Well, I'm back writing here again after one of my now world famous hiatuses. I was always too concerned about the aesthetics of this site and wanting it to look as professional as possible but I've decided I no longer give a donkey's bollocks about any of that and I'm just going to present it as normal and allow my writing to take charge. Incidentally that puts extra pressure on actually writing well and not letting the purdy pictures and colours do the talking.
Anyway, enough patronising for now, it's time to stop hyping up my own writing and start hyping up these 20 incredible films that earn every inch of the hype they receive. I'm always questioning how many is too many when it comes to making lists of my favourites or least favourites, but I think 20 is a fair number to include some great stuff that'd normally be delegated to the honourable mentions. Speaking of which, here's a few incredible flicks that didn't make the cut: Upgrade, First Reformed, Widows, The Favourite, A Star Is Born, Searching, Roma, Suspiria & Mission Impossible: Fallout.
To be honest there is a shitload more but I'd be here all fucking day if I went down that road. Some of these might appear in other lists I do soon, provided I don't go on a hiatus to Cancun again. I'm also aware that some of these are films that are being released into cinemas in 2019 but that's the beauty of advanced screenings! Anyhow, on with the show!
20. The Guilty - Dir. Gustav Möller
This entirely dialogue driven Danish thriller was one of the later entries to my best of list, barely beating out those aforementioned honoured flicks by being one of the most gripping and intense things I had seen all last year. Set virtually in real time in an emergency call centre, a disgraced cop answers a call from a kidnapped woman who is in mortal danger; after the call is disconnected, he must do everything he can to search for her using only his phone in an intense race against time.
It's brimming with tension, genuine jaw dropping twists and turns, an extreme sense of realism and a rare feeling where you honestly have no idea where it could or would go. The performances are fantastic and with is being set effectively in one room, it allows your imagination to run wild and the immaculate sound design to keep you hooked.
19. Beautiful Boy - Dir. Felix Van Groeningen
Based on a pair of best selling biographies written by both father and son respectively, this heartfelt drama follows the journey of a father trying everything he can to keep his son clean after he develops an extreme drug dependency. I had actually thought it was going to be an entirely different plot when I went in (confusing it with Boy Erased due out in 2019) and was given something far more powerful and in some ways positive.
Steve Carell, like many comedians, shows that with great abilities in comedy comes the ability to knock almost any dramatic performance out of the park; he's tremendous here and totally believable. Timothee Chalamet also proves his acting chops once again and certifies himself as a true rising star. It's a superb looking film that actually looked like it was shot on film, but was shot digitally; which shows in the right hands, can look absolutely great. Not to mention a tremendous eclectic soundtrack to accompany it.
18. Last Flag Flying - Dir. Richard Linklater
Carell making his second appearance on this list with a film that is a spiritual sequel of sorts to the 1973 masterpiece, The Last Detail. This is more a sequel to the book the film was based on rather than the Jack Nicholson classic. Set in 2003, three friends reunite after serving together in Vietnam 30 years previous, when one of their sons is killed during the Iraq war.
This is one that was benefited big time by the fact I had watched The Last Detail a few nights beforehand. Despite being fairly different in terms of how they meet and what faction of the military they belong to (Soldiers in the novel, Navy in the film), the characters themselves behave exactly like they would have previously, so I was already heavily invested in them when this started which made for a thoroughly delightful viewing. Carell again is incredible and is matched in quality by Bryan Cranston and Laurence Fishburne who put in stellar performances. Much like its predecessor, it's entirely character driven and heavy on the dialogue, but one of the most enjoyable and rewarding films I'd seen all year.
17. Bad Times At The El Royale - Dir. Drew Goddard
After Pulp Fiction, there was a slew of Quentin Tarantino imitators and more often than not, they were only okay, some better than others but they could never really live up to the quality he brings to the screen with an ensemble cast and a non-linear, often twisty and crazy narrative. Not to mention dialogue as sharp as ZZ-Top's dress sense. This one actually manages to deliver on all of those fronts. Set in 1969, it follows a host of quirky characters, each with a dark secret, as they check into the once booming and now sleazy, El Royale hotel/motel on a stormy night.
What follows is an EXPERTLY crafted tale of mystery, murder and greed that genuinely surprised me at almost every turn. The rug was thoroughly pult from under my feet several times and I genuinely hadn't a breeze where it could go. It took basically everything I love about Tarantino's signature style and finessed it into its own piece of greatness while focusing on the narrative rather than additional character building and fast-food chat. Goddard is 2 for 2 for me so he's surely one to keep an eye on.
16. Spider-Man: Into The Spider-Verse - Dir. Bob Persichetti, Peter Ramsey & Rodney Rothman
Bringing the sticky fingered adolescent superhero escapades to the big screen for the 7th time, this Spider-Man film went for the animated route (though you could argue The Amazing Spider-Man 2 was mostly animated with garbage CGI). A portal to several different alternate realities opens up, thrusting a whole host of different Spider-Men, women and a Spider-Pig into the one world where they must all team up to stop Fisk and bring them back to their own universes.
It's legitimately the best Spider-Man film I've seen on the the big screen and fucking jaw-dropping in terms of animation and style. I would actually kill to see a proper gritty Punisher movie made in the same way, but it would need to basically be that brutal crack den level from the video game for about 2hrs. Other than eye-popping visuals, this is laden with first rate sound design, lots of heart and numerous familiar voices, my favourite of course being the heroic Nicolas Cage as a dark, noirish 1930s Spider-Man/detective.
