It's time! Academy Awards Eve is upon us and that can only mean one thing: Nicolo is here with his list of the best films of the year. 2018 was a solid year. Many great films saw a release, including some top-tier blockbusters. Nonetheless, when making my Top 50, I found that I really loved those films that flew under the radar, the films that maybe you've never heard of. I announced earlier in the month that this would be my last year end list, so I hope I leave on a high note and help you discover some wonderful new things. Enough talk. Let's get down to it. Here they are, the 50 best films of 2018:
50. LET THE SUNSHINE IN // Claire Denis
49. HALLOWEEN // David Gordon Green
48. UPGRADE // Leigh Whannell
47. NEVER GOIN' BACK // Augustine Frizzell
46. BOHEMIAN RHAPSODY // Bryan Singer
45. SORRY TO BOTHER YOU // Boots Riley
44. THEY SHALL NOT GROW OLD // Peter Jackson
43. SHIRKERS // Sandi Tan
42. OUTSIDE IN // Lynn Shelton
41. SEARCHING // Aneesh Chaganty
40. FIRST MAN // Damien Chazelle
39. LEAN ON PETE // Andrew Haigh
38. BLINDSPOTTING // Carlos Lopez Estrada
37. REVENGE // Coralie Fargeat
36. TULLY // Jason Reitman
35. HEARTS BEAT LOUD // Brett Haley
34. AMERICAN ANIMALS // Bart Layton
33. THE BALLAD OF BUSTER SCRUGGS // Joel & Ethan Coen
32. DAMSEL // David & Nathan Zellner
31. SKATE KITCHEN // Crystal Moselle
30. BORG/McENROE // Janus Metz
29. JOHN McENROE: IN THE REALM OF PERFECTION // Julien Faraut
28. WIDOWS // Steve McQueen
27. CAN YOU EVER FORGIVE ME? // Marielle Heller
26. LEAVE NO TRACE // Debra Granik
25. EIGHTH GRADE // Bo Burnham
24. SHOPLIFTERS // Hirokazu Koreeda
23. THE GUILTY // Gustav Moller
22. A PRAYER BEFORE DAWN // Jean-Stephane Sauvaire
21. MANDY // Panos Cosmatos
20. TO ALL THE BOYS I'VE LOVED BEFORE // Susan Johnson
19. SUPPORT THE GIRLS // Andrew Bujalski
18. IF BEALE STREET COULD TALK // Barry Jenkins
17. WILDLIFE // Paul Dano
16. MISSION: IMPOSSIBLE - FALLOUT // Christopher McQuarrie
15. THOROUGHBREDS // Cory Finley
14. HEREDITARY // Ari Aster
13. ROMA // Alfonso Cuaron
12. SPIDER-MAN: INTO THE SPIDER-VERSE // Bob Persichetti, Peter Ramsey, & Rodney Rothman
11. FIRST REFORMED // Paul Schrader
#10
The House That Jack Built
We've made it to the Top 10 and let's kick it off with a little controversy. Danish auteur Lars von Trier has always been a director who couldn't give a fuck what you think about him. He says whatever he wants to say and he makes whatever he wants to make. He's arrogant, self-indulgent, overall just kind of an asshole, but, goddammit, I love him. This is his first feature since 2013 and tells the story of a serial killer, Jack, and his years of murder and debauchery. The film had an out-of-competition premier at Cannes and critics HATED it. "Gross. Pretentious. Torturous. Pathetic." These were just a few words used to describe the film and von Trier ate it up. He loved the criticism and thought it was great. Sorry to disappoint you, Lars, but I am part of a small minority that thing this film is absolutely brilliant. Sure, it's very violent, maybe a bit misogynistic, and definitely pretentious, but it's also engrossing and darkly hilarious. I've seen a lot of things, so the violence didn't really bother me and the pretentiousness is just what I've grown to expect from von Trier. I'm not sure what everyone else was expecting, but I digress. Matt Dillon, of all people, leads the picture and does a stunningly great job. I think this is probably far and away his best performance. Uma Thurman pops up, as does Riley Keough and we can't forget the masterful Bruno Ganz, who we sadly lost this past week. So I love this movie, but can I actually recommend it to you, my wonderful readers? I don't think so. It's not for everybody. It plays right into my tastes, but it's up to you if it will work for you.
