I find it impossible to label this year-end list as “The Best Films of 2018”. Firstly, I didn’t see every film released in 2018, so how can I tell you these are the “best” films if I haven’t seen all the contenders. Secondly, “Best” implies that there is some kind of standard by which films are judged, that there’s some formal set of criteria for assessing art, and these films fared the best after I made that assessment. And that is definitely not the case.
I also have a hard time “ranking” films. What’s the difference between my Number Three film and my Number Four film? Nothing, most likely. How do I compare a hardcore crime film with a sweet animated tale about a brave dog in World War I? I can’t. So, no offense to my fellow critics at this site and throughout filmdom, but I find ranking films to be a load of bollocks, so I won’t even try. I’ll be presenting my list in alphabetical order, but I will point out which film was my overall favorite for the year. Beyond that, these 20 films have varied pleasures to offer, and you can’t go wrong with any of them.
These are the films that resonated with me, the releases that lodged in my brain and remained there for weeks after I saw them. Mainstream film fans and ardent cinephiles alike go to the movies to be captivated, entertained and maybe even moved by the stories unfolding on the screen. I may be a film critic and a member of various critics’ organizations, but first and foremost, I’m a fan of this amazing medium. And these are the films that stood out from the pack in 2018.
BlacKkKlansman
Spike Lee is once again firing on all cylinders and gives us his best film since Malcolm X. John David (Denzel’s son) plays Ron Stallworth, an African-American cop in Colorado who infiltrated the KKK in the 1970’s. Set against the background of black student protests, the oversight of the Black Panthers and the efforts of white supremacy to thwart civil rights for all, BlacKkKlansman is a riveting procedural, an enlightening social commentary and a deadpan satire all rolled into one beautifully shot whole. (Currently available on digital home video and physical media.)
Blindspotting
This tale of an African-American man trying to survive his last few days on parole comes from first-time director Carlos Lopez Estrada and is one of the most assured films of the year. Blindspotting has flair to spare but that sense of style never overwhelms the narrative (I’m looking at you, Mr. Cuaron). Co-writers Daveed Diggs and Rafael Casal give top-notch performances as two childhood friends (one black, one white) who grew up in an economically depressed section of Oakland and want nothing more than to rise above their backgrounds. Blindspotting offers an unflinching look at racial identity and the damage caused by the incarceration culture that infects so many African-American families. (Currently available on digital home video and physical media.)
Burning
Korean auteur Lee Chang-dong is behind the camera for this look at toxic masculinity and cultural oppression. Korean box office superstar Yoo Ah-in plays Lee Jong-Su, an aimless young man who drifts from menial job to menial job when he falls for Shin Ha-mei, an acquaintance from his childhood whom he largely ignored. After traveling abroad, she returns with another man by her side and a bizarre love triangle begins to form. Steven Yuen proves there’s life after The Walking Dead with his awards-worthy performance as Ben, the wealthy suitor who seems amused by Lee Jong- attempts to win Shin Ha-mei’s affection when Ben is clearly the superior option. Burning unfolds slowly, but it moves in unexpected directions before reaching its jaw-dropping conclusion. (Available on digital home video on January 31, and physical media on March 5, 2019.)
The Cakemaker
One of several heart-breaking love stories on my list. Thomas is a young baker from Germany who is having an affair with Oren, a married Israeli man. When Oren is killed in a car accident, Thomas travels to Jerusalem in search of answers and to learn more about the man he had grown to love. The Cakemaker is captivating for its originality. It avoids typical tropes while it explores the nature of extramarital relationships. The film is not an examination of sexual identity. Oren’s love for his wife and his love for Thomas stand on equal footing. The film is refreshingly free of the themes so often found in films about same-sex relationships. Instead, The Cakemaker is an examination of love and asks if it’s possible to truly love two different people at the same time. (Currently available on digital home video)
Destroyer
As I stated in my full-length review of this brilliant crime film from director Karyn Kusama, I’ve never been a big fan of Nicole Kidman. I’ve always found her to be a bit frosty, a little stand-offish in her performances. So, I’ll be the first to say that her work in Destroyer knocked me on my ass. Kidman plays Erin Bell, an alcoholic cop who makes your average burnout look like the picture of stability. It’s years after an undercover operation went sideways on her when a recent murder victim brings her past crashing into her present. Destroyer has that gritty atmosphere and bleak tone that simply can’t be fabricated. Like all good crime films, the narrative immerses the audience in this world of cops, drug dealers, bank robbers the innocent people caught in the crossfire. It’s a hybrid of a western and an L.A. noir with Kidman staggering through the landscape like a post-modern cowboy who’s been thrown from her horse. (Currently playing in select theaters and expands soon.)