15. Coco - Dir. Lee Unkrich & Adrian Molina
Upsetting complete fucking idiots in small social bubbles for "cultural appropriation" or some such bollocks, this utterly delightful and heart meltingly sweet Pixar flick did what Pixar does best and wowed billions, including myself. Set during the Mexican day of the dead, a young musician living in a household that forbids music is accidentally transferred to the spiritual, colourful land of the dead where he searches for his musical idol and hopes to be sent back to his world with the help of his dead ancestors.
You can always expect heart with Pixar and this one was no exception to the rule. It's rife with Mexican culture, actors, music and just an all round appreciation for the day of the dead as well as some astounding animation, superb writing and a fantastic sense of adventure and fun. But the directors aren't Mexican so that nullifies it all somehow... people are fucking goons. This is muy brilliant.
14. Isle of Dogs - Dir. Wes Anderson
Similar above with Coco, Isle of Dogs (or I love Dogs) also came under fire from what doctors and scientists alike perfectly describe as "complete fuckheads", only with Japanese culture instead of Mexican. With my three animated choices all together, it was effectively a tie between them all but this one edges above the rest. In typical Wes Anderson style it's a wonderfully quirky comedy with some harsh truths. Set in a dystopian Japanese retro-future, it follows a young boy in search of his lost dog on the Isle of Dogs, an island where all dogs have been sent to prevent the spread of canine influenza to human beings.
Animated similarly to one of Anderson's previous films, Fantastic Mr. Fox, this utilises mind blowing stop motion animation to create a world that would seem lifeless and false had it been done with CGI. It's at times bittersweet, very funny and gripping all the way through with a plethora of Anderson regulars in the voice acting seats as well as some newbies who will hopefully continue to work with him. It even had numerous screenings in Dublin that allowed for dogs to attend. Tremendous.
13. The Shape of Water - Dir. Guillermo Del Toro
Landing a whopping 4 Oscars last year and making a big splash worldwide (pun intended, do something about it, I dare you.) this exciting forbidden love story follows a mute cleaner at a research facility as she falls in love with an amphibian-man-creature and attempts to set him free, while avoiding a near psychotic government official who is in charge of keeping the creature in captivity.
Only Guillermo Del Toro could get away with a plot line like this, as well as including some inter-species riding and making it all come together in one of the most fantastical, exciting and impeccably well made films of the year. Genuinely investing and laden with a strangely comfortable early 60s aesthetic with just the right amount of jarring imagery and cutting edge special effects, the majority of which were practical.
12. Avengers: Infinity War - Dir. Anthony & Joe Russo
This is a big one and has no doubt made its way onto the majority of people's list, even topping some! To be honest, it's hard to argue, it's fucking outstanding, though as you can see, it doesn't even hit my top 10, but to consider that a bad thing... quite frankly just means you're a fucking dunce. The 19th film of the MCU that follows the Avengers & The Guadians of The Galaxy as they team up to try take down Thanos before he enacts a sinister fate upon the whole world.
An otherwise typical superhero plot but this is a cut above the rest with an excellent villain who has heaps of emotional depth and flaws and feels like there's a reason to his actions rather than just "I'm evil for 2hrs to advance the plot". He's complicated and it raises the stakes and makes their mission all the more intense. It's fantastically well written, choreographed and has stunning special effects for you to marvel at (pun also intended, fuck you). It's also infinity times better than Black Panther (ANOTHER pun FUCK OFF), a film that was good and nothing more. This deserves all of the Oscars that people think Black Panther deserves. Though neither should win any at the end of the day. Anyway, bring on Endgame!
11. Blindspotting - Dir. Carlos López Estrada
This is one that unfortunately not a lot of people had a chance to see, presumably as it was in a blindspot (I can't be stopped! Lock me up and throw away the fucking keys!). Following two lifelong friends in their mundane job as movers, one of them is on his last three days of probation and is determined to not get himself into any trouble over those few days; but his best friend is as volatile as they come and could potentially drag him into trouble he doesn't need.
Expertly weaving a razor sharp, mostly hilarious script with some fantastically well rounded characters and dramatic tension, all the while letting the real life themes of racism and violence linger in the background rather than patronisingly beat you over the head with them, it creates a true representation of modern day Oakland and makes for some riveting viewing. One moment in the final act could have fallen flat on its arse but given the level of build up and how natural and well earned it was, it managed to pull it off and then some.
10. Hereditary - Dir. Ari Aster
It shouldn't be any surprise that this has made its way onto my best of list, considering I wrote what can only be described as a thesis disguised as a review for why I loved it. Following the death of their grandmother, a family of four is psychologically tormented by what can only be described as sinister force or atmosphere. That's basically as far as I'll go with that but I'll make clear now, it's not some dull ghost movie. It's a properly taxing and brutal mental assault on the sense that deals with loss, grief and the fragility of family.
The very fact it's a debut feature is hugely commendable itself, but the quality of the craft behind this is something special and for the first hour it had the cinema absolutely frozen with shock and horror. I've not seen a horror film this effective in many, many years. It goes from painfully uncomfortable and brooding to intense and flat-out batshit crazy. Some hipster types (cunts) like to bundle it together with It Follows and The Babadook, two other slow burn psychological horror films and try disassociate it with the horror genre because they're afraid to admit they like it. The genre still doesn't get the credit it deserves with nonsense, made up sub genres like "Post-horror" - eat my fucking hole, there's no such thing and to suggest so means you should experience everything these characters do.
