| Image

Ivy Pottinger-Glass’ Top Ten Films of 2018

2018 was a pretty spectacular year for film. This past year I particularly enjoyed some films that came from outside of the US and UK — as you’ll see, half of my top 10 favorite films are in languages other than English. It was hard to narrow it down and there are plenty of terrific films that just didn’t quite make the list. My method for choosing these particular films was to ask myself whether, and to what extent, I would implore people to go out of their way to watch the specific film I had in mind. With that being said, here are the 10 films of 2018 that I would very strongly encourage everyone to make time to see…

10. BlacKkKlansman (Spike Lee, 2018)

Cannes Grand Prix 2018 winner BlacKkKlansman comes in at number 10 on my list. Set in the 70s and based on some “fo’real, fo’real sh*t,” the film depicts the unbelievable tale of the first African American police officer in Colorado Springs, Ron Stallworth (John David Washington), as he infiltrates the Ku Klux Klan over the phone whilst using his co-worker, Flip Zimmerman, (Adam Driver) for face-to-face interactions. With an expert blend of dark humor and relevance to the present day — especially in light of the film’s release coinciding with the one-year anniversary of the Charlottesville Rally — BlacKkKlansman delivers on all fronts.

9. You Were Never Really Here (Lynne Ramsay, 2018)

With one of the most brilliant and intense soundtracks in recent memory, courtesy of maestro Jonny Greenwood, You Were Never Really Here is a psychological thriller that keeps you on edge for the entirety of its short but not-so-sweet 90-minute run time. In her first feature since We Need to Talk about Kevin (2011), Ramsay triumphs again with this equally dark story in which psychologically tortured hitman, Joe (Joaquin Pheonix), rescues the victims of trafficking and inflicts gruesome punishment onto those behind the crimes.

8. Isle of Dogs (Wes Anderson, 2018)

Wes Anderson did it again in 2018 with another charming and witty stop-motion animation, with an all-star cast to boot. I thought that any other Anderson-led animation would pale in comparison to Fantastic Mr. Fox (2009), and while I don’t think that Isle of Dogs quite lives up to its predecessor, I can safely say that I extremely enjoyed this canine-packed adventure set within a dystopian vision of the Japanese archipelago 20 years in the future.

7. Eighth Grade (Bo Burnham, 2018)

Not only is Bo Burnham a successful comedian and musician but he’s proven this past year that he’s also a filmmaker to be reckoned with. His directorial debut is more of a horror film than a comedy in that it forces us all to relive the cringe-worthy and downright painful reality of being a young teenager through the trials and tribulations of socially awkward teen Kayla Day (Elsie Fisher), but it’s so endearing and hilarious that it’s definitely worth the trauma of being transported back to early adolescence. Elsie Fisher delivers a veritable masterclass in authentic, natural performance and is so utterly relatable and genuine it’s impossible not to fall in love with her. Sitting through Eighth Grade is pretty agonizing, but it’s worth it . . . I promise.

6. Loveless (Andrey Zvyagintsev, 2018)

Bleak and beautifully tragic, Loveless tells the story of a fractured family in an unforgiving, unnamed city in the Leningrad region of Russia. The film centers around the search for a missing child who vanishes whilst his parents are in the throes of a hostile separation. Their son’s disappearance forces the pair to work together in a desperate attempt to find him. It’s a tough watch, and I can’t say it’s a particularly fulfilling one at that, but it is really a tour de force of filmmaking.

5. Shoplifters (Hirokazu Kore-eda, 2018)

From here on in my list, you’ll see some of the nominees for Best Foreign Language Film at the Academy Awards. One of the hottest names is Shoplifters. A Palme d’Or winner at Cannes 2018, it certainly lives up to the hype that’s been building up around it for the past few months. Set in Tokyo, the film focuses on an unconventional family that — as you can guess from the title ­— steals and embezzles to make ends meet. It’s a complex tale that takes you on an unexpected emotional journey, especially at the film’s climax, and the performances from the film’s actors, both young and old, are superb all ’round.

4. The Favourite (Yorgos Lanthimos, 2018)

Yorgos Lanthimos, the king of the “Greek Weird Wave” strikes again and this time he’s struck gold. With a spectacular cast including Olivia Colman, Emma Stone, Rachel Weisz, and Nicholas Hoult, it’d be a crime if this film was anything less than brilliant. Though based on the life of Queen Anne — the ruling monarch of Great Britain for a short period in the 18th century — this is not a period drama like one might expect. With wacky cinematography and Lanthimos’ signature dark comedy, The Favourite is possibly the most entertaining films in my top 5 and it’s definitely my “favourite” Lanthimos film thus far.

