TOP 13 MOVIES OF 2018
…According to Me.
Oscar weekend has arrived!…and it’s more confusing than ever.
Per tradition, the internet gets a look at the year’s best films through my eyes — whether it asked for it or not. As a self-proclaimed amateur cinephile, I’m a sucker for lists, breaking down films, and making bold statements.
Here’s how it works.
List all the films I watch each season, and challenge myself to rank ’em. What you see below is the best I could put together in terms of meaningful discoveries the movies offered us this season.
2018’s installment was a year of landmark achievements, overdue representation, and award shows getting it all wrong.
AAANNNDDD
Returning for a fifth straight year is, ‘Wife’s Words’!
Marissa, my partner, drops-in to give her hysterical, unflinching feedback. Don’t worry, she hates most movies…it’s exhausting.
For the sake of context:
I saw 56 new movies this year; Marissa saw 17 (a new PR).
Without further ado…
13. The Ballad of Buster Scruggs
Because I’m a white dude and love movies, I’m pretty much bound by law to include the Coens on my list.
In true Joel + Ethan fashion, their balance of homage and narrative innovation proves to be more than a mere hook. Buster Scruggs is unlike any western you’ve seen; and yet, oddly familiar. With six vignettes circling death’s inevitability, the episodic nature packs a unique sense of completion. The quirkiness we normally attribute with the Coens paints darker this time around, but has more room to stretch and explore among the numerous narratives.
Look, you’re either team Coens or you’re not. If you’re a stan, this one sets nicely at the bottom of their upper-tier work. Plus, Tom Waits is perfection.
WIFE’S WORDS: “Oh these guys! [Coen Bros] Ugh. The only thing that interests me about this is that Jack Russell Terrier in the covered wagon.”
12. Sorry to Bother You
A modern-day absurdist allegory on the toxic effects of capitalism, dangerous racial biases, and body-building centaurs. Shout-out to LaKeith Stanfield who gave the most overlooked, brilliant performance of the year.
To call this movie weird would be lazy, and a downright insult to the next-level vision of writer/director Boots Riley. Simply put, Sorry to Bother You is the kind of movie that unsettles the stomach while making you laugh at the same time. That’s good…and frightening. Mission accomplished, Mr. Riley. This one doesn’t wash off.
WIFE’S WORDS: “Is it a comedy? I think I would watch this, because you’ve definitely made me watch things far worse. This actually looks tolerable.”
11. Private Life
Lots of thoughts, and deceptive feels.
It’s truthful almost to a painful point…but the kind that leaves you numb and nervously laughing. Kathryn Hahn at the top of her game; Paul Giamatti superbly balanced; Jenkins’ sharp, perfect pen, and symbolic framing — Private Life is a fine wine film.
As a season ticket holder of both Hahn + Giamatti, I confess pairing them seemed like an odd move. But here, it felt like a perfect fit. The connection was natural, kinetic enough to earn the fractured state of which they dwelt. And all that delicious subtext!
Private Life is the most uniquely human film of the year. Its lingering effect is oddly healing. This is what Tamara Jenkins does. Of course, it’s underseen, and that’s a shame.
WIFE’S WORDS: “Oh, I watched this one! I liked it…right?”
10. A Star is Born
Nothing makes you feel things like a good ‘ole hearty Greek tragedy. A Star is Born was 2018’s biggest surprise. On paper, the flick should’ve bombed…but what we got was an emotionally musical powerhouse reminding us of why we go to the cinema in the first place.
Yeah, it’s this year’s Forrest Gump — but that’s not bad. A great, crowd-pleasing hit covering the emotional gauntlet; predictable, but entertaining as hell. Not the year’s best movie, but deserving placement among the elite. Just like 1994 when Gump ran across big screen the same year as Shawshank Redemption, Hoop Dreams, and Pulp Fiction.
Needless to say, Bradley Cooper will likely hoist a Best Director Oscar someday. Lady Gaga’s performance was EVERYTHING. And that seven minute segment culminating in Ally’s stage debut is arguably the single best moment of the year.