9. The House That Jack Built - Dir. Lars Von Trier
My last statement was kinda harsh... but not a fragment as harsh as this side splitting dark comedy. I'm not joking by the way, this flick is absolutely hysterically funny in a way that I was not at all expecting. Matt Dillon turns in a career defining performance as a an extremely obsessive serial killer as he chronicles 5 incidents in his murderous 12 year career.
This is as Lars Von Trier as you can get, which can either be a massive red flag for you or a giant neon "come on in!" sign for others. It's at times indulgent, stark, brutal, unflinching, ugly and with questionable ideas that are never questioned and that's what I loved about it. This character is utterly irredeemable and the film makes no apologies for that. As his obsessiveness begins to fade, his sheer carelessness grows stronger but it still never prevents him from performing some utterly heinous acts of violence on anyone. And I mean ANYONE. Nobody is off limits here. The more disturbing it gets, the more it transcends into what feels like classic paintings come to life. It's something really spectacular and being fucking hilarious to boot. It's a level of dark comedy that is rarely tackled now.
8. The Night Comes For Us - Dir. Timo Tjahjanto
Keeping the violence train going and knocking it up about twenty billion fucking notches. Hailing from the land of Indonesia which birthed The Raid 1 and 2, the best action films of the century, it follows an extremely high level mafia enforcer who turns his back on his bosses to save a little girl which puts him head to (severed) head with the entire mob and a group of elite enforcers he once ran with.
I'm not even slightly exaggerating when I say this is the most violent film I saw in 2018 and probably the last few years. As well as that, it's the best action film I've seen since The Raid 2, which if you know me at all, is some of the highest praise I can give an actioner or any film in general. It's the same creator as Headshot and Killers, two films that I thought had good in them but were otherwise heavily flawed; so to see him go absolutely balls to the wall for this one, while employing some folk from The Raid dualogy to create some of the most barbaric, gory and near ballet levels of perfectly choreographed blood pumping fight scenes I've seen in years was just ultra special. He has officially won me over and whatever comes next has me immediately on board. It's available on Netflix too so get on it!
7. I, Tonya - Dir. Craig Gillespie
Stepping back into the biopic territory, this one takes many a page out of the Martin Scorsese film-making book and manages to get the atmosphere and feeling of Goodfellas while never feeling like it plagiarised it and applies those qualities to a wild true story about Tonya Harding, a competitive figure skater who against all odds, rose to the ranks in the world of figure skating. But when a hurdle gets in her way to prevent her from progressing, her violently abusive boyfriend decides to intervene causing one of the most shocking scandals in the US at the time.
I think if you know anything about her name or even the slightest about figure skating, you're probably aware of what went down, but whether you know or not, you're still not prepared for just how insane the whole story is and how it unfolds on screen. Honestly to hear the description of it being the Goodfellas of figure skating movies is not even slightly wrong. It matches the exciting glamorous beats while still being raw as can be with a jukebox of nothing but belters and some utterly spellbinding performances from everyone involved. One of which taking an Oscar home, but all were worthy of winning one. Exciting, shocking, fun and supremely entertaining.
6. Green Book - Dir. Peter Farrelly
The second last of the films on this list that seem to irritate complete fucking cretins for no other reason than they can't stop sniffing their own farts and are disgusted that you don't want to join them. This beautiful two hour journey (and true story) follows a tough, streetwise Italian bouncer who accepts a job driving a hyper intelligent black maestro on a musical tour down south in the early 1960s.
The goons were upset with the film claiming it's a "white savior" story or that it doesn't tackle racism hard enough, which simply suggests they didn't see the film and were just dying to complain. This if a film about personal growth, understanding, friendship and love and it's very much an isolated story. Not to mention the fact that there IS themes of racism and persecution during the runtime but it's handled in such a way that doesn't need to throw it in the audience's face and shout about it. That's not what the film is about. Much like Blindspotting, it's something that lingers in the background at all times, but it's not what we're drawn to. We're watching a film about these two guys from polar opposite ends of the social spectrum as they learn to become friends against all odds. It's charming, powerful, heartwarming, very funny and dramatically investing from start to finish. Plus both leads turn in exceptional performances that will go down in history.
When somebody comes out with a proper criticism of the film, I'll listen to it, but otherwise: GIT FACKED.
5. Three Billboards Outside Ebbing, Missouri - Dir. Martin McDonagh
The final film of the bunch that seems to make people behave as if they're wearing multiple brain-slugs from Futurama and the second film of 2018 that I actually saw which has still hung on and made it's way into my top 5. A woman hellbent on getting justice for her daughter's horrific murder rents out three billboards near her house and decides to call out the local town's sheriff for his lack of arrests for the crime, which sparks outrage in the town and creates a war between her and the police force.
When Martin McDonagh's name is attached to a project, you're bound to be treated to some knife-edged dialogue, phenomenal writing, top tier actors and a biting sense of Irish humour (which amazingly translates to American characters rather well) - not to mention a fairly jarring level of dark subject matter. He interwove these aspects perfectly to create something that stirs almost every emotion you could expect to have with a film. Hailed as racist by idiots who have no concept of context or character arcs, it in fact is quite the opposite and features complicated characters with some of the best development I've seen all year. It constantly pulls the rug from you at every opportunity takes some common cliches and flips them on their head. It's astoundingly well done. His name is an instant sell for me. His brother's, not so much.