3. Burning (Lee Chang-dong, 2018)

A surprising snub in the Best Foreign Language Film category at the Academy Awards, this film adaptation captures the sense of mystery and magic of the Haruki Murakami short story on which it is based. Jong-su (Ah-in Yoo) randomly meets Hae-mi (Jong-seo Jun), a girl from his past, and he agrees to look after her cat whilst she is in Africa. She returns alongside Ben (Steven Yeun), an enigmatic stranger, who quickly becomes the object of Jong-su’s fascination after discovering his favorite pastime. This film expertly delivers a sense of magical realism that will keep you bewildered, yet completely transfixed.

2. Cold War (Paweł Pawlikowski, 2018)

Both this and the number 1 film on my list are up for top prizes in Best Foreign Language Film, Best Director and Best Cinematography at the Academy Awards. I had a hard time choosing which one to place first in my own ranking. Paweł Pawlikowski is a formidable filmmaker, and in this cinematic masterpiece, he tells a love story that spans many years and locations, following the turbulent and tragically beautiful course of a relationship between two people who, despite the harshest of conditions, are fated to be together. Shot black and white in “Academy Ratio,” Cold War had some of the most beautiful cinematography I’ve ever seen, so watch it on a big screen if you can.

1. Roma (Alfonso Cuarón, 2018)

There’s a reason why everyone has been talking about Roma. It’s one of those films that will stay with you long after the credits have finished rolling, and that’s why I’ve chosen it as my top film of 2018. It’s a story about family — based on Cuarón’s own childhood in the titular neighborhood of Roma in Mexico City — it follows the story of Cleo (Yalitza Aparicio), a live-in nanny for a middle-class family. The film beautifully depicts the complex relationship between Cleo and the family with whom she is so close to, and yet will never truly be one of. The film’s cinematography is unobtrusive and yet skilfully artistic, allowing the authenticity and raw emotion of the story to remain the central focus. You can really tell that Cuarón put his heart into this film, and the effects are simply breath-taking.

| Image

Greg Arietta’s Top Ten Films of 2018

The past two years that I’ve made top tens, I found the compilation process much easier than it was this year. This is perhaps because I saw more films this year, but I think the difficulty can be attributed to the sheer amount of great films that were released. And I mean really great. Of the 111 theatrical releases I saw, I would say my top 20 are all really strong films that I would go to bat for any time, and 20 through 30 are great in their own right. It was really hard to whittle this list down to just ten films, so before we get into those select few, I think it best if we pay our dues to the honorable mentions that would be right up there in the top ten if they were released in a different year.

Morgan Neville’s overshadowed doc of the year, They’ll Love Me When I’m Dead, serves as an excellent companion piece to Orson Welles’s The Other Side of the Wind, providing necessary context to the film and its director in his final years. Spider-Man: Into the Spiderverse is without a doubt the best superhero film in years and one I welcome with open arms. The Ballad of Buster Scruggs is a wonderful anthology film that lets the Coens tell six moral tales in a Western sandbox that becomes a quintessential western in the process. Roma is a graceful love letter film that evokes the Italian neorealist aesthetic of the 1950s. Thoroughbreds serves as a great example of wealth and privilege run amuck. And I can’t even condense my love for Hereditary, Isle of Dogs, Support the Girls, Shirkers, or Disobedience without making this intro longer than the list itself.

From a wide variety of genres, directors, and studios, there was a film for everyone in 2018. I look at this list and often have difficulty justifying my picks’ positioning above the honorable mentions, and as I said last year, any day of the week or mood will cause me to shift some of these around, but as it stands, this is my top ten, and to me, these are as good as it gets for 2018, so let’s begin.

10. First Man (Damien Chazelle, 2018)

Damien Chazelle’s follow-up to La La Land may be a straight-laced biopic, but First Man certainly lands with assured reverence for its subject matter. Telling the story of Neil Armstrong’s accent to the moon, First Man effectively sets the intimate and personal struggles of one man against one of the most historic moments in human history. Aided by superb camera work from Linus Sandgren and a celestial score from Justin Hurwitz, First Man gets up close and personal with danger, presenting the uncertainty and doubt that surrounded the space program from the start. Perhaps Chazelle’s greatest feat with this biopic is his ability to balance the grand with the minute to create a truly theatrical experience. We may have seen space before on the big screen, but never has the odyssey to the moon been so personal, dangerous, and dazzling. 

