It’s strange to think that we now live in the far off future of the 2020s. But with that new and strange future waiting for us, we also leave behind a decade filled with some of the best movies we have ever known. While there are a lot of negative and overwhelming things about the 2010s that we’ll always remember, whether we want to or not, I believe it is safe to say that this past decade was one of the best for cinema. It allowed the widest range of filmmakers to tell their unique and awe-inspiring stories that forever changed the landscape. From “Get Out” and “Moonlight” to “Lady Bird” and “Roma,” this was the decade of imaginative storytelling.
For me, I got to see far more wonderful movies than I can count. Not only did I get to see nearly every major release in my small town from 2014 onward, but this was a decade that significantly expanded my world view and tastes in cinema, allowing me to see pictures I would have never expected and now I can’t imagine a world without movies like “Spotlight” or “The Social Network.” But there are so many of those stunning films that forever changed cinema that it’s daunting to even narrow them all down to one list.
So rather than talk about the best movies that changed the decade and movies forever, I’m going to stick with what I know and talk about the movies that changed me. The movies that I will remember forever from the 2010s and ones that I could watch again and again. I also couldn’t do any of these films justice with a short description here, though I do have full length reviews for nearly all of them elsewhere on my blog, so links to those will be included for each of them. These are not necessarily my picks for the best films of the decade (though some of these would be on that list too), but rather these are my absolute favorite and most memorable films of the 2010s (in no particular order…except for the last one).
“The Artist” (2011)
Out of all these picks, “The Artist” is the only one I haven’t talked about at length. But to get to the heart of it, “The Artist” is cinema at its purest. Raw, emotional, visual storytelling at its finest, celebrating how beautiful and tragic cinema can be by crafting a tale that hasn’t been told for nearly 80 years. It’s one thing to make a silent movie in 2011, but it’s another thing entirely to make about the story of how silent cinema faded and the lives that were crushed by that transition. At times, it evokes the whimsy and energy of “Singin’ in the Rain,” while other times the tragedy of being lost in an ever-evolving world like Norma Desmond in “Sunset Boulevard.” It is a timeless tale about why we love movies so much and why they’ll always be relevant, a love letter not just to silent cinema but cinema in general.
“Her” (2013)
http://gotengoxgodzilla.blogspot.com/2014/01/the-hopper-8.html
Simple, yet innovative. This is a science fiction piece that understands technology in cinema is not just fiction, but can be relatable and logical yet still fascinating and imaginative. I found myself just as invested in the futuristic Los Angeles as I was in the romance between Theodore and Samantha, finding a love story set in a world not too different from our own. A world where technology might have advanced further than us, and has replaced us in many capacities. Yet “Her” finds a middle ground where humans and technology make each other more desirable. That we wouldn’t be complete without the other. With the same quirky, off-the-wall craziness you can only get out of a Spike Jones film, “Her is one of the most creative and heart-warming films of the decade.
“La La Land” (2016) and “Whiplash” (2014)
http://gotengoxgodzilla.blogspot.com/2017/01/movie-review-la-la-land-2016.html
http://gotengoxgodzilla.blogspot.com/2015/02/movie-review-whiplash-2014-does-he-want.html
After a lot of consideration, I’ve come to the decision that I cannot decide which of Damien Chazelle’s masterpieces I love more. So rather than pick one, why not just include both in one spot? Though both films do tell me the same thing – that the musical is not dead. Chazelle’s take on the genre uses music more as an emotion or a state of mind that is complimented by a passion for why music, moving music, needs to be shared with the world. In “Whiplash,” this is taken to its most extreme through J.K. Simmons’ character and his anger at a world that doesn’t share his enthusiasm for music and can’t understand why his students don’t care about it as much as he does. While in “La La Land,” that passion is splashed all over the screen through vibrant colors, long shots of stunning choreography that demonstrates why musicals are beautifully unique without ever sacrificing that same harsh reality that “Whiplash” started. While both films are joyous in their own way, they never sugar-coat anything and often show just how cruel and unforgiving the world can be, but also why that passion is something worth fighting for.