4. Climax - Dir. Gaspar Noé
Fucking hell I'm getting dizzy just remembering this film. Set during a blizzard at a community centre in the mid 90s, it follows a troupe of French dancers as they practice for an upcoming show. Celebrating a good night's dancin', they all partake in some delicious sangria that unbeknownst to them, has been spiked with some ULTRA powerful LSD which sends everyone spiraling into a twisted, sex fueled, violent and psychologically chaotic depth of hell as they all lose and possibly never regain their sanity.
It shocks me to say this, but I think this masterpiece might be Gaspar Noé's best film, which after creating one of the most visceral film experiences of all time with Irreversible, is a serious bit of praise to have. I never thought he'd top that but this one is truly something else. Opening with 10 minutes of characters introducing themselves via and interview, it BLASTS into an enthralling dance sequence filmed in one continuous take. The whole film is littered with mesmerising and often disorientating long takes that take you slowly through the utter descent into madness. Laden with 90s dance classics, 70s remixes, thrilling dance choreography and a wall of intensity that just envelopes the screen, it's without question one of the best films of 2018 and one of the best in general that I've seen for a long time. Noé has not only outdone himself, but he certainly made up for 2015's LOVE.
3. Mandy - Dir. Panos Cosmatos
I'm sure you were all wondering by now "Kev, where is Mandy on this list??" considering the absolute rusty trombone of a review I gave it back in October; well, here it is! Set in the early 80s and starring the immeasurable Nicolas Cage, it follows a tough lumberjack named Red who lives with his artist girlfriend Mandy in seclusion. When their lives are tragically disrupted by a maniacal cult leader, his band of misfits and a gang of psycho-demon bikers from hell, Red sets out on a mission of extreme, bloody, neon-soaked, psychotopic vengeance with an axe forged in hatred.
I mentioned this in my full review, but this is the film I would make if I could. It's everything I could ever love about extreme genre cinema and just in general with it's virtuosic technique. Cage is at his most Cage here, which is always a good thing. Lots of people love him ironically but I think he is undeniably superb and I mean that sincerely. Hearing him talk about his inspirations for acting and how he approaches his use of dialogue and love for German expressionist cinema that he emulates with each performance just further proves the guy is a true talent. He taps into some seriously dark places for this one and unleashes it in a flurry of psychotic mayhem that results in gore, fire and a dark, doomy, heavy metal score from the late, great Johann Johansson. It's also steeped in dark, bloody red with the odd hints of fire and purple psychedelia all of which is infused with a grimy, grainy layer of grit that covers the screen and properly plunges you into this otherworldly pit of hell.
It's fucking perfect and I think describing just one scene of Cage's lunacy would sell you immediately, but that would only spoil the glory. All I'll say is, watch out for that bathroom scene. Because that's when things go to another level.
2. You Were Never Really Here - Dir. Lynne Ramsay
Sitting comfortably at the number one spot since March, this was only barely knocked back to second place. Lynne Ramsay follows up here dark and brooding thriller, We Need To Talk About Kevin with a different kind of masterclass thriller. Scored by the magnificent Jonny Greenwood, it follows a traumatised war veteran with PTSD who is hired to track down kidnapped girls and inflict brutal vengeance on their captors. When a job goes out of control, he finds himself embroiled in a conspiracy which results in death all around him.
It's hard to believe that with all of the incredible films from this year, nothing else really stuck with me or riveted me quite like this one. Phoenix is astoundingly good is frighteningly believable as a broken man with nothing to lose and a near insatiable need for violence in his life. Something the film never gives the catharsis for. Almost every scene of violence in the film is obscured or completely up to the imagination which is insanely effective, but intentionally never lets you revel in the vengeance the way a conventional revenge film would. The music, visual style, strange cold atmosphere, heightened use of sound and committed, engrossing & visceral performance by Phoenix make for one of the most unforgettable viewing experiences you're likely to have. Numerous scenes from this would make my list for best of the year. Incredible.
1. The Old Man And The Gun - Dir. David Lowery
Well, here is, the film that managed to surpass You Were Never Really Here as late as December for my film of 2018. Partly a true story, partly a charming love story with a tinge of crime but entirely the perfect swansong to a 58 year career in cinema for the iconic Robert Redford. Playing real life bank robber and prison escape artist, Forrest Tucker, it follows him after his audacious escape from San Quentin at the ripe old age of 70 and the subsequent string of bank robberies he committed across America by charming the public and making a reputation as gentleman, all the while being pursued by the police and finding a potential new love.
I don't think there's a single movie I saw last year that had me smiling from ear to ear from start to finish quite like this one (well, maybe The Night Comes For Us but that's a different kind) - Redford doesn't just charm the bank tellers and managers in the film, but in fact charms the whole audience, especially in the scenes in which he and Sissy Spacek go for lunch together or when himself, Danny Glover & Tom Waits (his bank robbing counterparts) sit around chatting about the good ol' days and funny stories of their youth. Not forgetting Casey Affleck turning in another terrific performance as the cop trying to take him down, who is also not immune to his charms. All of this combined with the late 70s (or 1980) atmosphere that the movie is soaked in with the use of gorgeous old film stock to just capture a fantastic nostalgic look that couldn't suit a film like this better.
It's the prime example of enjoyable and feel good and I'll be fucked if people aren't just grinning like fools by the time the credits start to roll. Movies like the awful Stand Up Guys or Going In Style should really take note. You'll be hard pressed not to be smitten by this one and I'll be buying it the moment it's on Blu Ray.
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Well, that's it, an overlong account of my top 20 films of 2018. I'm sure you could have just scrolled this and read the titles and numbers of each film and then clicked out without actually reading all the shite I wrote about them and to be honest, I wouldn't fucking blame you. But then you wouldn't realise there's this lovely message at the bottom, which means I can say anything about you really. To those who read the whole post, you're all heroes, to everyone else: you aul ones ride goats and you were an accident.
