories set on the American frontier, brought to you by the Coen brothers -
The Ballad of Buster Scruggs - the titular amiable singing gunslinger (Tim Blake Nelson) makes his mark on a small town
Near Algodones - an increasingly befuddled cowboy (James Franco) gets through a rough day
Meal Ticket - an ageing impresario (Liam Neeson) and his artist (Harry Melling) make their way from town to town
All Gold Canyon - a prospector (Tom Waits) mines gold
The Gal Who Got Rattled - a young lady (Zoe Kazan) travels west with a wagon train.
The Mortal Remains - five passengers (Tyne Daly, Brendan Gleeson, Jonjo O'Neill, Saul Rubinek, Chelcie Ross) travel to some unknown place on a coach.
Might as well go story by story with this -
- The Ballad of Buster Scruggs - Looney Tunes-esque violence merged with the characteristic wit of the Coens makes for quite the scrumptious concoction. Plus some delightful Western songs, my favourite being 'When A Cowboy Trades His Spurs For Wings'.
- Near Algodones - short but enjoyable take on the Western bandit story, also funny in a more low-key fashion, with just the slightest hint of poignancy.
- Meal Ticket - the most divisive short story, it has a great atmosphere though the story and characters itself are minimalist to the point of discomfort, and it does feel the most inert dramatically speaking.
- All Gold Canyon - a brilliant one-man show by Tom Waits, featuring some downright astounding cinematography. My favourite of the segments.
- The Gal Who Got Rattled - another fantastic story, this time handled with a great deal of earnestness in its tragic tale.
- The Mortal Remains - the most obtuse and mysterious of the stories, with a great sense of place and time and an unnerving, yet strangely serene, sense of being.
Each segment within the anthology has their own place and merits, all excellently directed by the Coens, beautifully shot by Bruno Delbonnel (some of the most exquisite shots of the year) and Carter Burwell delivering one of his best scores in years. Honestly the only real thing I could nitpick is that I've never been a fan of anthology structures in the first place, I wouldn't have minded a framing device, but regardless of my preferences, the Coen brothers pulled this off beautifully and frankly I wouldn't have it any other way.
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: A +
Editing: B +
Music: A +
3. Leave No Trace
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| L - R : Thomasin McKenzie, director Debra Granik |
Will (Ben Foster), a war veteran, and his thirteen year-old daughter Tom (Thomasin McKenzie) live happily together in the wilderness of Portland, Oregon. After they are discovered and placed in social services, their lives will never be the same again.
Debra Granik captures the same sort of grit and the beauty of the backwoods she evoked in Winter's Bone through the sense of time, place and the organic, natural way in which she allows the narrative to play out, and really embracing both the beauty and the problematic qualities of the living situation of the father and daughter. The two central performances are astounding, and there is a real poignancy to be found despite the extremely quiet tone of the film, yet it is never preachy or didactic, letting the audience make their own judgement. It's perhaps the most underseen film in my top 20, and hopefully more will watch it in due course.
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: B +
Editing: A
Music: A
2. Roma
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| L - R : Director Alfonso Cuarón, Yalitza Aparicio |
A year in the life of a middle-class family's maid in Mexico City in the early 1970s.
Alfonso Cuarón is undoubtedly one of the finest directors working today, but Roma is the first film of his I've flat out loved (though I have a great admiration for Y Tu Mama Tambien, Gravity, The Prisoner of Azkaban and especially Children of Men). The nature of the material seems to lend itself to smaller-scale storytelling, and Cuarón certainly adheres to this in depicting the main character Cleo (an excellent debut performance from Yalitza Aparicio) and the day-to-day interactions with the family she works for with a great deal of intimacy and understanding, keying us into this 'slice of life', yet what is special is Cuaron makes even the most mundane so cinematic and engaging, from the parking of a car. to a leisurely stroll to the cinema, to scrubbing the floors, is all rendered with incredible sound design, cinematography, and a real sense of 'being there'. And when Cuarón turns his hand to the big setpieces, and equally the big emotional moments, he really nails it to perfection; one particular sequence in a department store will stay with me for a long, long time.
Direction: A +
Acting: A
Screenplay: A
Cinematography: A +
Editing: A +
Music: A
1. First Man
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| L - R : Ryan Gosling |
What's it about?
Focusing on the life of NASA astronaut Neil Armstrong between 1961 to 1969 as he undergoes the journey to become the first man to walk on the moon.
What's to like?
Mark Kermode perhaps put it best when he described the film as looking to outer space in order to examine inner space. The trailers may have led many (myself included) to expect a thrilling action film-esque take on the Apollo missions with loud, dramatic beats mixed in - what we get instead is something altogether more insular (therefore instead of a trailer I have put a video of the beautiful Justin Hurwitz score). Damien Chazelle and screenwriter Josh Singer, rather than focusing on the grand scale of the space race, choose to hone in on Neil Armstrong the individual and his journey to the moon throughout the years of toil. Some have criticized this choice, deeming it slow and unengaging - I couldn't disagree more, I absolutely loved it, and which unfortunately seems to have put many off from the film, as shown by its underperformance at the box office and somewhat muted critical reception in contrast to Chazelle's previous works, the decidedly more audience-friendly Whiplash and La La Land. Which isn't to say there isn't grand crowd-pleasing spectacle here - the grandeur of space travel and outer space is conveyed beautifully through the breathtaking cinematography not just of space, but also creates such tension within the interiors of the aircraft, and even more importantly the sound design which really puts you into the position of Armstrong and his fellow astronauts.
Yet where the film really makes itself distinct is in its depiction of the inner maelstrom of Armstrong's life, and the emotional journey he takes towards setting foot on the moon with the family tragedy that opens the film. I'm a huge fan of Whiplash and I liked La La Land (though I have more than a few reservations), but a weakness of those films (in my opinion) was that I never really connected with them on an emotional level, with the more 'dramatic' scenes in the latter in particular falling a bit flat for me. No such problem here as I thought every sequence of Armstrong's personal plights, particularly the scenes where Armstrong deals with the fatalities of the space race, and the astonishing family dinner table scene where Armstrong is 'interrogated' by his family, builds up to a finale that made its impact in a way that I couldn't have foreseen. I haven't even mentioned the acting, which is just uniformly superb, with Ryan Gosling in particular giving what might be my new favourite performance of his.
Direction: A +
Acting: A +
Screenplay: A +
Cinematography: A +
Editing: A +
Music: A +
Other great 'films' -
Pixar's short film 'Bao' was quite the charmer, and Westworld's episode 8, 'Kiksuya' was phenomenal too (there was lots of good television on this year, and still much more I need to catch up on - but that episode was almost a cinematic masterpiece in itself).