9. First Reformed (Paul Schrader, 2018)

On the surface, Paul Schrader’s latest, First Reformed, is your classic environmental political statement film about society’s inability to solve one of the most pressing issues of our time. But more importantly and more poignantly, beneath that you have a film that dives deep into questions of faith and existence. The indomitable anxiety derived from impending demise and the subsequent notion that you can do nothing about it is a sinister idea, and it is precisely what makes First Reformed so thought-provoking. What can we do to combat challenges to our faith? What is there to believe in when society is unwavering in its decline? Can we ever find salvation in the belief that things will get better? These existential questions (and many more) elevate First Reformed into a contemplative piece about our very being, and while there is a general sense of reckoning with the end of days in the film, there is a tinge of hope: in the end, we all may be doomed, but it is that which is pure that can make us keep on living. 

8. Annihilation (Alex Garland, 2018)

Annihilation came out in early 2018, and Paramount literally sent it out to die. Like Silence before it, Paramount had little faith in this psychological thinkpiece and even wanted to change the euphoric ending, but I don’t think they knew what they had on their hands. Alex Garland of Ex Machina and 28 Days Later fame made the best science fiction film of the year and it just came and went. At the heart of the film is how our choices can lead us to our . . . well, annihilation. A team investigating something called “the Shimmer” has a progressive battle with themselves as their DNA is constantly rewritten by alien forces, but this science fiction element is only the external layer for something much deeper. Upon closer inspection, it’s also a remarkable allegory for our own self-destructive behavior, and how we try to break the cycle for the sake of self-betterment, but constantly find ourselves at odds with that desire. Symbolic, hypnotic, and captivating, Annihilation proves that there’s more to it than meets the eye. If anything, the film needs to be seen for the ending alone. It’s one of the most illustrious, artistic, and thought-provoking endings of the genre that I can name.

7. Burning (Lee Chang-dong, 2018)

The most eloquent film on this list, Lee Chang-dong’s Burning is a slow-paced psychological thriller about the obsessions that form from intimate infatuations. What I find so appealing about this film is its disciplined nature and what we can derive from it. Implied meaning, subtle character reactions, and reading between the lines are ways in which the viewer can get the most mileage out of the film. The saying, “the devil is in the details” has never been truer, as Lee uses every ounce of his film to set up future revelations and actions. The film thoroughly develops the irrationality that comes with obsession and anchors it with contemporary themes of social isolation and dissatisfaction of younger generations. Steven Yeun gives a chilling performance as a privileged Gatsby-type and Jun Jong-seo enchants as the object of affection. Like most films on this list, the film demands a rewatch to get the most out of it but only takes one to realize the expert-level artistry on display. 

You can read my complete thoughts on the fiery obsessions of Burning here.

6. Maniac (Cary Fukunaga, 2018) 

I’ve already explained why I classify a serial such as this as a film in my review, but consider its species akin to Twin Peaks: The Return. This ten-part series is the brainchild of Cary Fukunaga (True Detective, Beasts of No Nation) and it carries the thematic sophistication of his prior work, but this time with a humorous, often quirky edge to it. At the heart of the work is its dissection of mental illness and the importance of meaningful human connections. The length of the series allows Fukunaga to psychoanalyze assorted mental ailments in nuanced, sincere, and tactful ways that can be otherwise difficult in a shorter form. Plus, the reuniting of Jonah Hill and Emma Stone (Superbad) as Owen and Annie results in two strong performances that compliment the material. It’s one of the few multi-part series that I actually want to watch again, and with so many other films, new and old, out there right now that I need to catch up on, wanting to rewatch an eight-hour series says a lot. 

5. Ready Player One (Steven Spielberg, 2018)

My hottest take on this list is Steven Spielberg’s Ready Player One. It’s not a particular favorite of many, but what makes this film shine is its leanness and ability to construct an economical hero’s journey. It has peripheral themes of culture and gatekeeping, but I think the self-labeled “movie” is not concerned with that. It wants to tell a straightforward narrative that is an action blockbuster first and foremost, and that’s the most compelling part. In the sea of superhero films that have come to shape public opinion on what the blockbuster should be (which I would argue is harmful), audiences have seemingly been conditioned to reject something like this. It’s superhero or bust, and Spielberg is getting a raw deal. The motion capture sequences make great use of volume and space, and Spielberg’s sensibilities for staging and camera placement are as strong as ever. Ready Player One is a great blockbuster from the man who birthed the genre, and thirty-three years after Jaws, I think he’s still got it.