“The Lego Movie” (2014)
http://gotengoxgodzilla.blogspot.com/2014/02/movie-review-lego-movie-2014.html
There were a large amount of noteworthy animated movies over the last decade – “Inside Out,” “How to Train Your Dragon,” “Spider-Man: Into the Spider-verse,” “Kung Fu Panda 2,” “Zootopia,” “The Wind Rises,” “Kubo and the Two Strings” just to name a few. But none of them made quite as much of an impact on me as “The Lego Movie.” As strange as this is to say about a film meant to sell tiny bricks of plastic that are a pain to step on, “The Lego Movie” might have been the most creative, heartfelt, nostalgic and visually-striking film of the decade. Say what you will about some of the best cinematography of the decade, none of those movies were made up entirely of legos. But beyond the vast cast of characters that seems to cover nearly every franchise in existence and makes it all feel connected, what makes this so important is the twist near the end and the message that comes from it. No other animated movie hit me nearly as hard as that moment when you find out who has really been pulling all the strings and how it fits right at home with the imagination of legos. I didn’t know that I ever wanted a movie about yellow bricks that has Batman, Shaquille O’Neal and Charlie Day playing a crazy astronaut obsessed with spaceships, but now I can’t imagine a world without “The Lego Movie.”
“Mad Max: Fury Road” (2015)
http://gotengoxgodzilla.blogspot.com/2015/05/movie-review-mad-max-fury-road-2015.html
This film still blows me away. So much is conveyed with little dialogue and visually-rich imagery, creating this hellscape built on madness and cars. It is not only the most high-octane movie of the decade, but also the most authentic action movie of the decade too, with little CGI and epic level action sequences that would make David Lean blush with jealousy. This is what every action movie should aspire to be like – beautiful, detailed in its simplicity, deliciously hand-crafted and satisfying. Any day with “Mad Max: Fury Road” is a lovely day indeed.
“The Martian” (2015)
http://gotengoxgodzilla.blogspot.com/2015/10/movie-review-martian-2015-best-mars.html
As time has passed, the more I have fallen in love with “The Martian.” I’d describe it now as a comedy that laughs in the face of certain death and takes delight in the small moments of happiness, anything to remind us why it’s wonderful to be alive. Despite films like “Gravity” or “Interstellar” taking giant leaps for exploring the universe in new and creative ways, it’s the heart and honesty of “The Martian” that wins me over every time. Matt Damon gives the best performance of his career, perfectly capturing the highs and lows of having a planet to yourself while refusing to succumb to the dread of dying and working towards another chance to live. “The Martian” is as uplifting as it is hilarious, striking the perfect balance between crisis and serenity.
“Nightcrawler” (2014)
http://gotengoxgodzilla.blogspot.com/2014/11/movie-review-nightcrawler-2014.html
If I had to include one gritty and unsettling film from the 2010s, I’d certainly go with the irresistible “Nightcrawler.” Jake Gyllenhaal’s performance might be my second favorite of the decade, as a man so engrossed in his own uncaring and unsympathetic world that he has to go out to prove his worth in any meaningful way. The way he treats others like his pawns or tools yet how it plays so well into the world he creates for himself and the “Man bites dog” mentality of journalism is so highly captivating. Watching this man try to conquer the world in his own way is a treat all on its own, especially once he starts to succeed at it.
“Parasite” (2019)
http://gotengoxgodzilla.blogspot.com/2019/12/movie-review-parasite-2019.html
While I tried to stay away from more recent films that haven’t had as much time for reflection as the other films on this list, I keep coming back to Bong-Joon Ho’s immensely captivating genre-bender. Not only is the film able to effortlessly bounce between being a thriller, comedy and social commentary, but it is the most unpredictable experience of the decade. With each scene, it feels like the film could spring off a million different ways, always keeping the audience guessing as to which path it will take, and yet Bong-Joon Ho often picks none of those million possibilities and goes off in a completely different and yet still fascinating path no one could have expected. “Parasite” makes storytelling as creative and original as it was when we first heard stories and reminds me why cinematic storytelling can be so fun in the first place.
“Shin Godzilla” (2016)
http://gotengoxgodzilla.blogspot.com/2016/10/movie-review-shin-godzilla-2016.html
I tried desperately to think of a movie that I loved more than “Shin Godzilla” from the 2010s, and I could only come with a few movies, and certainly no other kaiju films. When I think of a modern monster movie, one that portrays a honest depiction of what would happen if there ever was a giant monster running around, “Shin Godzilla” captures that perfectly. The dread and uncertainty of a creature that defies all the laws of nature and the cold reality that scared, tired and confused men are in charge of dealing with that creature is terrifying in its own right. Democracy was not meant to handle a nearly indestructible monster that destroys everything in its path. And even beyond that, this version of Godzilla is the most terrifying since the original monster, leading to monster scenes that are just as intense and gripping as the scenes with the government, and helped by wonderfully dynamic cinematography. Lastly, there’s the national identity of Japan on full display as the film makes Japan the main character with its demeanor, ideals and fears bared for everyone, leading to a climax that is triumphant as it is exhilarating.
