Consistency is more important than perfection. This quote has entered my view recently and I'm impressed with my own consistency when it comes to film viewing and offering up these best and worst list and series of tweet reviews, year after year. If anything, I've tried to be consistent, and as you can tell by my often odd selection and disputable movie grades, I'm anything but near perfection. It seems no matter what my life brings, I manage to view a consistent number of films each year. In 2018, I watched 38 new films, 27 in theatres, and managed to somehow avoid horrible films to the degree that I don't have a full five for a worst list this year. This is right alongside my typical average annual viewing rate, and the quoted phrase above rings true for the films I saw this year.
The films on my Best of 2018 come from creative artists who have consistently given us cinematic gems or studios that supplied sequels consistent with their predecessors in quality and entertainment. It can be delightful to be treated to something new and exciting (like previous years' Baby Driver and Get Out) but I'm more than happy if these give way to perennial offerings from Edgar Wright and Jordan Peele that share a certain aesthetic if not complete originality. In some ways, consistent quality from a studio like Disney is as much to Marvel at (pun intended) as a single, original shot in the dark that comes out of nowhere. Last year I lamented the demise of diversity in the industry, but upon reflection of this year's best films that I saw in the calendar year, I'm impressed with how well the franchises have held up. Gone are the days where sequels certainly meant lesser fare and less care. If the studios are going to recycle, refresh and rehash old ideas, they're at least striving to enhance the entertainment factor, build upon past success and respect the audience to want something more. So, at risk of being repetitive myself, here's a list of the best and worst films I saw in the 2018 calendar year in theatres, new BluRay/DVD release, or premiered on The Movie Network (aka "Crave") or Netflix...
10. MCU Films:
Ant Man and the Wasp,
Avengers: Infinity War,
Black Panther; Sure, I can cheat when it comes to a Top 10. I've been consistent in my sneaking in an extra movie or two, year after year, by labelling them under a single moniker. Marvel Studios has been a model of consistency, and yet, somehow, they gave us three wildly different films within a span of five months. No one knew how culturally relevant, rich and deep Black Panther would be, resonating with so many marginalized movie goers to the tune of $700 million plus domestically.
9.
The Greatest Showman; Wait, what? Isn't this film ancient? Yeah, I saw it on New Year's Day 2018. I've also seen it in an independent cinema sing-a-long with people dressed up and reacting to the film in a way that only cult films have voracious followers. A film that couldn't quite live up to the enormity of its soundtrack, this movie moves along at a brisk pace from one song to the next, with each set piece designed around the music. Unfortunately, this doesn't exactly make for a great film, but rather, a wonderful collection of music videos. However, it's undeniable that this soundtrack will be forever remembered, replayed and a staple of dance studios, drag queen performances and triumphant clip reels. If you give yourself over to the absolute pleasure, it will be a great show to enjoy.
8.
Deadpool 2; I'm surprised that this sequel doesn't have a clever subtitle or some sort of quip tag to it, given the nature of the lead character. They must have saved it all for the clever script. Another fantastic combination of heart and humour, mixed with winking violence and gore on a level consistent with the F/X budget. It's a treasure that Ryan Reynolds was able to give us the version of the comic book character he knew we deserved. The sequel isn't near as shocking but it's doubly delightful. The fact that it was released over Christmas with a PG-13 rating (and wonderfully reworked) goes to show how deep the film is on a level that is appealing beyond the extremes. Don't get me wrong, R-rated Wade Wilson is what we want; but getting double the dose in a single year is a holiday miracle, a gift that keeps on giving.
7.
Incredibles 2; 14 years is a long time to wait between sequels, but if they're this inspired and exciting, it's well worth waiting for. Brad Bird has given us a lot of amazing, original work. So, to return to material he already mined magnificently, turned out to be a lovely surprise. The story feels relevant, the characters still worthy of our time, and even more current in light of the prevalence of superhero films. However, it's the updated animation that catapults this film beyond its predecessor. To see the leaps and bounds that the artistic technology has made since the original allows Bird to flex his own decade worth of experience to craft a creative cartoon that stands alongside any live action film of the genre in its own right. Exactly
how the director intended.