Also, when it comes to karaoke — can we declare “Shallow” untouchable? Ain’t nobody wanna hear drunk amateurs attempt those “aaaahhhhhhs”.
WIFE’S WORDS: “Do they wrap the ending up in a nice bow; do they tie it all up and give me a happy ending? ‘Cuz if they don’t, then I don’t wanna see it. Judging by the trailer, it looks like a lot of emotion, and it’s probably over two hours long. So…”
9. Black Panther
A year later and still reeling from the majesty of Wakanda and its King. Many superlatives have been shared regarding Black Panther. Even Oprah hit the Oscar campaign trail for its Best Picture bid. Certainly this much is true, no other comic book movie has crafted such an immersive, detailed, entertaining experience while packing timely narrative and social commentary to the likes of this title.
Representation matters. Black Panther is the new gold standard for Hollywood blockbusters and the cultural zeitgeist. One of the most successful movies of all-time, and every bit deserving of a Best Picture nomination.
WIFE’S WORDS: *heavy sigh* “Here we go again with the comic books. Heavy eye roll!”
8. Eighth Grade
Un-ironically, the most authentic scripted title of the year is also the most awkward.
If you’re under the age of 35, saw this movie, and you didn’t quietly confess, “same”, in your head while watching — you’re made of stone. Bo Burnham’s unflinching focus on the fringes of a room, the thick quiet of feeling out of place, the alienation that surfaces without notice. Being a teenager is no small thing, and it’s a wonder any of us made it out alive. Eighth Grade is a masterclass in subtle, truthful filmmaking.
Why didn’t Elsie Fisher not get a nom?!
And this scene! Cue the tears. Dad moment of the year.
WIFE’S WORDS: “Yeah, I watched this one. Um…Didn’t like it as much as I thought I was going to, but I also didn’t hate it. But it doesn’t belong on ‘the shelf’.”
7. First Reformed
Ethan Hawke’s career best performance.
Paul Schrader’s attention to detail while simultaneously blowing the roof off the joint psychologically in the way only he can.
Fractured faith colliding with 21st Century helplessness.
And a deep seeded desire to matter.
Truth be told, this film messed me up. Like, really turned my brain inside out. Because that’s what the best cinematic thrillers do. First Reformed’s conflicting layers left me feeling more hopeful than I took at face-value. It cuts deep, but Hawke’s performance sculpts purpose from the mire, ultimately leading to a breathless sense of finality.
WIFE’S WORDS: “I hate when I see those indie-film logos! So, I won’t like that. Is that the girl from Mean Girls? And was that Pepto Bismol he mixed-in with his alcohol?!”
6. Spider-Man into the Spider-Verse
Okay, here’s the deal —
HOLY CRAP SPIDER-VERSE IS THE MOST FUN I’VE EVER HAD AT THE MOVIE THEATRE IN MY ENTIRE LIFE, AND IT’S THE GREATEST COMIC BOOK MOVIE YET MADE, AND IT’S AN ELECTRIC VISUAL SYMPHONY, AND I DON’T KNOW HOW THEY MANAGED TO MAKE LIKE SEVEN ORIGIN STORIES WORK SO PERFECTLY IN A SINGLE MOVIE — BUT THEY DID IT, AND IT’S EASILY THE MOST RE-WATCHABLE AND EUPHORICALLY ENGROSSING FLICK OF THE SEASON, AND BASICALLY SPIDER-VERSE REPRESENTS ALL THE GREAT THINGS ABOUT MODERN BLOCKBUSTER FLICKS WHILE VAULTING US INTO A SUPER-DUPER EXCITING FUTURE OF MOVIE MAKING. IT’S REMARKABLE IN EVERY WAY. DAMMIT I LOVE THIS MOVIE SO MUCH!
Phew! Sorry for yelling; I get excited sometimes.
WIFE’S WORDS: “Spider-Man?! How many time are they going to make this movie?!”
5. BlackKklansman
11:00 p.m. on a random Thursday night in 1999.