Cheers!
Anyway, enough patronising for now, it's time to stop hyping up my own writing and start hyping up these 20 incredible films that earn every inch of the hype they receive. I'm always questioning how many is too many when it comes to making lists of my favourites or least favourites, but I think 20 is a fair number to include some great stuff that'd normally be delegated to the honourable mentions. Speaking of which, here's a few incredible flicks that didn't make the cut: Upgrade, First Reformed, Widows, The Favourite, A Star Is Born, Searching, Roma, Suspiria & Mission Impossible: Fallout.
To be honest there is a shitload more but I'd be here all fucking day if I went down that road. Some of these might appear in other lists I do soon, provided I don't go on a hiatus to Cancun again. I'm also aware that some of these are films that are being released into cinemas in 2019 but that's the beauty of advanced screenings! Anyhow, on with the show!
20. The Guilty - Dir. Gustav Möller
This entirely dialogue driven Danish thriller was one of the later entries to my best of list, barely beating out those aforementioned honoured flicks by being one of the most gripping and intense things I had seen all last year. Set virtually in real time in an emergency call centre, a disgraced cop answers a call from a kidnapped woman who is in mortal danger; after the call is disconnected, he must do everything he can to search for her using only his phone in an intense race against time.
It's brimming with tension, genuine jaw dropping twists and turns, an extreme sense of realism and a rare feeling where you honestly have no idea where it could or would go. The performances are fantastic and with is being set effectively in one room, it allows your imagination to run wild and the immaculate sound design to keep you hooked.
19. Beautiful Boy - Dir. Felix Van Groeningen
Based on a pair of best selling biographies written by both father and son respectively, this heartfelt drama follows the journey of a father trying everything he can to keep his son clean after he develops an extreme drug dependency. I had actually thought it was going to be an entirely different plot when I went in (confusing it with Boy Erased due out in 2019) and was given something far more powerful and in some ways positive.
Steve Carell, like many comedians, shows that with great abilities in comedy comes the ability to knock almost any dramatic performance out of the park; he's tremendous here and totally believable. Timothee Chalamet also proves his acting chops once again and certifies himself as a true rising star. It's a superb looking film that actually looked like it was shot on film, but was shot digitally; which shows in the right hands, can look absolutely great. Not to mention a tremendous eclectic soundtrack to accompany it.
18. Last Flag Flying - Dir. Richard Linklater
Carell making his second appearance on this list with a film that is a spiritual sequel of sorts to the 1973 masterpiece, The Last Detail. This is more a sequel to the book the film was based on rather than the Jack Nicholson classic. Set in 2003, three friends reunite after serving together in Vietnam 30 years previous, when one of their sons is killed during the Iraq war.
This is one that was benefited big time by the fact I had watched The Last Detail a few nights beforehand. Despite being fairly different in terms of how they meet and what faction of the military they belong to (Soldiers in the novel, Navy in the film), the characters themselves behave exactly like they would have previously, so I was already heavily invested in them when this started which made for a thoroughly delightful viewing. Carell again is incredible and is matched in quality by Bryan Cranston and Laurence Fishburne who put in stellar performances. Much like its predecessor, it's entirely character driven and heavy on the dialogue, but one of the most enjoyable and rewarding films I'd seen all year.
17. Bad Times At The El Royale - Dir. Drew Goddard
After Pulp Fiction, there was a slew of Quentin Tarantino imitators and more often than not, they were only okay, some better than others but they could never really live up to the quality he brings to the screen with an ensemble cast and a non-linear, often twisty and crazy narrative. Not to mention dialogue as sharp as ZZ-Top's dress sense. This one actually manages to deliver on all of those fronts. Set in 1969, it follows a host of quirky characters, each with a dark secret, as they check into the once booming and now sleazy, El Royale hotel/motel on a stormy night.
What follows is an EXPERTLY crafted tale of mystery, murder and greed that genuinely surprised me at almost every turn. The rug was thoroughly pult from under my feet several times and I genuinely hadn't a breeze where it could go. It took basically everything I love about Tarantino's signature style and finessed it into its own piece of greatness while focusing on the narrative rather than additional character building and fast-food chat. Goddard is 2 for 2 for me so he's surely one to keep an eye on.
16. Spider-Man: Into The Spider-Verse - Dir. Bob Persichetti, Peter Ramsey & Rodney Rothman
Bringing the sticky fingered adolescent superhero escapades to the big screen for the 7th time, this Spider-Man film went for the animated route (though you could argue The Amazing Spider-Man 2 was mostly animated with garbage CGI). A portal to several different alternate realities opens up, thrusting a whole host of different Spider-Men, women and a Spider-Pig into the one world where they must all team up to stop Fisk and bring them back to their own universes.
It's legitimately the best Spider-Man film I've seen on the the big screen and fucking jaw-dropping in terms of animation and style. I would actually kill to see a proper gritty Punisher movie made in the same way, but it would need to basically be that brutal crack den level from the video game for about 2hrs. Other than eye-popping visuals, this is laden with first rate sound design, lots of heart and numerous familiar voices, my favourite of course being the heroic Nicolas Cage as a dark, noirish 1930s Spider-Man/detective.
