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Jim Saunders’ Top Ten Films of 2018

The year 2018, for all of its ups and downs, has been one of the best years in film that I’ve lived through in my short 18 years on this planet. Looking back, there were plenty of releases that were very exciting, and narrowing down my 10 favorite films of the year has been a rewarding, albeit difficult, experience. I was generous with five-star ratings this year, so there were plenty of movies I loved that didn’t quite make the cut. So before I share my ten favorites of 2018, here are some honorable mentions: Beautiful Boy, Eighth Grade, First Reformed, First Man, Annihilation, Suspiria , You Were Never Really Here, Creed 2, The Miseducation of Cameron Post, Minding the Gap, and Bad Times at the El Royale.

And without further ado, here are my top 10 films of 2018:

10. Widows (Steve McQueen, 2018)

Featuring a superb cast, confident direction, and a gripping third act, Widows is everything you’d want from a heist film and so much more. It’s a shame to see the surprising lack of awards attention for this film, especially given Steve McQueen’s stellar track record and the excellent ensemble cast. Nevertheless, Viola Davis has cemented her place as one of the best actors this decade with this role, and the lack of nominations shouldn’t discourage audiences from seeing this excellent, female-driven drama.

You can read my full review of Widows here.

9. Shoplifters (Hirokazu Kore-eda, 2018)

Shoplifters is a tragic drama masquerading as a feel-good film; it warms your heart and then proceeds to shatter it into a million pieces. The film’s greatest strength is making you genuinely feel for these morally ambiguous characters; not through emotional manipulation, but by portraying them as utterly human and showcasing their vulnerabilities and flaws. The film feels like a slice-of-life, and it is the portrayal of these characters’ struggles that makes this film truly special.

You can read Cynthia Li’s full review of Shoplifters here.

8. Paddington 2 (Paul King, 2018)

Paddington 2 is the film that unexpectedly came to unite us in our politically divided landscape. It speaks to the power of kindness and human decency that we, unfortunately, need now more than ever. Outside of being utterly cute and wholesome, Paddington 2 contains a funnier and smarter script than it has any right to have, breaking free from the oft-disrespected category of “family film.” Paddington 2 transcends those labels entirely. It’s not “great for a kid’s film” or “great for what it is,” it’s just great. Paddington is certainly the hero we need, if not the one we deserve.

7. If Beale Street Could Talk (Barry Jenkins, 2018)

If Beale Street Could Talk is a gorgeous film that shares the power of love and hope in the face of adversity. It speaks to the generations of black men torn from their families due to the institutional discrimination that continues to be perpetuated. It’s an important film that demands to be seen, and it is a timeless story that will both resonate and devastate your very being. There’s so much more to say about the film, but the main takeaway is this: It’s easily one of the best films of the year, and Barry Jenkins has still got it.

You can read my full review of If Beale Street Could Talk here.

6. The Favourite (Yorgos Lanthimos, 2018)

Ever since I watched Yorgos Lanthimos’ indie hit The Lobster, I immediately knew this man was making films unlike anyone else in the industry. My impressions were once again validated with the release of The Favourite. Utilizing his darkly eccentric humor to full effect, this film is one of the most unique period pieces I’ve seen to date. As someone who has never been a big fan of period pieces, this film captivated me throughout its runtime. It’s excellently paced, well-written and well-directed, and contains three of the best performances of the year from Rachel Weisz, Emma Stone, and especially Olivia Colman, whose childlike mannerisms are equal parts hilarious and tragic. Plus, that ending is perfection.

You can listen to UW Film Club’s podcast on The Favourite here.

5. Hereditary (Ari Aster, 2018)

Hereditary is a slow burn that bursts into flames and sets the house on fire. More than just a simple horror film, Hereditary explores the devastating nature of grief and the substantial rupture it creates within a family unit. It’s a drama that builds tension and exploits the psychological fear caused by the unknown presenting itself within the familiar; it’s a bizarre, anxiety-driven experience carried by a career-defining performance from Toni Colette. Though the third act plays out like much more of a conventional horror movie in comparison to the first two, it is terrifying nonetheless and leaves you disturbed beyond belief. It is the best horror movie of 2018, hands down, and Ari Aster has already proven himself as a master horror director on his first outing.