I stayed up late to catch the three hour epic Malcolm X on Starz. I was 12 years old. Spike Lee was a new name to me, and seeing commercials for this movie had me riveted. That stands out as one of those “movie moments” for me; the moment Lee and his visceral, urban, prophetic style grabbed hold of my consciousness. He’s been one of my favorite directors ever since.
Seeing him finally get his due in the mainstream circles feels therapeutic. BlackKklansman is absolutely one of the five best films of the year; equally comedic as it is upsetting. The irony is this time around, he’s getting the attention for what turns out to be maybe his third or fourth best movie. Such is the Oscar game.
If you compare his career side-by-side with Martin Scorsese, the similarities are uncanny. And yet, we don’t speak of them in the same way. That’s a shame. Spike is one of modern cinema’s GOATs. Period.
BlackKklansman will get him his Oscar (Best Adapted Screenplay). He deserves it, and so does the movie. This film is both vintage Spike while expanding the cinematic scope to somewhat universal appeal…at least, as much as you can given the polarizing — and truthful — topic. Lee remains one of cinema’s strongest voices. Make no mistake, this one will make you uncomfortable. It’s supposed to.
Equal parts Inside Man and Do The Right Thing, one of Hollywood’s most prolific auteurs reminds us of who we are, where we came from, and still gives us that iconic dolly shot.
WIFE’S WORDS: “Yeah I might like that, but how long is it? Oh, you own it? K then, maybe I’ll watch it.”
4. You Were Never Really Here
Lynne Ramsay deserves the Best Director Oscar. There, I said it.
So, I’m totally going to be “that guy” and say, the less you know about this film before diving-in, the better. YWNRH is an enveloping cinematic experience unlike any other this year. Almost as if you’re slipping into a warm bath only to realize at the last minute it’s slowly strangling you, but don’t want it to stop.
Not many writer/directors capture less is more than Ramsay. In the sense of understanding visual cues, audience intelligence, and gritty, silent emotion — she’s virtually unmatched. And as a Joaquin Phoenix season ticket holder, I do not say this lightly: Phoenix, in this, delivered his best performance to date.
YWNRH tackles PTSD, abusive familial relationships, sex trafficking, underground mercenaries, depression, and the unquenchable thirst for connection masterfully — and does it all in 89 minutes. You’re not prepared for this movie, nor will you ever be.
WIFE’S WORDS: “How can this movie be the 21st Century Taxi Driver if that other dumb trailer we watched is supposed to be Taxi Driver too? Is it because they both have those indie stamps on ‘em?”
3. Roma
Among the most important titles of recent memory. Certainly deserving of the Best Picture award, and likely to win. Cuaron’s passion (and semi-autobiographical) project blossomed into a detailed, visceral tale of family, heritage, and classism.
If you’ve seen it, you know.
If you haven’t seen it, change that now.
Because when social awakening is triggered, we are never the same. Sometimes is fractures the soul; sometimes is leads to radical discovery. Either way, things are different; they’re flawed, raw, nuanced. And home doesn’t feel the same anymore, nor those in it. Roma captures that lens better than any of its counterparts. It humanizes much of what we refuse to speak of.
Some films you just have to see. This is one of ‘em.
WIFE’S WORDS: “Black and white? Oh my god! It’s 2019. I’ve no idea what that movie is about, but at least they put together an engaging trailer.”
2. The Favourite
Devilishly perfect, and utterly intoxicating.
It’s been a minute since a film made me want to transport to that exact space, that exact world, that exact emotional hysteria. Never did I imagine a “costume drama” would provide the year-defining performances with an uncanny re-watachability. Of course, labeling this film a “costume drama” is a gross disservice.
Like Phantom Thread last year, The Favourite lives and dies by how its defined. Understand reader, this is a black comedy. A tour de force with just the right amount of eroticism and back stabbing to keep you on your toes. Yes, laugh at the mass hysteria of it all, and marvel at the nuanced performances of Coleman (give her Best Actress you cowards!), Weisz (slitting your throat while you say thank you), and Emma Stone (queen of manipulation).