15. Coco - Dir. Lee Unkrich & Adrian Molina
Upsetting complete fucking idiots in small social bubbles for "cultural appropriation" or some such bollocks, this utterly delightful and heart meltingly sweet Pixar flick did what Pixar does best and wowed billions, including myself. Set during the Mexican day of the dead, a young musician living in a household that forbids music is accidentally transferred to the spiritual, colourful land of the dead where he searches for his musical idol and hopes to be sent back to his world with the help of his dead ancestors.
You can always expect heart with Pixar and this one was no exception to the rule. It's rife with Mexican culture, actors, music and just an all round appreciation for the day of the dead as well as some astounding animation, superb writing and a fantastic sense of adventure and fun. But the directors aren't Mexican so that nullifies it all somehow... people are fucking goons. This is muy brilliant.
14. Isle of Dogs - Dir. Wes Anderson
Similar above with Coco, Isle of Dogs (or I love Dogs) also came under fire from what doctors and scientists alike perfectly describe as "complete fuckheads", only with Japanese culture instead of Mexican. With my three animated choices all together, it was effectively a tie between them all but this one edges above the rest. In typical Wes Anderson style it's a wonderfully quirky comedy with some harsh truths. Set in a dystopian Japanese retro-future, it follows a young boy in search of his lost dog on the Isle of Dogs, an island where all dogs have been sent to prevent the spread of canine influenza to human beings.
Animated similarly to one of Anderson's previous films, Fantastic Mr. Fox, this utilises mind blowing stop motion animation to create a world that would seem lifeless and false had it been done with CGI. It's at times bittersweet, very funny and gripping all the way through with a plethora of Anderson regulars in the voice acting seats as well as some newbies who will hopefully continue to work with him. It even had numerous screenings in Dublin that allowed for dogs to attend. Tremendous.
13. The Shape of Water - Dir. Guillermo Del Toro
Landing a whopping 4 Oscars last year and making a big splash worldwide (pun intended, do something about it, I dare you.) this exciting forbidden love story follows a mute cleaner at a research facility as she falls in love with an amphibian-man-creature and attempts to set him free, while avoiding a near psychotic government official who is in charge of keeping the creature in captivity.
Only Guillermo Del Toro could get away with a plot line like this, as well as including some inter-species riding and making it all come together in one of the most fantastical, exciting and impeccably well made films of the year. Genuinely investing and laden with a strangely comfortable early 60s aesthetic with just the right amount of jarring imagery and cutting edge special effects, the majority of which were practical.
12. Avengers: Infinity War - Dir. Anthony & Joe Russo
This is a big one and has no doubt made its way onto the majority of people's list, even topping some! To be honest, it's hard to argue, it's fucking outstanding, though as you can see, it doesn't even hit my top 10, but to consider that a bad thing... quite frankly just means you're a fucking dunce. The 19th film of the MCU that follows the Avengers & The Guadians of The Galaxy as they team up to try take down Thanos before he enacts a sinister fate upon the whole world.
An otherwise typical superhero plot but this is a cut above the rest with an excellent villain who has heaps of emotional depth and flaws and feels like there's a reason to his actions rather than just "I'm evil for 2hrs to advance the plot". He's complicated and it raises the stakes and makes their mission all the more intense. It's fantastically well written, choreographed and has stunning special effects for you to marvel at (pun also intended, fuck you). It's also infinity times better than Black Panther (ANOTHER pun FUCK OFF), a film that was good and nothing more. This deserves all of the Oscars that people think Black Panther deserves. Though neither should win any at the end of the day. Anyway, bring on Endgame!
11. Blindspotting - Dir. Carlos López Estrada
This is one that unfortunately not a lot of people had a chance to see, presumably as it was in a blindspot (I can't be stopped! Lock me up and throw away the fucking keys!). Following two lifelong friends in their mundane job as movers, one of them is on his last three days of probation and is determined to not get himself into any trouble over those few days; but his best friend is as volatile as they come and could potentially drag him into trouble he doesn't need.
Expertly weaving a razor sharp, mostly hilarious script with some fantastically well rounded characters and dramatic tension, all the while letting the real life themes of racism and violence linger in the background rather than patronisingly beat you over the head with them, it creates a true representation of modern day Oakland and makes for some riveting viewing. One moment in the final act could have fallen flat on its arse but given the level of build up and how natural and well earned it was, it managed to pull it off and then some.
10. Hereditary - Dir. Ari Aster
It shouldn't be any surprise that this has made its way onto my best of list, considering I wrote what can only be described as a thesis disguised as a review for why I loved it. Following the death of their grandmother, a family of four is psychologically tormented by what can only be described as sinister force or atmosphere. That's basically as far as I'll go with that but I'll make clear now, it's not some dull ghost movie. It's a properly taxing and brutal mental assault on the sense that deals with loss, grief and the fragility of family.
The very fact it's a debut feature is hugely commendable itself, but the quality of the craft behind this is something special and for the first hour it had the cinema absolutely frozen with shock and horror. I've not seen a horror film this effective in many, many years. It goes from painfully uncomfortable and brooding to intense and flat-out batshit crazy. Some hipster types (cunts) like to bundle it together with It Follows and The Babadook, two other slow burn psychological horror films and try disassociate it with the horror genre because they're afraid to admit they like it. The genre still doesn't get the credit it deserves with nonsense, made up sub genres like "Post-horror" - eat my fucking hole, there's no such thing and to suggest so means you should experience everything these characters do.
9. The House That Jack Built - Dir. Lars Von Trier
My last statement was kinda harsh... but not a fragment as harsh as this side splitting dark comedy. I'm not joking by the way, this flick is absolutely hysterically funny in a way that I was not at all expecting. Matt Dillon turns in a career defining performance as a an extremely obsessive serial killer as he chronicles 5 incidents in his murderous 12 year career.