6a & 6b.
Bohemian Rhapsody &
Mamma Mia: Here We Go Again; There probably haven't been any more straightforward celebrations of musical guilty pleasures as these two films. So, with that I cheat again and insert these two kindred spirits of late 70s/early 80s pop super groups as one single entry in the top ten. Making the music the centre piece of their respective films is the smart choice, so moviegoers can enjoy the timeless songs and worry little about superfluous story or claims to reality. The casting of these films couldn't be better, as each cast member relishes the joy of embodying the spirit of the music and gives wholehearted performances and work well with one another. Fans of these bands won't be disappointed. Non-fans may be pleasantly surprised and learn a song or two they never knew they truly liked.
5.
Mission: Impossible - Fallout; How many times has the IMF team and Ethan Hunt been disavowed? Cast aside? For our sake, let's hope many, many more. What once was an auteur platform for artistic action directors has become a continued story line building on previous instalments to up the emotional ante. Somehow, the series just gets better and better with every new iteration. Repeating a director only fuels the familiarity so that film six is running on all cylinders from the very first frame. The insane action scenes, the jovial banter and wit between team members, the return of a certain femme fatale, it's all here once again for our cinema going pleasure. If there's anyone doing their best to convince us we must see a film in theatres, it's Tom Cruise and his Mission: Impossible franchise. I imagine the small screen doesn't do it justice, yet still an excellent experience just the same.
4.
Isle of Dogs; The art form is inspiring and a sight to behold. Stop motion animation is a standard on my previous Top 10 lists, and Wes Anderson adds an artistry that only elevates the style. Anderson's approach is whimsical with a score that propels us through this tale of man's best friend. Every hair on every dog animated in the wind of the island looks beautiful, if not tangible. If there's anything that permeates through Anderson's detailed work, it's a deep love for the craft and the elements of production design that shape and mold a story to be fully realized for an audience. His direction seems personal, yet in the delivery of the film, a universal appeal emerges. It's like we're watching a cult, niche film, while at the same time openly enjoying a story suited for all. Though there are some issues, the beauty outweighs the imperfections.
3.
BlackKklansman; I've always been a champion of Spike Lee's work. It's so fitting to see him finally get some acclaim for his inspired writing, direction, style and storytelling. This true story is so tricky tonally that it tiptoes a tightrope thin line between the absurd humour inherent in the premise (Black man infiltrates Ku Klux Klan) and the extremely relevant danger and gravitas of the situation. Only a director like Lee could handle this as deftly as he does, while connecting the period to the present and current events. The cast is phenomenal, the filmmaking top notch, and the storytelling very economical and as a result, quite powerful. Extra credit for the closing credits inclusion of a recently released Prince gem, demonstrating the love, integrity and personal nature with which Lee crafts all his films.
2.
Robin Williams: Come Inside My Mind; Documentaries aren't given enough love on year end lists. If this were a truly just world, documentary films would be screened and celebrated on an equal level. This has never been more apparent than with the documentation of Robin Williams' life, proving that truth is stranger than fiction, and that art imitates life, in all its beauty. This glimpse into the comedian's life doesn't shy away from the ugly aspects, which only serve to express the glorious moments more fully. The footage is astounding, from public to private moments, and the cavalcade of celebrity friends and family give credence to the tales contained within. A portrait compiled in a span of a couple of hours, comes across as so fully realized, expressing love, gratitude, sadness and heartache. A microcosm of the human condition.
and the number one film of 2018 is...
1.