#9
Minding the Gap
In a year where we got some pretty solid documentaries, for me none of them come close to topping Minding the Gap. In his debut feature, Bing Liu makes a film about him and his friends, telling the story of their early teenage years as skateboarders to the present day when they are all struggling to find their place in the world and how their life decisions have affected their personal lives and, most importantly, their friendship. Liu takes the time to introduce all the people in the films, give us their background, and explain every piece of the relationships. You, the viewer, becomes so in tune with who these people are and what they're about, and it's heartbreaking. Something that I really love about the film is that, unlike a lot of these "slice of life" docs, the director behind the camera is a character in his own movie. He's trying to discover himself just as much as he's trying to tell his friends story. This is very heavy. It's sure to hit you emotionally, but if we're talking about the best films of 2018, it's essential viewing.
#8
BlacKkKlansman
One thing that's been confusing to me this entire Oscar season is how Black Panther is getting all the love as this big, barrier-breaking film, meanwhile Spike Lee's BlacKkKlansman is almost pushed to the side. This is not a knock at all on Black Panther because I think it is a big moment in blockbuster cinema history, but whatever message it's trying to say about being black in our world, Lee does it so much more effectively. Don't trust me? Just wait for the last five minutes of this film and you'll see why. Now that I have that off my chest, let me tell you about the film. This is easily Spike Lee's best joint since maybe 2002's 25th Hour, but even that might be pushing it. You may have to go all the way back to 1992 and Malcolm X to find something Lee has done better. Spike Lee is awesome, so that's saying something. Speaking of Malcolm X, it's fitting that the breakout star of this film is John David Washington, son of the one and only Denzel Washington. It's hard to watch his performance and not think of his dad, but there's really nothing wrong with that. He's very slick and cool and encapsulates the character of Ron Stallworth. Throw in the always amazing Adam Driver and you have an excellent one-two punch as your leading men. One thing that might be shocking to some viewers is, despite it's heavy subject matter, this film is laugh out loud funny. Sure it has it's downer moments, but there are more than a few scenes in the film that are among the funniest I've seen this year. Lee has something to say and he drives it home and he nails it.
#7
You Were Never Really Here
There was a time earlier in the year when there was no doubt in my mind that Lynne Ramsay's film You Were Never Really Here was going to be my favorite film of 2018. It didn't quite make it there in the end, but this is still one fucking fantastic film. It originally premiered at Cannes back in 2017 and we had to wait a full year before we finally got a release stateside. Completely worth the wait. Coming out of Cannes it was being hailed as the Taxi Driver for the new generation, which is a pretty hefty comparison. Not that this film is even close to Taxi Driver (that's in my top 3 of all-time), but as far as story and aesthetic go, this totally warrants those comparisons. It's brutal and dark with a powerhouse lead performance by Joaquin Phoenix. It feels like one of those films that would have come out in the '70s, something you just don't get enough of these days. Ramsay is the auteur's auteur, one of the best, yet underrated, filmmakers working today. I implore you to go out and find her other work. It's as poignant and brilliant as this.
#6
Mid90s
I want to make one thing clear: I have never stepped foot on a skateboard in my life, probably never will. Nonetheless, this is the third skateboarding movie in the top 50. Why? They're just good movies. For me, Mid90s was one of the most emotionally affecting films of the year, if not the most. It's directed by *checks notes* Jonah Hill? Yes, that Jonah Hill. In his directorial debut, he shows that he's learned a lot from the master filmmakers he's been working with the last few years, while also putting his own stamp on his work. The film could've easily played to all of us '90s nostalgics out there, but thanks to Hill, the film evolves into so much more. It feels like a very personal film in many regards, one of which is the way Hill decided to shoot it. The film feels like a home movie. That also helps to give the film a very intimate quality. We're given the chance to not only meet the various characters in the film, but we're given the chance to get to know them. That's a tough thing to accomplish for any filmmaker, but especially for someone making their debut. The cast is young and many of them have never acted before, but they all have amazing chemistry with one another. It feels as if you're part of the group and not an outsider just watching from the sidelines.