This is as Lars Von Trier as you can get, which can either be a massive red flag for you or a giant neon "come on in!" sign for others. It's at times indulgent, stark, brutal, unflinching, ugly and with questionable ideas that are never questioned and that's what I loved about it. This character is utterly irredeemable and the film makes no apologies for that. As his obsessiveness begins to fade, his sheer carelessness grows stronger but it still never prevents him from performing some utterly heinous acts of violence on anyone. And I mean ANYONE. Nobody is off limits here. The more disturbing it gets, the more it transcends into what feels like classic paintings come to life. It's something really spectacular and being fucking hilarious to boot. It's a level of dark comedy that is rarely tackled now.
8. The Night Comes For Us - Dir. Timo Tjahjanto
Keeping the violence train going and knocking it up about twenty billion fucking notches. Hailing from the land of Indonesia which birthed The Raid 1 and 2, the best action films of the century, it follows an extremely high level mafia enforcer who turns his back on his bosses to save a little girl which puts him head to (severed) head with the entire mob and a group of elite enforcers he once ran with.
I'm not even slightly exaggerating when I say this is the most violent film I saw in 2018 and probably the last few years. As well as that, it's the best action film I've seen since The Raid 2, which if you know me at all, is some of the highest praise I can give an actioner or any film in general. It's the same creator as Headshot and Killers, two films that I thought had good in them but were otherwise heavily flawed; so to see him go absolutely balls to the wall for this one, while employing some folk from The Raid dualogy to create some of the most barbaric, gory and near ballet levels of perfectly choreographed blood pumping fight scenes I've seen in years was just ultra special. He has officially won me over and whatever comes next has me immediately on board. It's available on Netflix too so get on it!
7. I, Tonya - Dir. Craig Gillespie
Stepping back into the biopic territory, this one takes many a page out of the Martin Scorsese film-making book and manages to get the atmosphere and feeling of Goodfellas while never feeling like it plagiarised it and applies those qualities to a wild true story about Tonya Harding, a competitive figure skater who against all odds, rose to the ranks in the world of figure skating. But when a hurdle gets in her way to prevent her from progressing, her violently abusive boyfriend decides to intervene causing one of the most shocking scandals in the US at the time.
I think if you know anything about her name or even the slightest about figure skating, you're probably aware of what went down, but whether you know or not, you're still not prepared for just how insane the whole story is and how it unfolds on screen. Honestly to hear the description of it being the Goodfellas of figure skating movies is not even slightly wrong. It matches the exciting glamorous beats while still being raw as can be with a jukebox of nothing but belters and some utterly spellbinding performances from everyone involved. One of which taking an Oscar home, but all were worthy of winning one. Exciting, shocking, fun and supremely entertaining.
6. Green Book - Dir. Peter Farrelly
The second last of the films on this list that seem to irritate complete fucking cretins for no other reason than they can't stop sniffing their own farts and are disgusted that you don't want to join them. This beautiful two hour journey (and true story) follows a tough, streetwise Italian bouncer who accepts a job driving a hyper intelligent black maestro on a musical tour down south in the early 1960s.
The goons were upset with the film claiming it's a "white savior" story or that it doesn't tackle racism hard enough, which simply suggests they didn't see the film and were just dying to complain. This if a film about personal growth, understanding, friendship and love and it's very much an isolated story. Not to mention the fact that there IS themes of racism and persecution during the runtime but it's handled in such a way that doesn't need to throw it in the audience's face and shout about it. That's not what the film is about. Much like Blindspotting, it's something that lingers in the background at all times, but it's not what we're drawn to. We're watching a film about these two guys from polar opposite ends of the social spectrum as they learn to become friends against all odds. It's charming, powerful, heartwarming, very funny and dramatically investing from start to finish. Plus both leads turn in exceptional performances that will go down in history.
When somebody comes out with a proper criticism of the film, I'll listen to it, but otherwise: GIT FACKED.
5. Three Billboards Outside Ebbing, Missouri - Dir. Martin McDonagh
The final film of the bunch that seems to make people behave as if they're wearing multiple brain-slugs from Futurama and the second film of 2018 that I actually saw which has still hung on and made it's way into my top 5. A woman hellbent on getting justice for her daughter's horrific murder rents out three billboards near her house and decides to call out the local town's sheriff for his lack of arrests for the crime, which sparks outrage in the town and creates a war between her and the police force.
When Martin McDonagh's name is attached to a project, you're bound to be treated to some knife-edged dialogue, phenomenal writing, top tier actors and a biting sense of Irish humour (which amazingly translates to American characters rather well) - not to mention a fairly jarring level of dark subject matter. He interwove these aspects perfectly to create something that stirs almost every emotion you could expect to have with a film. Hailed as racist by idiots who have no concept of context or character arcs, it in fact is quite the opposite and features complicated characters with some of the best development I've seen all year. It constantly pulls the rug from you at every opportunity takes some common cliches and flips them on their head. It's astoundingly well done. His name is an instant sell for me. His brother's, not so much.
4. Climax - Dir. Gaspar Noé
Fucking hell I'm getting dizzy just remembering this film. Set during a blizzard at a community centre in the mid 90s, it follows a troupe of French dancers as they practice for an upcoming show. Celebrating a good night's dancin', they all partake in some delicious sangria that unbeknownst to them, has been spiked with some ULTRA powerful LSD which sends everyone spiraling into a twisted, sex fueled, violent and psychologically chaotic depth of hell as they all lose and possibly never regain their sanity.