You can read Greg Arietta’s review of Hereditary here.

4. Sorry to Bother You (Boots Riley, 2018)

No other film from 2018 left me as utterly speechless as Sorry to Bother You did. This film is one of the most off-the-wall and hilarious satires in years, and the sheer ambition of writer/director Boots Riley blows me away. It’s imperfect, yes, but its strengths still far outweigh its flaws. Sorry to Bother You is an absolutely bonkers film I didn’t know I needed in my life, and I can’t recommend it enough.

You can read Greg Arietta’s review of Sorry to Bother You here, and you can listen to UW Film Club’s podcast on the film here.

3. Roma (Alfonso Cuarón, 2018)

Roma is, without a doubt, the most aesthetically appealing film of the year. Shot in black-and-white and making good use of the digital 65mm cinematography with a multitude of grandiose one-takes,  Roma is truly a sight to behold. But more than that, the film shows Alfonso Cuarón at his absolute best. Dedicated to the resilience of women in the face of emotional and physical turmoil, Roma is one of the most affecting dramas of the year. If you have a Netflix account and you haven’t seen this yet, you owe it to yourself to check out yet another fantastic film from director Alfonso Cuarón.

You can read Greg Arietta’s review of Roma here.

2. Blindspotting (Carlos López Estrada, 2018)

This film is everything Green Book wanted to be and more, and it breaks my heart to see this masterpiece getting absolutely no awards attention. Blindspotting is an exploration of gentrification and racial identity that blends comedic and dramatic elements so eloquently and in a way unlike most films I’ve ever seen. One moment I would be laughing and the next I’d be physically trembling; it’s one of the most viscerally engaging film experiences I’ve had all year. The chemistry between the leads (Daveed Diggs and Rafael Casal) is captivating, and their dynamic plays thoughtfully and incredibly well into the themes of the film. Blindspotting is designed to provoke hours of conversation. It’s a provocative work of art that deserves way more attention than it got.

1.  Spider-Man: Into the Spider-Verse (Robert Persichetti Jr., Peter Ramsey & Rodney Rothman, 2018)

Spider-Man 2 has long been my favorite superhero film, and also one of my favorite films ever. Beyond being incredibly entertaining, its narrative and character work were surprisingly poignant, and it defined what a superhero story could be while still retaining its charm and levity. I never would have expected that my favorite film of 2018, and my new favorite superhero film, would be an animated feature from SONY. Wow. Jokes aside, Spider-Man: Into the Spider-Verse is fantastic in every way imaginable. It feels so refreshing and ambitious in the same year as Infinity War (“the most ambitious crossover event in history”). A particular highlight is its unique animation style, which is unlike anything I’ve ever seen in a Western animated film, mainstream or otherwise. With an intelligent, humorous and touching script and a true understanding of the character(s) of Spider-Man, Into the Spider-Verse is my favorite film of 2018.

You can read Sierra Stella’s review of Spider-Man: Into the Spider-Verse here.

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Review: Domestic Horrors Fester in Hereditary

It goes without saying the horror genre is a popular one. Littered with dime a dozen films and cheap scares, studios pump out scary films for wide audiences that focus on surface level scares and neglect the underlying potential of their premise. They too often lack the conscious considerations of creating something truly scary, something that gets into subconscious fears that exist in our everyday life, but which are exposed on the big screen. 

In recent years, A24 has been making a valiant effort in distributing films that do just that. Their latest selection is Ari Aster’s Hereditary: a film which depicts the horrors within our own families and those that we inherit from our on lineage. It is a lengthy film. It is a slow film. And it is a methodical one. Something that major studios shiver at as they see teen dollars flee, but which A24 will gladly accept. In an era when films like this are rare, it makes it all the more pleasant when you learn it is not only well crafted, but also very scary, and Hereditary nails both.