#5
Burning
For the number five pick, we need to travel to the country of South Korea. For director Lee Chang-dong, this marks his first film since 2010's Poetry. In fact, this is only his sixth film since his directorial debut in 1997. He's widely considered to be one of the best filmmakers in the world, so you better believe any time he releases something, it's a major cinephile event. Burning is more than worth the wait and totally deserving of the hype. This is like three different movies in one. I'd tell you what those three movies are, but that would be a bit spoilerish. There's a lot of really great things about this movie, but the one thing that stands out most is the performance of Steven Yeun. I'm sure many of you will know Yeun from his role on The Walking Dead, but I think he's ready to break out in a big way in the film industry. His character in this film is meant to be charming and mysterious and he pulls it off so well. I'm telling you, watch out for him. The film clocks in at a cool 148 minutes, and, just like it's title, it's a s l o w burn. It probably won't be everyone's cup of tea, but if you can handle it, the payoff is well worth it.
#4
The Favourite
I think it's safe to say that Yorgos Lanthimos is one of my go-to filmmakers at this point. Last year The Killing of a Sacred Deer was a Top 10 film on my list. The year before that, The Lobster, came in at #19 on my list, but I've since re-watched it and I'm pretty sure it would be much higher if I was to go back and re-order some things. The Greek director has a knack for the strange and unique, but surprisingly, The Favourite really isn't all that weird. It's unique for sure, but it lacks the macabre that has become such a trademark for Lanthimos (that probably has something to do with the fact that this is the first film that he also didn't write). Obviously, that doesn't stop the film from being great. To describe how amazing this film is, it all starts and ends with it's three leads (yes they're all leads). Olivia Colman, Rachel Weisz, and Emma Stone all give A+++ performances. They're all some of the best actresses working today and they're all at the top of their games here. They all bring something different to their characters. Plus, the chemistry they have with each other is the key to making the whole thing work. Put everything else aside, the film is completely worth seeing just to see those three go back and forth. The movie is twisty, turny and thrilling while also being incredibly funny. It has a little bit of something for everyone.
#3
The Rider
Wait, what?! Huh?! What the hell is this?!?! Number three?!?!?! So, I assume you haven't seen or maybe even heard of The Rider. Well, you done fucked up. This may well be the most beautiful film of 2018 (not only in plot, but it's legitimately beautiful. The cinematography is top notch). Here's the story: a young Native American rodeo cowboy is injured and told he can't ride anymore. He must then figure out what his life is without the thing he loves. It's an incredibly emotional film, probably because it's main actor, newcomer Brady Jandreau, plays himself. Yes, this is his story. All the actors in the film are his actual friends, his actual family. It's almost documentary, but, alas, it's a narrative feature. Allegedly, director Chloe Zhao had a whole different story in mind when she met Jandreau and heard his story and that's when she decided to completely change her script and tell this story instead. I'm sure she's extremely happy with that decision. She makes you feel every little thing these characters feel. Every moment of pain, every moment of joy, you are in these people's boots. Along that same line, Zhao's ability to get the performances she gets from these actors who have never acted before is nothing short of miraculous. She breaks out in a big way as a filmmaker. Instantly she became a must-see director from this moment forward.
#2
A Star Is Born
This was a huge year for actors making their directorial debuts. We already talked about Jonah Hill's debut and now we look at what Bradley Cooper did with this remake of a remake of a remake of a remake and, oh boy, did he knock it out the park. I've seen this films predecessors and none of them really did it for me, so when they announced they were doing another one with a first time actor-turned-director and a leading lady who was more popstar than actress, I was not getting in line right away. Then it premiered at Venice and got some raves, then it hit Toronto to the same and from there the buzz just built and built meaning I had to see it. Months later and it's my number two film of the year.
There's not much else to say then what has already been said. This is a very performance driven film. I apologize to Lady Gaga that I ever doubted her. She is a revelation. In her first major film role, she has so much to do to carry this film and she just nails it. Then you have her opposite Bradley Cooper, who does everything. He writes, directs, stars, sings, everything. That's not easy for even the most seasoned actor-directors, let alone someone doing it for their first time. It's an incredible feat that may have been lost on the general audiences. I don't think he's getting nearly enough credit this award season.
One more thing, that needs to be mentioned here is obviously the soundtrack. It's great, plain and simple. "Shallow" is the song that's getting all the accolades, but I argue it's probably the fourth best song on the album (don't @ me). "Shallow" is a damn good song, so that's something. The film kicks off with "Black Eyes" and soars from there. You need to see this film. Go for the music, stay for the performances.
#1
Suspiria
Let's take a second to talk about the business of Hollywood, more specifically it's fascination with remaking classic horror films. It's a simple formula really: take a popular film from the past, update the script to fit the present day, hire a young director and give him or her a small budget, cast a bunch of unknown actors, film quickly, market heavily, then release into the wild to make a ton of money but most likely get shredded by critics and horror purists alike, rinse, repeat. It happens all the time. The studios make their money regardless of the quality of the film and that's all that matters. Plus, the general audience just wants the jump scares and gore, so they will continue to go the theater each and every time to quench that thirst for blood.
