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ryanmeft · 5 years

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My Favorite Films of 2018, part 1

Let’s make the introduction quick: these are my favorite films released in 2018. As always, the rules are simple: I don’t say they are the best or that you must agree, simply that I found them the most memorable. They are in completely random order, with no emphasis on one over another. Films released at festivals but not to the public in 2017 are counted as 2018, as are films that were not available in the United States. I apologize for not having the accents on certain people’s named; I don’t know how to reproduce them.

Many excellent films didn’t make the cut this year, and it was already difficult to narrow down my shortlist of 26 to 14. I had to stop there, as I could not bring myself to cut anymore. The list is in two parts this year to accommodate the additional length.

Let’s get rolling.

Sorry To Bother You

While decent-but-ordinary films got lauded with undeserved reputations for being revolutionary, Boots Riley was quietly (okay…maybe not so quietly) sliding this biting, bizarre, hard-edged satire under the radar. Where most films have simple good guys and bad guys, Riley takes furious aim at everyone in sight. Black people are exploited by a white establishment. The hero only cares about his own advancement until he himself is taken advantage of. His girlfriend rails about purity but sells out almost immediately herself. A labor organizer is mostly doing it to get laid. The film is driven by Lakeith Stanfield, whose performance as a black telemarketer who finds tremendous success by kow-towing to his white bosses is a sterling and hilarious take on the classic everyman. Supporting roles from Danny Glover and Armie Hammer, in particular, contribute greatly. Nobody escapes unscathed, leaving the film with only one viewpoint: everybody in the world is a terrible hypocrite to one degree or another. Riley’s outspokenness didn’t help the film at major awards shows, but it likely would have been shafted anyway. Like other huge, overlooked critical hits, from Inside Llewyn Davis to Lucky, it is just too nihilistic to grab people’s attention.

Paddington 2

Iron Men and super spies are nice, but they can’t approach the sheer joy, creativity, adventure, humor and heart of the Paddington series, which started out great and got better with this sequel. All the cast you loved the first time around are back, but just like the Harry Potter franchise, it’s the new faces and what director Paul King and co-writer Simon Farnaby do with them that makes this one special. Most notable is Hugh Grant, who both honors and spoofs his own career reputation by playing a washed-up former celebrity who tries to frame Paddington to restore his lost lustre. Grant devours every one of his scenes, as he skips comically between costumes and disguises. Brendan Gleeson is one of those actors who is never unwelcome, and here he plays a tough-as-nails prison cook with a heart of gold. The movie gets as sweetly silly as turning an entire prison’s uniforms pink and as genuinely thrilling as a final train chase that is the most exciting action sequence of the year. The key to Paddington is that there’s not a cynical thing about him---his movies just consistently and unerringly deliver pure creative joy.

The Sisters Brothers

In recent years the western genre has moved hard towards social commentary. Jacques Audiard’s adaptation of a Patrick DeWitt novel, co-written with Thomas Bidegain, has such unconventional heroes that it takes aim at the traditional western strongman even when it isn’t trying to. John C. Reilly and Joaquin Phoenix play a pair of mercenary brothers who are, respectively, too sensitive and too useless to have ever been stars in westerns of old. Jake Gyllenhaal is an eloquent bounty hunter and Riz Ahmed is the inventor they are all after. The wild west was definitely not a storied land of opportunity for all. The hired hands are out to kill Ahmed’s character because a powerful businessman feels entitled to his invention, and the film ends in greed, tragedy and brokenness rather than success. That’s not to say it has no trappings of the classics, as it may be the most beautiful western ever made; painstaking detail has gone into towns and saloon halls, while a wilderness stream lit up with a phosphorescent gold-finding chemical has a mesmerizing beauty. All these good looks serve to back up a dark comic story, and it is a highly effective contrast.

Capernaum

Nadine Labaki’s film about a 12-year-old boy in prison for striking back at his desperate poverty was criticized, in some circles, for not being bleaker than it is. Labaki and her team of writers, with a mostly non-professional cast, have painted a picture of life in the world’s slums that mostly foregoes easy drama in favor of being unblinkingly, ceaselessly blunt about the sheer offenses against human life that take place there. The focus of the film is Zain, named after the young actor Zain Al Rafeea, whose parents recklessly pop out kids despite barely being able to care for themselves. They enjoy themselves in a bed right next to the floor housing their seven children; in court, they insist that the existence of their kids is a burden on them. Zain ends up temporarily becoming a sort of custodian for a friend’s infant son, and we see three stops on a sad spectrum: the innocent baby unaware of life’s terrors, the broken boy he may become without help, and the adults that are the result of a life lived without hope. That the film’s bad guy, a human trafficker, is eventually foiled is not the catharsis it would be in a more multiplex-oriented movie, because we know there will just be another after him, and another, and another.

First Man

A bio-pic of a quiet man with no political message was never going to do well in the modern movie landscape, and that’s a shame. Ryan Gosling’s taciturn portrayal of Neil Armstrong is the fuel of a film that is not about the glory of space travel but about the risks and tolls it takes, all of which are recreated with bone-rattling immediacy. Damien Chazelle and Josh Singer ignore the political demands of the moment to portray one of our most important national figures exactly as he was: a reserved man more concerned with math than with press conferences, whose taciturn response to what he’d bring with him to the moon was “More fuel”. Yet what really sells the film is the time we spend in the various cockpits with Armstrong. Where Linus Sandgren could have gone for soaring vistas and patriotic imagery, he instead brings home the terror and uncertainly of space travel in a way that makes the stakes feel real and immediate. Chazelle eschews the need to see the past through the lens of the present, and an excellent movie results.

Annihilation

Some science fiction deals in lasers and spaceships. Some deals in thoughts and ideas. Alex Garland’s trippy sci-fi adventure, based on a novel by Jeff VanderMeer, is certainly the latter. A team of women, led by Natalie Portman and Jennifer Jason Leigh, enter a no-go zone where it seems the local scenery is slowly being eaten by alien vegetation. What they find there is up to the viewer to interpret, but Garland wisely decide to really let us think about it by pulling back on the horror and leaving much unexplained. The world inside the “Shimmer” is quiet and haunting, not packed with activity. When monsters do attack, it comes in small-scale, individualistic encounters, rather than wars between armies of CGi. It’s also notable that whereas a very specific kind of woman is often held up as an example of strong female characters, the women here are the opposite: ordinary people, more egghead than warrior, investigating rather than kicking ass; a movie that relegates Oscar Isaac to about 20 minutes of screen time certainly has the courage of its characters.

Roma

Another example of a film whose greatness is achieved specifically because it bucks the need to have a message or to conform to momentary fits of politics, Roma tells a simple story of a middle-class Mexican family in the 70’s and their working class servant. It commits numerous sins of modern cinema: the middle-class family is not seen as oppressors, the servant is not seen as a victim, nothing in the film is a veiled attack on systems of any kind or shape. Therein lies the beauty, captured perfectly by Yalitza Aparicio. She plays Cleo, the servant, and while the film is seen through her eyes---so that we witness only the snatches of family life she does---Alfonso Cuaron has never been given much to preaching, and that’s still true here, despite it being his most personal film. It’s also mournfully beautiful in black and white, with city houses shown as a tangle of balcony stairs and one-car garages, and an especially beautiful shot of woods on fire. The kind of film you think about for years after seeing it once, it’s also Cuaron’s most intimate accomplishment. Part 2: http://ryanmeft.tumblr.com/post/182988135292/my-favorite-films-of-2018-part-2

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