“The Shape of Water” (2017)
http://gotengoxgodzilla.blogspot.com/2018/01/movie-review-shape-of-water-2017.html
Despite everything else being in no particular order, “The Shape of Water” is, without a doubt, my favorite movie of the 2010s. From the opening scenes of finding joy in the small moments of happiness like the smell of chocolate in the air to tap dancing after watching in on TV, to the transparently wicked Michael Shannon soaking up every minute he has a chance to assert his authority, to the hauntingly beautiful dream dance sequence that brings me to tears every time, there is no shortage of wonder and awe in this movie. But what really brings it all together is Sally Hawkins giving my favorite performance of the decade, so raw and emotionally gripping as she acts her heart out in every scene without ever saying a word. She commands the screen, not like Michael Shannon’s intensity, but through her vulnerability. “The Shape of Water” is joy in its purest form, capturing the majesty and imagination that cinema can offer without ever shying away from the darker, more horrific sides of that imagination that leads to powerful emotional moments that I’ll never forget. And it is because of Guillermo del Toro’s passion for filmmaking, passion for the fantastical and passion for life that makes “The Shape of Water” the most rewarding movie of the decade.
This has been a decade of so many wonderful movies that I’m sure there’s a bunch that I missed or left out or possibly some that I didn’t even see. So if you have any of those, be sure to let me know what your favorite movies of the 2010s were!
Of all the places to be stranded on the planet, the worst one that comes to mind is a frozen barren wasteland. Surviving in the arctic circle sounds as appealing as trying to survive in outer space, where the environment is created to kill you and the only thing keeping you alive are some tools that'll eventually run out. No heat, little to no food, no naturally occurring supplies besides snow, and the chance of rescue might as well be as likely as finding a needle in a snowstorm.
This is why "Arctic" hits as hard as it does. The fear and desperation of Mads Mikkelsen is stressed above all else, as well as the isolation and desolation of this inhospitable location, as one man does everything he can to survive after his plane crashes somewhere in the arctic circle. Mikkelsen turns in the performance of his career, giving a captivating and emotionally charged performance while never saying more than seven or eight lines of dialogue.
From the first moment we see Mikkelsen carving a giant "S.O.S." in to the side of a mountain, "Arctic" proves to a gripping survival thriller, playing to the full cinematic experience that movies are made for. Something like "Arctic" could not work in any other medium as well as it does here - the hardships Mikkelsen faces just by going about his daily routine, the turmoil he shows through each of his actions, and the unending dangers he will continue to face that will always try to kill him, all told through that magical bond between the audience and pictures in front of them.
Final Grade: B+
I can't remember a movie phenomenon quite like "Bird Box." When I first saw the previews and premise, I thought it was just "A Quiet Place" but instead of focusing on the lack of sound, it was a lack of sight, which sounded like a terrible idea for a visual medium. I can't think of many other films that clearly rip off another successful product, and yet is more successful than what they're ripping off. I put off watching the film for a while, especially since it came out in the middle of Oscar season and was so low on my radar. And after finally watching the movie, I can see why it would be talked about, but not understand why it's a good movie. "Bird Box" is a rip off of many other things than just "A Quiet Place," but especially zombie movies like "Night of the Living Dead." The difference between "Bird Box" and those films is that you actually get to see the monsters in those films, but we never get a hint here. The beauty of what these monsters do is talked up like it's a big deal, but we don't get to see any of it. It goes against the "show, don't tell" rule of cinema. The film very rarely takes advantage of the fact that these characters can't see, only covering basic elements that someone with no imagination would think about. Still, the image of Sandra Bullock stumbling through the woods blindfolded is iconic enough to warrant discovering just what "Bird Box" is about, but I feel like most people have already learned that.
Final Grade: C-
"Shoplifters" is far more fascinating to me since it came out the same year as "Roma" since both so alike and yet so different in many ways. While both films are essentially about children and raising them under less than ideal circumstances, while being raised by adults that must fight their own adversities, they take drastically different paths, resulting in contrasting atmospheres and messages. While "Roma" is one of uncertainty and the fear that comes with that, "Shoplifters" embraces its adversities, almost laughing in the face of these character's problems. They act like they don't have a care in the world, despite scrounging around just to make ends meet, and yet they make the most out of what they have. The bond between this hard-working, strange family is mesmerizing and unbelievably charming, watching them pull each other together like watching a broken teapot magically put itself back together again. This not only makes "Shoplifters" the most uplifting, heartfelt film of the year, but a testament to how great foreign cinema has been this year.