It shocks me to say this, but I think this masterpiece might be Gaspar Noé's best film, which after creating one of the most visceral film experiences of all time with Irreversible, is a serious bit of praise to have. I never thought he'd top that but this one is truly something else. Opening with 10 minutes of characters introducing themselves via and interview, it BLASTS into an enthralling dance sequence filmed in one continuous take. The whole film is littered with mesmerising and often disorientating long takes that take you slowly through the utter descent into madness. Laden with 90s dance classics, 70s remixes, thrilling dance choreography and a wall of intensity that just envelopes the screen, it's without question one of the best films of 2018 and one of the best in general that I've seen for a long time. Noé has not only outdone himself, but he certainly made up for 2015's LOVE.
3. Mandy - Dir. Panos Cosmatos
I'm sure you were all wondering by now "Kev, where is Mandy on this list??" considering the absolute rusty trombone of a review I gave it back in October; well, here it is! Set in the early 80s and starring the immeasurable Nicolas Cage, it follows a tough lumberjack named Red who lives with his artist girlfriend Mandy in seclusion. When their lives are tragically disrupted by a maniacal cult leader, his band of misfits and a gang of psycho-demon bikers from hell, Red sets out on a mission of extreme, bloody, neon-soaked, psychotopic vengeance with an axe forged in hatred.
I mentioned this in my full review, but this is the film I would make if I could. It's everything I could ever love about extreme genre cinema and just in general with it's virtuosic technique. Cage is at his most Cage here, which is always a good thing. Lots of people love him ironically but I think he is undeniably superb and I mean that sincerely. Hearing him talk about his inspirations for acting and how he approaches his use of dialogue and love for German expressionist cinema that he emulates with each performance just further proves the guy is a true talent. He taps into some seriously dark places for this one and unleashes it in a flurry of psychotic mayhem that results in gore, fire and a dark, doomy, heavy metal score from the late, great Johann Johansson. It's also steeped in dark, bloody red with the odd hints of fire and purple psychedelia all of which is infused with a grimy, grainy layer of grit that covers the screen and properly plunges you into this otherworldly pit of hell.
It's fucking perfect and I think describing just one scene of Cage's lunacy would sell you immediately, but that would only spoil the glory. All I'll say is, watch out for that bathroom scene. Because that's when things go to another level.
2. You Were Never Really Here - Dir. Lynne Ramsay
Sitting comfortably at the number one spot since March, this was only barely knocked back to second place. Lynne Ramsay follows up here dark and brooding thriller, We Need To Talk About Kevin with a different kind of masterclass thriller. Scored by the magnificent Jonny Greenwood, it follows a traumatised war veteran with PTSD who is hired to track down kidnapped girls and inflict brutal vengeance on their captors. When a job goes out of control, he finds himself embroiled in a conspiracy which results in death all around him.
It's hard to believe that with all of the incredible films from this year, nothing else really stuck with me or riveted me quite like this one. Phoenix is astoundingly good is frighteningly believable as a broken man with nothing to lose and a near insatiable need for violence in his life. Something the film never gives the catharsis for. Almost every scene of violence in the film is obscured or completely up to the imagination which is insanely effective, but intentionally never lets you revel in the vengeance the way a conventional revenge film would. The music, visual style, strange cold atmosphere, heightened use of sound and committed, engrossing & visceral performance by Phoenix make for one of the most unforgettable viewing experiences you're likely to have. Numerous scenes from this would make my list for best of the year. Incredible.
1. The Old Man And The Gun - Dir. David Lowery
Well, here is, the film that managed to surpass You Were Never Really Here as late as December for my film of 2018. Partly a true story, partly a charming love story with a tinge of crime but entirely the perfect swansong to a 58 year career in cinema for the iconic Robert Redford. Playing real life bank robber and prison escape artist, Forrest Tucker, it follows him after his audacious escape from San Quentin at the ripe old age of 70 and the subsequent string of bank robberies he committed across America by charming the public and making a reputation as gentleman, all the while being pursued by the police and finding a potential new love.
I don't think there's a single movie I saw last year that had me smiling from ear to ear from start to finish quite like this one (well, maybe The Night Comes For Us but that's a different kind) - Redford doesn't just charm the bank tellers and managers in the film, but in fact charms the whole audience, especially in the scenes in which he and Sissy Spacek go for lunch together or when himself, Danny Glover & Tom Waits (his bank robbing counterparts) sit around chatting about the good ol' days and funny stories of their youth. Not forgetting Casey Affleck turning in another terrific performance as the cop trying to take him down, who is also not immune to his charms. All of this combined with the late 70s (or 1980) atmosphere that the movie is soaked in with the use of gorgeous old film stock to just capture a fantastic nostalgic look that couldn't suit a film like this better.
It's the prime example of enjoyable and feel good and I'll be fucked if people aren't just grinning like fools by the time the credits start to roll. Movies like the awful Stand Up Guys or Going In Style should really take note. You'll be hard pressed not to be smitten by this one and I'll be buying it the moment it's on Blu Ray.
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Well, that's it, an overlong account of my top 20 films of 2018. I'm sure you could have just scrolled this and read the titles and numbers of each film and then clicked out without actually reading all the shite I wrote about them and to be honest, I wouldn't fucking blame you. But then you wouldn't realise there's this lovely message at the bottom, which means I can say anything about you really. To those who read the whole post, you're all heroes, to everyone else: you aul ones ride goats and you were an accident.
Cheers!
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