Dario Argento's 1977 Suspiria is a masterpiece. It's not only one of the greatest horror films of all-time, it's one of the greatest films period. The film has inspired countless cinephiles (including yours truly) in the 40 years since it's release. A remake of the film has been in the works for over a decade, but countless roadblocks always stopped it from coming to fruition. Enter Luca Guadagnino.
Fresh off the success of Call Me By Your Name (my favorite film of 2017), it came as a bit of a surprise to some that the next film Luca chose to tackle was this long-gestating remake. But as time went on, it became clearer that Argento's original was a film that had a profound effect on young Luca and that this was a project he was very passionate about and one that he would handle with great care. What we ended up getting in the end was something masterful.
We need to get one thing straight here, this is NOT a remake, at least not in the traditional sense. Sure it has the same basic plot (a coven of witches that inhabit a prestigious dance academy) and the same characters, but Guadagnino and writer David Kajganich take those elements and make something that is completely unique and original. In their own words, this is not a remake, it's a cover.
The main thing that immediately sticks out and separates this film from the original is it's cinematography. What makes Argento's film so incredible is the use of color. The reds, blues, greens, and yellows all pop. It's beautiful and jarring all at once. Given how gorgeous Call Me By Your Name was and considering Guadagnino brought that film's cinematographer, Sayombhu Mukdeeprom, with him, the mere thought of what the film would look like was beyond exciting. Sort of surprisingly, there are no bright colors, the film is quite muted, but it's still quite bewitching (pun completely intended). It's drab and dreary, which given the setting and story fit so perfectly. They still work in some splashes of color (which are quite affecting), but mostly it takes a completely opposite approach from 1977.
Looking at the performances, you have to start with Tilda Swinton. To tell you all the things she does in this movie would ruin the experience of the film for anyone who knows nothing about it. On the surface, her turn as Madame Blanc, the dance academy's lead headmistress, is fantastic. Beyond that, I challenge you to simply look closely. The other lead of the film, Dakota Johnson, is simply mesmerizing. Her transformation from timid farm girl to confident and powerful dancer is incredible. For my money, I think she is one of the most underrated actresses working and I'm happy that she's getting more of these types of roles to showcase her talent.
I could honestly go on and on about my love for this film, but I think it's just something you need to experience for yourself. However, before I go, I would be remiss if I didn't at least give a shout out to the film's composer, Radiohead front man Thom Yorke. In his first film score, he makes something very experimental that helps shape the atmosphere Guadagnino created for us. It's haunting and beautiful. It only adds to the overabundance of brilliance in the best film of 2018.
The main thing that immediately sticks out and separates this film from the original is it's cinematography. What makes Argento's film so incredible is the use of color. The reds, blues, greens, and yellows all pop. It's beautiful and jarring all at once. Given how gorgeous Call Me By Your Name was and considering Guadagnino brought that film's cinematographer, Sayombhu Mukdeeprom, with him, the mere thought of what the film would look like was beyond exciting. Sort of surprisingly, there are no bright colors, the film is quite muted, but it's still quite bewitching (pun completely intended). It's drab and dreary, which given the setting and story fit so perfectly. They still work in some splashes of color (which are quite affecting), but mostly it takes a completely opposite approach from 1977.
Looking at the performances, you have to start with Tilda Swinton. To tell you all the things she does in this movie would ruin the experience of the film for anyone who knows nothing about it. On the surface, her turn as Madame Blanc, the dance academy's lead headmistress, is fantastic. Beyond that, I challenge you to simply look closely. The other lead of the film, Dakota Johnson, is simply mesmerizing. Her transformation from timid farm girl to confident and powerful dancer is incredible. For my money, I think she is one of the most underrated actresses working and I'm happy that she's getting more of these types of roles to showcase her talent.
I could honestly go on and on about my love for this film, but I think it's just something you need to experience for yourself. However, before I go, I would be remiss if I didn't at least give a shout out to the film's composer, Radiohead front man Thom Yorke. In his first film score, he makes something very experimental that helps shape the atmosphere Guadagnino created for us. It's haunting and beautiful. It only adds to the overabundance of brilliance in the best film of 2018.
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