Final Grade: A
While there is some impressive technical feats in "They Shall Not Grow Old," that's really the only thing this documentary has going for it. It is stunning to see footage from the 1910s in HD and color, but there's a certain Hollywood quality to it, namely the addition of new sound effects and dialogue to fill in the silence, as the filmmakers make their best guesses as to what these soliders were talking about. After a while, this starts to grow tiresome and makes even the redone footage repetitive and boring, making it seem more like a gimmick instead of an advancement. I was honestly starting to doze off halfway through the movie, mostly because this film has no story, it's just a collection of interviews with World War I veterans recounting their war stories with some matching images. The film is about as exciting as watching a introduction film to a world war museum...only that introductory film goes on for two hours.
Final Grade: C
The quality of movies in 2018 came as a surprise to me. While I shouldn't be shocked that filmmakers are creating better works of art with each passing year, I didn't think too highly of the films released this year for a long time. Sure, there were many solid movies, including "Ant-Man and the Wasp" and "Incredibles 2" but very few films that stood out for me.
But as the year came to an end and I took the time to reflect on the best films of the year, I started to realize just how many standout movies came out in 2018. There were so many that I guess I lost track of some. Most years, I only do a top five list of the best films, but this is the first year where I need to do a top ten to cover everything I loved.
So, with all of that being said, let's start with the same question I ask at the end of every year - Was 2018 a good year for movies?
I will remember 2018 for a few things, but the main thing will be Hollywood, not only accepting diversity, but embracing it. It no longer feels like we live in a world where every major movie has to have a straight white male in the lead role in order to succeed, but just having people in the leads and making them far more relatable than I can ever remember movie characters being in the past. It's not just about tellling those often overlooked stories, but making them so rich, vibrant and entertaining that everyone needs to see it to believe it. For this reason alone, I'd say 2018 is an important year for film.
But beyond this, my typical criteria is that there needs to be three standout movies released over the course of the year. Ones that will be remembered long after its time in the theater is done and yet people are still talking about it, and watch it not just for the nostalgia, but because it's just as entertainment value either hasn't diminished or has increased. To me, three standouts make it a good year, less than that means it was a bad year, and five or more means it was a great year. 2017, for example, now has over six movies that I love now just as much as I did when I first saw them, making it a great yaer.
And in this regard, 2018 is a great year for films, possibly even better than 2017. There are so many films that I can't recommend enough to everyone reading this. And while I don't think there was a film that I loved nearly as much as 2017's "The Shape of Water," that does not diminish the personal touch of 2018, a year filled with smart, authentic and imaginative movies that should never be overlooked.
So yes, I do think 2018 was a great year for film. And to prove that, here are just some of the best films this last year had to offer and ones that I won't be forgetting any time soon.
10. "Mission: Impossible - Fallout"
While the quality of the "Mission: Impossible" movies should never be questioned at this point, "Fallout" manages to out-do, not only the other films in the franchise, but any other big blockbuster in terms of thrilling stunts and effects. This is a nail-biting, thrill ride that never lets up, highlighted by some of the best acting in the series and stunts that somehow one-up each other in each scene. Some of the most fun I had in the theaters in 2018.
9. "Eighth Grade"
On the opposite end of the spectrum from "Fallout," we have "Eighth Grade," a comedy that excels at capturing that awkward moment we've all had. A time we'd all like to forget, but one that probably defined who we are. It is the most honest movie the year, with perfect casting and a sense of humor that is as unique as it is awkward.
8. "Free Solo"
2018 was a stunning year for documentaries. On top of films like "Won't You Be My Neighbor," "Three Identical Strangers" and "They Will Never Grow Old," we also had the most thrilling, thoughtful and meta documentary with "Free Solo." Not only is this the most stunning and beautiful documentary I've ever seen, making us feel like we're rock climbing along with these people, but the tale of the documentary crew is just as entertaining as the main story, asking themselves questions about what they're doing and if it's ethical to film someone in such a dangerous profession that relies so heavily on their finesse. In a year filled with amazing documentaries, "Free Solo" is the one I keep coming back to.
7. "Spider-Man: Into the Spider-Verse"
Speaking of films I keep coming back to "Into the Spider-Verse" continues to fascinate me with its breathtaking artstyle, unique cinematography and animation, its love of Spider-Man's history and lore, and its mutl-layered story about redemption and overcoming tragedy. It is not only the best animated film of the year, but possibly the best animated film since "The Lego Movie." It is everything that is great about animation and so much more.
6. "BlacKkKlansmen"
"BlacKkKlansmen" is the most sobering, bold and stylish movie of the year. It is overflowing with unbridled energy, showcasing the hate in the hate in the world and how it is still very much alive and needs to be addressed, all while giving us that brilliant Spike Lee style that we've come to know and love. On top of that, it is a brilliant thriller that teeters between mystery, suspense and comedy, making this just as timeless as Spike Lee's other classics.
