Best Films of 2018: 20-11
Mixing together just under one hundred and fifty films over the course of 2018, the first part of our list for the best of the best from the past twelve months is finally here, splicing together spectacular sequels, Netflix produced works of wonder and gorgeous B-movie splatter-fests for a rather interesting catalogue of cinematic endeavours. Whilst it is always hard to pick between so many films over the course of a whole year, below is numbers 20-11 for those which have really stood out above the rest, beginning with...
20. Widows
Based on Lynda La Plante's television series of the same name, Widows seemed to be one of the ultimate Hollywood team-ups, with 12 Years a Slave director, Steve McQueen, utilising the writing talents of Gone Girl author, Gillian Flynn, for a heist drama which although featured familiar genre-literate notions, was high on style and boasted a catalogue of outstanding performances from the ensemble cast, with Viola Davis and Daniel Kaluuya the standout stars of the show. Featuring a couple of technically savvy set pieces and some interesting plot twists, Widows won't exactly set the world on fire in a similar vein to McQueen's previous Oscar winning work, but it sure is a fine example of expert storytelling and filmmaking at its most naturally observed.
19. Ghost Stories
Based upon the 2010 stage play of the same name from the directing double act of Andy Nyman and Jeremy Dyson, Ghost Stories is in some way a horror fan's dream, a part portmanteau, full blooded ghost train of a movie which features alarmingly well orchestrated creepy set pieces and a central screenplay with enough twists and turns to keep you hooked until the very last shot. Featuring the talented British chops of Paul Whitehouse and Martin Freeman, Ghost Stories revels in playing with set genre conventions to appease even the most delicate of horror fans, and with some genuinely disturbing imagery and some clever, hidden asides which generate an immediate need for subsequent viewings, Ghost Stories is the kind of movie which shows that with a decent script and enough dedication, even the most low-budget of movies can be frighteningly effective.
18. Creed II
Following a very familiar pattern to the origins of the entire Rocky franchise, Creed II echoed the successes of Rocky II by being a sequel to a critically acclaimed predecessor which managed to more than effectively hold its' own and further develop characters and plot points beautifully set up in the opening chapter. With Ryan Coogler stepping down from directorial duties after his success with 2016's Creed, Steven Caple Jr. took hold of the reigns of a movie which revelled in the opportunity to reunite old foes whilst adding an unexpected layer of depth and substance, something of which was genuinely unexpected within a movie full to the brim with expertly orchestrated central fight sequences which managed to make you feel every punch, every single round. If this is indeed the end of Stallone's time as one of cinema's most iconic roles, what a superb way to bow out.
17. Annihilation
When it was announced that Ex Machina director, Alex Garland, failed to make a deal with cinemas in the UK regarding the release of his latest endeavour, many, myself included, were left with a gnawing sense of disappointment, yet thanks to the power of Netflix, Annihilation on the small screen was still a riveting, mind bending experience, a film which followed familiar themes to that of previous Garland led works but undoubtedly was the first to dream so big. With beautiful cinematography, startling imagery and a screenplay which balanced elements of full blooded horror with science fiction, the one real shame regarding Garland's latest was ultimately the complete absence of witnessing it upon the big screen where it undoubtedly belonged.
16. Molly's Game
The first film of 2018 still holds firm against the many which came after it, with Aaron Sorkin's directorial debut in the form of Molly's Game a thoroughly entertaining and expertly written biographical crime drama based on the memoir from the high stakes poker princess, Molly Bloom. With the always brilliant, Jessica Chastain, really at the top of her respective game with a simply stunning and charismatic central performance, the transition from behind the typewriter to behind the camera seemed to come annoyingly easy for a filmmaker who just knows how to perfect interesting and character driven screenplays whether it be in the halls of the White House or at the table of a multi-million dollar poker game.
15. Sicario 2: Soldado
When the first murmurs of a sequel to Denis Villeneuve's superb, Sicario, began to surface, an immediate dangling thread of trepidation began to fill my mind, particularly when it was announced that Villeneuve himself wasn't set to be involved in a directorial sense, and whilst Soldado didn't exactly hit the heights of its' predecessor, what a huge relief to see that it instead was a movie which at least dared to come close. Directed by Italian filmmaker, Stefano Sollima, the second installment in a proposed trilogy of movies all written by the interesting, Taylor Sheridan, featured crisp cinematography, a brooding musical accompaniment and two central angst-ridden performances from the macho pairing of Josh Brolin and Benicio del Toro, but alas, the most redeeming aspect of Soldado was its ability to pay homage to the mastery of its' predecessor without in any way spoiling its' legacy.
14. First Man
With Whiplash and La La Land both examples of modern cinematic masterpieces, director, Damien Chazelle, continued his excellent start to his career with First Man, a poignant, intriguing drama in which Chazelle decided to take to the stars for a feature in which constant companion, Ryan Gosling, continued the blossoming bromance between the two with a superbly restrained portrayal of the one and only Neil Armstrong. Reuniting with the superb band of Oscar winning filmmakers including Justin Hurwitz and the editing sensation of Tom Cross, Chazelle's latest may not have hit the lofty standards of his previous two masterpieces but First Man is still a resounding, heartbreaking success with an added Claire Foy. Everything should have a Claire Foy.
13. Roma
On first watch, Alfonso Cuarón's chromatic, low-key drama seemed lifeless, yet on second viewing, what a devastating and beautiful picture Roma ultimately was. Given complete control by Netflix, Cuarón returned to his native Mexico for the first time since the start of the twenty first century for a project quoted as his most personal yet, and with the Mexican involved in pretty much every single aspect of its' creation from editing to cinematography, Roma was just that, a technically astute and simply gorgeous epic sweep of a drama made with a soon-to-be Academy Award winning pedigree which thanks to the power and pull of Netflix can be watched anytime, anywhere right now. What are you waiting for?
12. Black Panther
After the success of both Fruitvale Station and Creed, American filmmaker, Ryan Coogler, was always destined for enormous exposure, and with his handling of Black Panther, Coogler created one of the most iconic and exciting superhero movies ever, let alone in its' own respective franchise. Combining the powerhouse performers of Chadwick Boseman and long-term Coogler favourite, Michael B. Jordan, Black Panther felt like a blockbusting blend of James Bond style action and fantasy cinema world building and with a predominantly black cast at its' core, Coogler's movie was as radical as it was genuinely entertaining.
11. Mandy
Let's face it, any film featuring a neon fuelled colour pallette, an overly dangerous chainsaw duel and Nicolas Cage drinking an entire bottle of vodka in just one take was always going to win rapturous plaudits, yet the real success of Panos Cosmatos' second feature is in its' absolute love of the genre in which it undoubtedly sits. With Cage once again bringing that hilariously crazed Nicolas Cage performance the American is renowned for to the big screen in a movie worthy of his unquestionable talents, Mandy was half hallucinatory nightmare, half B-movie revenge flick and with some hilarious outlandish set pieces and wonderfully odd imagery, Cosmatos' latest was one of the most unexpected cinematic pleasures of the entire year.
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