The Favourite
In general, I find Yorgos Lanthimos kinda irritating. In his absurdist deadpan comedies (The Lobster, The Killing of a Sacred Deer), the affected acting and monotone dialogue leaves me cold. I can’t help feeling like Lanthimos is entertaining himself and if he entertains the audience in the process, it’s probably by accident. So I was understandably surprised when I fell in love with The Favourite, a dark satire about the reign of Queen Anne in 18th century England. Olivia Colman gives the best performance by a female in 2018 with her portrayal of the emotionally unbalanced monarch, and Rachel Weisz isn’t far behind with her stellar work as the queen’s advisor and sometimes lover. The screenplay has bite to it, and there are more clever lines of dialogue than you can count. Lanthimos turns the standard historic costume drama on its head to great effect. (Currently playing in theaters in wide release.)
First Reformed
the best female performance of the year to the best male performance of 2018. In the latest film written and directed by Paul Schrader (Taxi Driver, Affliction) Ethan Hawke plays Reverend Ernst Toller, a pastor in a small church in upstate New York who is asked to counsel the husband of a parishioner. The young man is obsessed with climate change and the impending end of the world. When things take a darker turn, Toller finds himself becoming increasingly unbalanced as he explores the young man’s obsessions firsthand. Hawke gives an Oscar-caliber performance as the tormented man of the cloth, and the controversial ending of this film is sure to have viewers talking. (Currently available on digital home video and physical media.)
Free Solo
This documentary co-produced by National Geographic chronicles the efforts of Alex Honnold to climb the 3000-foot face of the El Capitan wall at Yosemite National Park … without the assistance of any ropes or climbing gear. It’s a superhuman feat that results in a once-in-a-lifetime documentary. While it will never get the attention it deserves, Free Solo sports the best cinematography of any film released in 2018. The camera crew is comprised of experienced climbers who capture Honnold’s stunning ascent while trying not to distract the climber from the life-or-death task at hand. Honnold is a fascinating character and, when he leaves terra firma, this film truly takes flight. (This film is being re-released in IMAX theaters across the country before arriving on home video in early 2019.)
Game Night
film was a breath of comedic fresh air. After year upon year of fart jokes and bodily function humor, Game Night arrives on the scene with genuine wit and brilliant slapstick. When a group of friends get together for a murder mystery party, things go awry when they find themselves caught up in a real kidnapping. What’s the catch? They don’t know they’ve been swept up in a real crime. They think it’s all part of the game. Each cast member is comedy gold with Jason Bateman, Rachel McAdams and Jesse Plemons leading the charge. The bullet removal sequence may be my favorite film scene of 2018. I laughed until I cried and then I laughed some more. (Currently available on digital home video and physical media.)
Hereditary
From the funniest movie of the year to the scariest. I’ve been a horror fan since I was a kid, and as a veteran viewer of all things frightening, it’s a rare thing indeed for a film to disturb and disquiet me like this debut feature from writer/director Ari Aster. It’s a domestic drama that becomes more twisted with each passing scene. Hereditary drips with dread from its opening moments and doesn’t let up until the credits roll. If horror films garnered any respect from the powers-that-be, Toni Collette would be clearing more mantle space during awards season. The ending will leave fans divided, but the journey is satisfying in and of itself. It’s a must-see film for horror fans, and even non-fans should marvel at its artistry. (Currently available on digital home video and physical media.)