Among other things, the Screenplay and Cinematography are arguably the best installments of each this season has seen. A visual feast with razor sharp one-liners that sear and sting as much as they appall.
Simply put, The Favourite is this year’s near-perfect film; blending delicious familiarity and sinister innovation to concoct an experience that leaves you saying: “Oh my god…I need more.”
WIFE’S WORDS: “I actually think I would like to watch this one. It didn’t look super olden-timey despite the setting.”
1. Minding the Gap
No one saw this documentary coming.
Bing Liu’s debut non-fiction feature is as moving and poignant as anything I’ve seen in recent memory. A lifelong skateboarding fanatic, Liu — through his own experience with domestic abuse — started noticing a pattern among his growing crew of “outsiders”.
Minding the Gap is just as much about carving out your own community and embracing self-identity as it is about the hurt and pain a lot of teenagers carry. Talking about this doc proves difficult due to the ease of which the “emo” tag seemingly fits; but it couldn’t be further form the truth.
The swelling montages of open skateboarding over a gentle soundtrack and landscape are as beautiful as any shots I’ve seen. Surprisingly emotional, Liu frames the comfort of this hobby-haven with delicacy and tenderness. Because, after all, this is their home; their family.
Minding the Gap reminds us of the schisms we’ve grown far too comfortable with in our day-to-day lives; it reminds us that dealing with our flaws is messy; it reminds us that even those “lost causes” have the capacity to feel deeply; it reminds us that American masculinity is a fragile and toxic thing; and that it’s basic human nature to fight for better than what we’ve been dealt.
Not so much devastating as it is a subtle reminder of what we often ignore, this one is the most purely emotional movie experience of the year.
WIFE’S WORDS: “It looks well-done; looks like it’s meaningful. Since it’s on Hulu, I may watch it…if I’m all caught up on Grey’s.”
HONORABLE MENTION:
Annihilation; Hereditary; Love, Simon; Tully; & We the Animals
STILL NEED TO SEE: Cold War; If Beale Street Could Talk; & Vice
EVERYTHING ELSE I SAW:
Ready Player One; When We First Met; Avengers: Infinity War; A Quiet Place; Deadpool 2; Game Night; Ibiza; Dude; The Staircase; Wild, Wild Country; Bohemian Rhapsody; Aquaman; Incredibles 2; To All the Boys I’ve Loved Before; Blockers; Ocean’s 8; Venom; RBG; Disobedience; The Kindergarten Teacher; I Feel Pretty; The Grinch; Set It Up; Blindspotting; Beautiful Boy; Creed II; Won’t You Be My Neighbor?; A Simple Favor; 22 July; Paddington 2; First Man; Isle of Dogs; Outlaw King; Thoroughbreds; Don’t Worry He Won’t Get Far on Foot; The Wife; Never Goin’ Back; The Hate U Give.
MOST OVERRATED: Bohemian Rhapsody
But congratulations to Rami Malek on winning Lip Sync Battle 2018.
BEST YEAR:
Tessa Thompson — She officially won 2018, and it wasn’t even close. 5 Movies + 3 TV Shows + 3 Music Videos. Bow to the Queen!
BEST ACTING:
Joaquin Phoenix, You Were Never Really Here; & Olivia Colman, The Favourite
BEST DIRECTING:
Lynn Ramsay, You Were Never Really Here; & Yorgos Lanthimos, The Favourite
BEST ONES YOU PROBABLY HAVEN’T SEEN:
The Kindergarten Teacher (Maggie Gyllenhaal will floor you); 22 July (a lengthy Netflix doc, but worth it); We the Animals (think The Florida Project meets The Tree of Life).
SOAPBOX:
How in the same year that gave us BlackKklansman, Sorry to Bother You, The Hate U Give, Roma, Black Panther, If Beale Street Could Talk, Blindspotting, Minding the Gap, and First Match did we end-up anointing friggin’ Green Book as the best movie of the year?! The level of backwards thinking this represents is staggering.
That’s it; that’s the list! What titles did I miss?
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