5. "Roma"
Continuing the theme that films like "BlacKkKlansmen" and "Sorry to Bother You" started, "Roma" is a daring, deeply personal told through a perspective that is often overlooked. The film often feels we're looking back at Alfonso Cuaron's memories and nostalgia for his childhood, but told with the clarity and percise details of a master storyteller. And even though this has the best cinematography of the year, the true highlight is the emotional performances throughout this hauntingly beautiful movie.
4. "Halloween"
I'm surprised that I'm not seeing this film on more "Best of 2018" lists, because "Halloween" is the best slasher movie since the original "Halloween." It elevates the genre far beyond the blood and gore, giving us a gripping, intense film about coping with trauma, survivor's guilt and the psychology of a psychopath. Add in a complex yet emotionally gripping performance from Jamie Lee Curtis that brings in another level of menace and reflection and you get one of the best horror movies in years.
3. "The Favourite"
I was blown away by the elaborate detail in "The Favourite" but was just as easily impressed by the way the story balances comedy, intrigue, romance and thrills, all while coming across as so Victorian and so modern at the same time. In a strange way, it is timeless in its style and that goes a long way. The three stellar performances of its leads elevates this above nearly every other period piece I can think of, taking a genre that is known mostly for its production design and giving it some much needed life in the story and acting department.
2. "Searching"
Another film I'm surprised isn't getting more attention right now is "Searching," the most unique and thrilling movie of the year. Like Hitchcock so masterfully delved into our socital fears, "Searching" delves into the fears of social media and questionable choices we make in the age of Twitter and regret. It's visual style compliments this perfectly while presenting a "Gone Girl"-like thriller that always had me on the edge of my seat, always blurring the line between the digital world we want to inhabit and the real world that we should be in. This is the movie I'll always remember from 2018, for being unlike anything else I saw this year.
1. "If Beale Street Could Talk"
I had a very difficult time deciding what deserves to be on this top ten list, but there was no doubt in my mind that Barry Jenkin's "If Beale Street Could Talk" deserved to be the number one. This is the most important movie of the year, a film that transcends boundaries to tell a timeless tale of love in all of its wonderful forms. In a year filled with personal films about flawed, broken people, this is the one that feels the most authentic, the most heartfelt and the most uplfiting. If you haven't seen "If Beale Street Could Talk" yet, do yourself a favor and go see the best film of 2018.
Honorable Mentions -
-Game Night
-Avengers: Infinity War
-Green Book
-The Ballad of Buster Scruggs
-Won't You Be My Neighbor?
While 2018 may not have been the most productive year on this blog for me, it was one of the more productive years of my life outside of this blog. I've allowed myself more time to pursue some of my other passions while still sharing my thoughts and opinions on each of the movies I watched. And even though my reviews are getting shorter, I also like to think that's allowed me to come to a more thorough and precise point in my reviews.
I learned a lot about film reviewing in 2018, probably the most I've learned since I started this blog, about making my points as clear and memorable as I can. I will carry these lessons forward with me as I do my best to continue providing quality reviews that others enjoy reading.
So with all that said, as always, I like to take a look back at all the movies I watched this last year as a quick reminder for everyone, including myself. This also gives me a chance to go back and change the grades on films that I might like more now or like even less than I did the first time. There will also be a few movies on this list that I didn't review for one reason or another. So let's take a look back at what 2018 brought me and what I'd grade each of those films.