After the death of her mother, Annie (Toni Collette) finds herself grieving. Her daughter Charlie (Milly Shapiro) morns the loss of a grandmother who adored her while son Peter (Alex Wolff) internalizes everything like a typical teenager. The father (Gabriel Byrne) acts as the mediator between the three as tensions in the family rise and sorrow sets in. However, things start getting weird as Annie makes discoveries about her family’s lineage through inherited items and strange behavior.

Unfortunately, that is about all I can say about the plot without creeping into spoilers, but the secrecy of the film is perhaps one of its greatest strengths. The mystery of Annie’s family unfolds strategically, giving you seemingly random details upfront that only make sense at the end when revelations occur. This piecemeal approach bolsters the narrative’s mystery, and it surprisingly doesn’t clue you into the film’s true intentions even as hints are dropped persistently and methodically throughout. It’s a thoughtful method of curation that is reminiscent of horror thrillers like Get Out, but done to a greater effect because of its subversive moments that change the direction and type of horror found in the film.

These narrative revelations come on the backs of three core tenants in the family’s relationship: grief, guilt, and grudges. These emotions are weaved between characters and create a torn family dynamic that is at the heart of the horror in the film. Yes, there is something much more sinister at play, but the film’s horror lies within the familial unit; grief over the loss of a loved one then turns into guilt as blame is assigned to oneself or grudges form as that blame is deflected onto others for their actions. Its very much a domestic horror where the nuclear family of mother, father, son, and daughter are torn apart and made horrific through tragic events, and it is this horror which sustains most of the film’s run time.

Beyond that, there is also the fear that we may inherit the burdens of our parents. The film is called Hereditary after all, so the messaging behind these family horrors is tied to the inheritance of the traits and characteristics our parents have, for better and for worse. The film begins with Annie giving a sermon at her mother’s funeral where she notes her turmoiltuous with her, setting the stage for the relationship on display with Peter and Charlie. There is also a more clear cut metaphor for this hereditary theme in the film, but to describe it would rob the film of its strongest revelation.The notion that we may end up like our parents is exposed by the grief, guilt, and grudges experienced by the family and further pushes the film’s overall depiction of horror within the home.

At two hours seven minutes, the film is a slow burn. Aster does make it count as he methodically sets up the film by emphasizing family dynamics and emotional arcs for characters for the major of the film only to have major releases of winding tension. The film has a nice flow to it, peaking at three heightened sequences of horror with occasional bumps to keep you on edge, but I feel the film could of been tighter by about 15 minutes just so it could have a better density to it. As mentioned above it is an A24 horror film so it is very much like The Witch or It Comes At Night. You don’t get an over abundance of scares like you do with 2017’s IT, but you do get intelligent ones that reveal themselves when appropriate and necessary. This discipline has a richness to it that you don’t get with mass appeal horror as it tries to evoke the cadence found in Rosemary’s Baby or The Exorcist, and it does so with great success. 

When the scares do come, they are haunting and full of searing imagery that embeds itself in your memory. Many times the film makes competent use of negative space and plays with deep focus to build suspense, creating some profoundly frightening shots. Long takes where objects appear barley out of the shadows but just enough to make out details last until the scenes overflow with tension, and off putting imagery lingers long after you’ve left the theater. Together, these elements combine and create wonderfully disturbing images that are stirring, eerie, and worth of a few chills.

Hereditary embodies all the characteristics of a great horror film. The depiction of a tangible horror that has a base in reality causes psychological fears to leap off the screen and into your subconscious. Aster’s direction utilizes scares strategically and sparingly, but at the same time effectively, and in the realm of ‘sophisticated’ horror, this is about as good as it gets. While it is often hard or premature to say when a film will become a classic, it seems as if right now Hereditary has all the makings of joining the pantheon of great horror films.

Score: 4.5/5 Stars