Spider-Man: Into the Spider Verse; The surprise of this film is that it doesn't have any right being this good. It is such a refreshing, kinetic joy to behold, bending the medium of animation to its will. Offering odes to comic culture and design, while expressing a vision so unique and new to the animated field and superhero genre, it's an instant crowd pleaser. The kind of film that makes you want to walk right back into the theatre immediately after seeing it. Or leave the BluRay on repeat for revealing new elements and insight into its creation. A lot of it has to do with the creative team behind it, but also Sony's willingness to forego the typical and introduce new techniques, not to mention, a new take(s) on the character of Spidey himself. All of this adds up to a smile inducing, eye popping adrenaline ride, filled with humour, heart and heroic action. Kind of sums up the best of the year, all in one single film.
Honourable Mentions:
A Wrinkle in Time,
The Breadwinner,
Ready Player One,
Ralph Breaks the Internet,
The Shape of Water
In lieu of a truly "Worst" list of 2018, I offer four films that were flat out disappointments, whether the hype went unfulfilled, the expectation fell flat, or the work just seemed outright unnecessary.
The Grinch; Not a bad film but one we didn't need. We've already got two great Grinch versions. One live action and one animated. Sure, the animation can be updated to make a difference, but then it should be spectacular, while this is more pedestrian. I'd rather have another Seuss book given the animated treatment than to attempt to remake a well known Christmas staple because of its commercial certainty. Seemed like little risks were taken and we were given a "nice" film that will play in the background of future holidays yet never quite appeal enough to us to pay full attention. For a lover of Seuss, that's frankly not enough for the magic of his words. It'd be awesome to see what someone like Wes Anderson would do with the author of Whoville.
Jurassic World: Fallen Kingdom; How far the franchise has fallen, indeed. What once was a classic set of nostalgic "dawn of CGI" scare fests has sunk itself to run of the mill creature features with this instalment. So unmemorable as to be borderline deplorable, I don't even care to watch this when it airs on the Movie Network. For free. I won't even watch this for free. Or even put it on as background noise. I'm so disinterested, it's hard to pinpoint where they lost me, because I can't be inclined enough to put in the effort to figure out what the problem is. Maybe it's the casting of the often unlikable Bryce Dullard Howard? Or the false advertising of Jeff Goldblum's presence? Or knowing that Pratt could be making another LEGO movie or Guardians of the Galaxy film instead of regurgitating his hero mechanics for this franchise?
Fahrenheit 451; A lot has been said about how HBO, Netflix, and other pay TV services are disrupting the movie industry. By producing high quality original series and features more worthy of our time and hard earned dollars than what many studios are offering in multiplexes. Well, they forgot about this misfire. Stylistically appealing and boasting an enviable cast, this attempt at adapting Ray Bradbury's work fails much like the previous film versions before it. The 1966 film is one of my all-time hated uses of film stock and this one did little to improve my impression that Bradbury's novel will ever get its due on film, digital or otherwise. Perhaps I appreciate the novel too much, that filmic approaches will never live up to my expectations? Or maybe its content is not suited for the film medium, ironically valuing the printed form above cinematic storytelling? Either way, this was a waste of time.
Bird Box; Speaking of Netflix, the age of binging and blitzing the inboxes and streaming queues of customers well upon us, brings us the baffling success (???) of Bird Box. It seemed for a moment that everyone on the planet was watching this film, if you were led to believe so from the memes and imitators it inspired, many from people who'd never seen the film but gathered as much info required to produce a meme. When all is said and done, the film fails to provide any lasting memory greater than the spawn it generated in meme form. For its 15 minutes, the film managed to swamp the internet and social media and become more than the sum of its parts. Sandra Bullock proved to be a box office draw, (even without a box office to draw people to), and Netflix proved it could trick us into wanting to watch a film so we could be a part of the conversation about a film no one would have wanted to look at in the first place where movies belong, a proper theatre. It makes me wonder if a subscription service is the way of the future for cinemas, where we can watch as many bad movies as we want, if only to make the memes the world tunes in for. I know I'll be there in my seat for many years to come, if only to remain consistent.