1. "The Poseidon Adventure" (1972) - B+
2. "It's A Gift" (1934) - B+
3. "Lady Bird" (2017) - A
4. "Three Billboards Outside Ebbing, Missouri" (2017) - A
5. "The Post" (2017) - B
6. "Godzilla: Planet of the Monsters" (2017) - D
7. "Apollo 13" (1995) - A-
8. "The Sheik" (1921) - C
9. "Son of the Sheik" (1926) - C-
10. "Darkest Hour" (2017) - C+
11. "Phantom Thread" (2017) - B+
12. "Call Me By Your Name" (2017) - B
13. "The Shape of Water" (2017) - A+
14. "Lord of the Flies" (1963) - C+
15. "All the King's Men" (1949) - C
16. "Rififi" (1955) - B+
17. "Flight of the Phoenix" (1965) - B+
18. "Jumanji: Welcome to the Jungle" (2017) - C+
19. "Black Narcissus" (1947) - B+
20. "In Cold Blood" (1967) - B+
21. "Dersu Uzala" (1975) - B+
22. "The Pianist" (2002) - C+
23. "Black Panther" (2018) - B+
24. "The Best Man" (1964) - C+
25. "Annihilation" (2018) - C+
26. "Game Night" (2018) - A-
27. "Field of Dreams" (1989) - B
28. "The Ox-Bow Incident" (1943) - A
29. "Born Yesterday" (1950) - B+
30. "Pacific Rim: Uprising" (2018) - D-
31. "Jailhouse Rock" (1957) - C
32. "Lust for Life" (1956) - C-
33. "Ready Player One" (2018) - B
34. "All the President's Men" (1976) - A-
35. "A Night to Remember" (1958) - A
36. "The Philadelphia Story" (1940) - A+
37. "Wings" (1927) - A-
38. "Fanny and Alexander" (1982) - D+
39. "Dark Victory" (1939) - C
40. "A Man Escaped" (1956) - B
41. "Captain Blood" (1935) - B+
42. "Blockers" (2018) - B
43. "A Quiet Place" (2018) - A-
44. "Isle of Dogs" (2018) - A-
45. "Ocean's Eleven" (1960) - C
46. "Avengers: Infinity War" (2018) - A-
47. "Deadpool 2" (2018) - B
48. "Gamera: The Brave" (2006) - F
49. "My Fair Lady" (1964) - B+
50. "Solo: A Star Wars Story" (2018) - B-
51. "Mildred Pierce" (1945) - A
52. "No Time for Sergeants" (1958) - B
53. "Jezebel" (1939) - C
54. "Hereditary" (2018) - A-
55. "Upgrade" (2018) - B
56. "Ocean's Eight" (2018) - C-
57. "Island of Lost Souls" (1932) - C+
58. "Incredibles 2" (2018) - B-
59. "Tag" (2018) - D+
60. "Please Don't Eat the Daisies" (1960) - B+
61. "Won't You Be My Neighbor" (2018) - A
62. "Jurassic World: Fallen Kingdom" (2018) - D
63. "The Courtship of Eddie's Father" (1963) - A-
64. "Cheyenne Autumn" (1964) - D+
65. "Ant-Man and the Wasp" (2018) - B+
66. "The Blob" (1958) - C+
67. "Sorry to Bother You" (2018) - A-
68. "Fail Safe" (1964) - A-
69. "Godzilla: City on the Edge of Battle" (2018) - F+
70. "Unfriended: Dark Web" (2018) - D+
71. "Mission: Impossible - Fallout" (2018) - A-
72. "The Taking of Pelham One Two Three" (1947) - A
73. "Eighth Grade" (2018) - A-
74. "The Spy Who Dumped Me" (2018) - D+
75. "The Postman Always Rings Twice" (1946) - A-
76. "From Here to Eternity" (1953) - A
77. "BlacKkKlansmen" (2018) - A
78. "The Pirate" (1948) - C-
79. "Pillow Talk" (1959) - B+
80. "Searching" (2018) - A
81. "Midnight Lace" (1960) - C+
82. "Johnny Belinda" (1948) - C
83. "The Predator" (2018) - D+
84. "Crazy Rich Asians" (2018) - B-
85. "A Simple Favor" (2018) - B+
86. "Christopher Robin" (2018) - C+
87. "Mamma Mia! Here We Go Again" (2018) - B-
88. "Pride of the Yankees" (1942) - B-
89. "Funny Girl" (1968) - C-
90. "8 1/2" (1963) - A-
91. "Mandy" (2018) - B+
92. "Murder On the Orient Express" (1974) - A-
93. "A Star Is Born" (2018) - B-
94. "Venom" (2018) - D+
95. "The Charge of the Light Brigade" (1936) - C
96. "Bad Times at the El Royale" (2018) - B+
97. "The Sisters Brothers" (2018) - C+
98. "The Old Man and the Gun" (2018) - B+
99. "First Man" (2018) - B+
100. "Halloween" (2018) - A
101. "Frankenstein Must Be Destroyed" (1969) - B+
102. "The Hate U Give" (2018) - B-
103. "Free Solo" (2018) - B
104. "Mid90s" (2018) - C-
105. "Bohemian Rhapsody" (2018) - C
106. "The Last Man on Earth" (1964) - B-
107. "Overlord" (2018) - B+
108. "Fantastic Beasts: The Crimes of Grindelwald" (2018) - D+
109. "Widows" (2018) - C+
110. "Boy Erased" (2018) - B-
111. "Green Book" (2018) - B+
112. "Creed II" (2018) - B+
113. "Ralph Breaks the Internet" (2018) - B
114. "Spider-Man: Into the Spider-Verse" (2018) - A-
115. "The Mule" (2018) - C+
116. "The Favourite" (2018) - A-
117. "The Ballad of Buster Scruggs" (2018) - A-
118. "Roma" (2018) - A
119. "Mary Poppins Returns" (2018) - F+
120. "Holiday Inn" (1942) - C-
121. "Bumblebee" (2018) - B-
"Stan & Ollie" tells the bittersweet tale of the last time legendary comedic duo Laurel and Hardy performed together. The film looks back on these days with an attentive nostalgia, going into just as much detail about the impact these two had on the world as it does with their tattered relationship. And while the comedy takes a backseat to their legacy, the film still excels due to Steve Coogan and John C. Reilly's performances as Laurel and Hardy respectively, each of them disappearing behind the personalties and makeup. Their banter and genuine friendship is a delight, even during the heavier moments in the film. Overall, "Stan & Ollie" is a laid-back, pleasant look at one of the greatest comedy teams ever, giving something to even those who know nothing about Laurel and Hardy.