4. Suspiria (Luca Guadagnino, 2018)

Luca Guadagnino had a lot of clout coming off of 2017’s Call Me By Your Name, so when he announced he would be doing a remake of Dario Argento’s 1977 cult original, there was more than a little intrigue. The original is by no means a sacred text. In fact, it’s probably a film that lends itself to being remade, and what we got was one of the most provocative art horror films in recent years that delineates itself from the original in radical ways. A reinvented visual flare, irregular editing patterns, and an eerie Cold War atmosphere are some of the more notable additions to this remake about a coven of dancing witches. Its pacing is slow, prolonging the runtime, but the contrast with the hyperkinetic dance sequence and demonic moments of horror is so potent in building an overall product. It was met with mixed reviews at release, but I believe as time goes on, we’ll be looking back at Guadagnino’s Suspiria in a more positive, artistic light.

You can read my full thoughts about Suspiria in my review here.

3. The Miseducation of Cameron Post (Desiree Akhavan, 2018)

Before Boy Erased there was Desiree Akhavan’s adaptation of The Miseducation of Cameron Post. While they both take aim at gay conversion camps, the later does it in a much more meaningful, potent, and nuanced way that tells a much richer and emotionally conflicted narrative. Following the titular Cameron Post (Chloë Grace Moretz) who is sent to a conversion camp after being caught with the prom queen, the film deconstructs the problematic nature of these camps by showing the hypocrisy of it all. Its greatest strength comes in its subtlety, showing the camp’s problematic nature through personal strife, governmental acceptance, and ironic humor. The weight of judgment isn’t a hammer but a scale that slowly shifts as more and more examples of abuse pile up. And perhaps most importantly it shows that everyone is in this together, never condemning the attendees and always pushing towards their communal resistance of these camps. It’s a profound and emotional film about a very relevant, contemporary issue, and shows that there is no reason to change who you are.

2. You Were Never Really Here (Lynne Ramsay, 2018)

Lynne Ramsay is a director that only makes a film every couple years, but when she does, people should really take notice. She makes delicately crafted and incredibly impactful films that really grab you, and her latest feature, You Were Never Really Here, is no different. Taking the form of a dark and brooding character study, the film is about the physical manifestation of internal demons and the effects it can have of day-to-day life. It’s is incredibly invasive in the way it builds these ideas, using sharp editing, course sound, and visceral imagery to convey the destructive nature of post-traumatic stress in such a tactile way. Joaquin Phoenix’s performance as the lead, Joe, is further proof that he’s one of the greatest working actors today. He delivers a remarkably weighty and empathetic tour de force performance. On the auditory end of it, Johnny Greenwood, who made one of the best scores from last year with Phantom Thread, gives another award-worthy score that perfectly complements the distraught and troubled nature central to our protagonist, and Ramsay knocks it out of the park with a superbly directed feature that reveals new layered meaning with each watch. The film is dark and disturbing, but that is entirely necessary for what is trying to achieve. Oh, and the film’s ending will hit you like a brick. It is so immensely profound and potent. 

You can read my full thoughts about this masterpiece in my review here.

1. Mission: Impossible – Fallout (Christopher McQuarrie, 2018) 

Without hyperbole, exaggeration, or myth-making, Mission: Impossible — Fallout is unequivocally one of the greatest action films ever made. Soaring to new heights for the franchise and raising the watermark for action stunts, writer/director Christopher McQuarrie has concocted a film that blows everything else out of the water. As noted in my review, the film fires on all cylinders in every aspect. The subversive nature of failure and success has the audience barreling blindly through the film, never knowing for certain what will happen next, if victory is assured, or if failure awaits. In a landscape where blockbusters are cookie-cutter and everything falls into line, Fallout excels at breaking norms, tropes, and expectations by giving the film true, tangible tension that makes the stakes feel real. It also helps that Tom Cruise, who is 56 might I add, dances with the devil as he carries out mind-boggling stunts that will leave you speechless once you learn that they were all done practically and without a double, bringing you even closer to action and danger that presents itself. Everything about this film makes it one of the most refined action films ever produced. Unmatched in theatrical experience and equally as potent upon rewatch, Mission: Impossible — Fallout is not only one of the best action films ever made, but it also just so happens to be my favorite film of the year.