Final Grade: B
While I've never been the biggest fan of Akira Toriyama's "Dragon Ball" series, there's no denying its universal appeal of explosive, high-energy, pulse pounding fight scenes that only anime can capture so well. Imagine fight scenes happening faster than supersonic jets yet being able to keep up with it. "Dragon Ball Super: Broly" takes all this to another level by giving us big budget fight scenes with vibrant colors and a gorgeous new art style that practically makes every character fly off the screen and every punch feel like it could destroy a mountain. If you don't like the anime style, this newest film won't win you over. But if you ever liked Dragon Ball even a little bit and want to see some glorious fight scenes, you will not be disappointed by "Dragon Ball Super: Broly."
Final Grade: B
Barry Jenkins outdid himself with "If Beale Street Could Talk" by making the most important movie of 2018. Jenkins takes his universal constant of love in the face of hate or the unknown and makes it so rich and real that it is impossible not to be invested in every one of these wonderfully fleshed out characters. This film only gets better as it goes on though, building up from a simple, almost naive story about love into a complex symphony of emotion, examining the true beauty of being human, being vulnerable and being in love, turning that naivety into a great examination that only Barry Jenkins has been able to capture so perfectly. So if there's any movie worth seeing this season, it just might be "If Beale Street Could Talk."
Final Grade: A
And so the sad, disappointing and remarkably underwhelming animated kaiju trilogy comes to a close, not with a bang, but with a whimper. "Godzilla: Planet Eater" is more of the same we've come to expect from this series of poorly animated movies - a lot of posturing, angst from unlikable characters and treating Godzilla more like a mountain than an actual character or threat. The only difference with this one is that the filmmakers have stopped caring, much like the audience. Everything feels so rushed and thrown together haphazardly that feels like a big mess. I would say that's the perfect way to summarize this entire trilogy, but that would be speaking far too highly of it.
As a fan of animation, this whole series is an eye sore. Nothing in these films looks good and it never truly captures the scope and majesty of a monster that commands the entire planet. As a fan of Godzilla, this trilogy is as big of an insult as any of the worst films in the series, focusing more on emo punk characters and alien religions more than the reason audiences come to see these movies. As a whole, this is a trilogy I'd never recommend to anyone. Even if you like daikaiju films, stick with the worst of the Heisei and Millennium series before watching these.
Final Grade: D-
Between "Vice" and "The Big Short," I've can safely say that I despise Adam McKay as a director. While "The Big Short" just felt like a whole lot of nothing while being extremely pretentious about it, "Vice" wants to say something important but its presentation and attitude is so egotistical and condescending that it comes across as insulting. Even if everything the film says is factually accurate, McKay treats his audience like idiots that need to be reminded of how stupid they are. And while there are some standout moments and many solid performances, especially from Christian Bale and Amy Adams, I can't say that I'd recommend this film to anyone. "Vice"'s mission seems to be making everyone feel bad about themselves, mostly for letting Dick Cheney happen and for not seeing it coming. It's like a stuck-up jock that just read a book about the George W. Bush presidency and won't leave you alone until you agree with his overly negative opinions.
Final Grade: D+
Much like the "Fast and Furious" movies, "Aquaman" is insane, high-octane action that never takes itself too seriously and becomes much better when you don't think about it. The story is the generic tale of a every-man becoming king and the journey he must under-go, and the actors do a fine job of selling it, with Jason Mamoa continuing to be serviceable in the lead role. But the film really shines when showing the impact and scope of underwater battles and all of the vast creatures of the deep, making everything carry far more weight and scale than it would on land. Beyond that, this is a fine yet fun action movie that will keep your interest from start to finish. A very good summer blockbuster...released in the middle of December.
Final Grade: B-
I never thought I'd live to see a Transformers movie that doesn't blow chunks, but much to my surprise, all it took was moving Michael Bay out of the directors chair. "Bumblebee" is a breath of fresh air, reminding audiences why these robot aliens that can turn into just about anything were so cool in the first place. And while the story feels like "The Iron Giant" mixed with "Independence Day," the actors add just enough charm to remain invested and the effects are surprisingly great, always making it feel like these robots are really interacting with the cast. Maybe it's just because I'm so glad to see the Transformers without shaky cam and awful toilet humor, but "Bumblebee" was a lot of fun.
Final Grade: B
Talk about a film that sucked out all the fun and imagination of the original and made it as dull as listening to actual bank discussions. "Mary Poppins Returns" is the "Star Wars: The Phantom Menace" of the next generation, taking something that should be simple and universal yet making it so boring and tedious to the point of betrayal. Like all of the recent Disney remakes, the film simply tries to cash in on the nostalgia and zeitgeist of its original without ever trying to add anything new or worthwhile, simply a watered-down copy.
But what makes this one so bad is the insistence to move away from the joy and wonder of "Mary Poppins" by hardly ever making Emily Blunt smile or look like she's enjoying herself. She always looks pissed off and never stops being snarky. To make matters even more contrived, the filmmakers feel the need to include a cliché villain. If there was ever a film that never needed a villain, it was Mary Poppins. So rather than focusing on the bliss of childhood, they spend the entire third act fighting something that was out of style by the mid-90s in the stupidest way possible.
"Mary Poppins Returns" is an abomination. Disney only sees this classic character as dollar signs, not what she represents. It's like Disney forgot they made "Saving Mr. Banks" only a few years ago and the message of that film. I feel like Walt Disney would be ashamed of this picture, for failing to capture the whimsy that only Mary Poppins can truly bring.
Final Grade: F
There's an alluring yet overpowering spell to Alfonso Cuaron's "Roma" that I can't quite place my finger on. Maybe it's because the film feels like a beautiful memory of Cuaron's upbringing in Mexico City, recalled with perfect clarity and abundant detail that we've come to expect from a master storyteller. Maybe it's because of the subtle lingering class divide and ensuing political turmoil juxtaposed with the struggles of a maid taking care of a wealthy family while contemplating a family of her own. Or maybe it's the tender yet brutally honest depiction of a world that happened in Cuaron's memories to make a cinematic treasure that should never be overlooked.
Final Grade: A
Never before have I seen a film that so nostalgically captured the wonder, horror, thrill and selfishness of conquering the old west than in "The Ballad of Buster Scruggs." The Coen Brothers masterfully create a series of vignettes that examine why we felt such a strong desire to head west when it more-or-less meant doom and despair. Each short film feeds off of a longing to be better than who we were and all the beautiful and ugly forms that can take. As far as anthology films go, this is one of the more reflective. It is sometimes hilarious in that dry yet witty-Coen way, while other times heart wrenching and cold, but it is always an homage to a simpler yet uncivilized way.
Final Grade: A-
"The Favourite" is probably the strangest beast of cinema we've had in ages. Imagine if a battle of wits similar to "There Will Be Blood" had the cinematography and production design of "Barry Lyndon" but also traded in the Shakespearean style for a more modern wit and sense of humor, while also centering around multiple lesbian relationships. And yet, all of this works stupendously, always entertaining while looking gorgeous. The performances from the three leads (Olivia Colman, Emma Stone and Rachel Weisz) make for quite possibly the greatest love triangle in all of cinema. It's the most unique movie in years so do yourself a favour and catch its infectous charm.
Final Grade: A-
Watching "The Mule" is like stopping by to see your eccentric grandparents on the way to an amusement park - you're drawn in by their oddly lackadaisical storytelling for a little while and spend your time on something more entertaining just out of reach, but you respect them too much to leave early. Clint Eastwood has gotten to that point in life where he just can't hold a film quite like he used to, too slow and not witty enough to keep the audience's interest for long. But there's enough suspense and personal tragedy to keep this from getting too boring.
Final Grade: C-
"Spider-Man: Into the Spider-Verse" is as much a celebration of everything Spider-Man as "The Lego Batman Movie" was for Batman. It revels in everything that is glorious, emotional, bizarre and dumb about everyone's favorite webslinger, from simply swinging around New York and the quips to the heroic tale of overcoming personal tragedy. Yet, it feels holey unique with its wide variety of Spider-men and women, while toting a spectacular visual style that uses a comic book style with remaining as vibrant as New York itself. This is the most accessible animated superhero movie, and it deserves every bit of praise towards its animation and world building.
Final Grade: A -