If you’re interesting in seeing a full breakdown of all the films I saw in 2018, you can check out my Letterboxd list here.

| Image

Review: Lynne Ramsay’s Dark Character Study with You Were Never Really Here

There are few directors like Lynne Ramsay in the business. Since her debut film Ratcatcher in 1999, Ramsay has only made three other films: Morvern Callar in 2002, We Need To Talk About Kevin in 2011, and now You Were Never Really Here in 2018. If you’re like me, the first thing you notice is how far spaced out the films are, and while Ramsay’s filmography is small, it is powerful, each one garnering critical praise and even inspiring a young Barry Jenkins. As such, whenever she releases a film, people should take note. It’s not like she’s making any film. She’s making her film, acting as not only the director, but also the writer and producer. Ramsay only seems concerned with telling worthwhile stories, and You Were Never Really Here is just that: a dark character study that leverages every element to tell a compelling story with rich meaning.

Based on the book of the same name, You Were Never Really Here follows Joe (Joaquin Phoenix), a former service member who has become a hired gun that saves trafficked girls. Through his experiences at war and in his line of work, he has become ruthless in his methods, but suffers from extreme emotional distress that permeates his life. In his latest job, he is hired to rescue Nina (Ekaternia Samsonov), the daughter of a Congressman who has been kidnapped and forced into sex trafficking. But, while on this job, Joe finds there may be a plot bigger than himself working in the background that pushes him to his mental limits.

The film is very much concerned with who Joe is and how his past torments his mental psyche. Phoenix offers a perfectly subdued performance that depicts a broken man navigating a seedy world who is on the brink of ending it all, but always finding one last thing to live for. The cold, brutal acts of violence serve as outlets for the mental pain he carries, but always pushing him even further towards complete mental degradation. The performance is subtle yet incredibly rich, always holding back until there are moments of intense violence or emotion that utilize Phoenix’s far reaching range. His portrayal allows audiences to always have their finger on Joe, knowing when he’s collected and when he’s suffering, and it is this comprehension that lets us empathize with him and understand the actions he takes.

So much of this film’s potency can be accredited to the incredible work of Ramsay. As mentioned before, she directed, wrote, and produced the feature and there’s a methodical nature that can be felt within nearly every scene. The sense of foreboding demise or mental conflict are not only carried on the back of Phoenix, but also in the techniques Ramsay implements. While there are innumerable “did you see what she did there” moments throughout the film, there is one scene in particular where Joe busts up an apartment used for trafficking, and when it’s all said and done, you are left astounded by the execution of it all. There isn’t a lot of dialog in the film, so much of the story has to be told visually. To convey complex emotions or plot points without words is a hurdle in and of itself, but Ramsay makes it appear effortless, resulting in some masterful work.

And these inner conflicts play out audibly as well. Radiohead artist Jonny Greenwood (who I praised for his Phantom Thread score) is returning to collaborate with Ramsay and brings a frantic score that is loud, unwieldily, and spastic, but in a very good way. Hard hits on string instruments that drop swiftly and out of no where. Irritating out of tune notes that move into momentous beats. And uneven melodies that are on the verge of collapse, but always maintaining a sense of consistency all add to an unsettling experience that effectively conveys the sense of conflict within our central character. Instruments seemingly compete for dominance within songs, which makes sincere moments all the more powerful when they play in perfect harmony. It’s a monumental score that works perfectly at creating the film’s overall tone, while also conveying sentiments that are left unsaid, which is hard to say about most film scores, but characteristic of truly amazing ones. (If you want a sample of what’s at play, I recommend Sandy’s Necklace or The Hunt as exemplary pieces that embrace this synchronized chaos.)

From the opening moments to its incredibly powerful ending, You Were Never Really Here offers an unrelenting look at the trauma from our past and the paths we take to cope with them. While the narrative is quite sinister, it feels holistically essential to the film’s main point; it goes to dark places because the character demands it. We need to see what this world has done to Joe, how he got those scars, and how those physical artifacts translate to mental burdens. The film reenforces our innate human faults that allow our past to haunt us, while also providing a glimmering light at the end of the tunnel where we can move past ourselves and into a brighter future, or as the film likes to put it, a beautiful day.

Score: 4.25/5