These Are A Few Of My Favourite Films: 2018 Edition

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Okay, because many folks have asked… here are my favourite nine films from 2018.

Notice I said favourite and not best. I was recently interviewed for a newspaper piece where the reporter asked my favourite three movies. This felt like a refreshing change as I didn’t feel a need to spend time over-intellectualising my responses as I might have done if she’d asked what I thought were the best three films ever.

Before I launch into my list, it’s worth pointing out I still have some catching up to do, hence no possible entries for films such as Spider-Man: Into The Spider-Verse, You Were Never Really Here or Bohemian Rhapsody.

So, with that caveat clear and without further ado, let’s head to my favourite nine (…nine, because, why not!?) films of the past twelve months…

9. Mission: Impossible – Fallout.

I have to admit the M:I films were mostly sort of washing over me, enjoyable in the moment but somewhat unmemorable bar their set-pieces. But then Fallout appeared, not only leaving me with a bill from my local cinema for having left fingernail holes in my seat, but also with a much greater enthusiasm for the previous entries. I’m gearing up for a run-through of the series at home in readiness for a second viewing of Cruise and Christopher McQuarrie’s remarkable piece of breathless skullduggery. Also, finishing off a series with two films featuring Sean Harris is always a bonus.

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8. The Rider.

Yeah, yeah, I know that it premiered in the Directors’ Fortnight section at the Cannes Film Festival in 2017, but those of us in the real world didn’t see it until its official release in 2018. Hopefully that doesn’t trigger anyone too badly.  Chloé Zhao’s contemporary western drama concerning rodeo riders feels like a top contender for the ‘film more people should see‘ award, 2018. Both painfully intimate and sweepingly widescreen, Zhao paints a portrait of a contained community with universal problems. You can read my full review here.

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7. Eighth Grade.

In many ways this shares some DNA with The Rider, taking me to a world I knew nothing about. This time, the unknown is the life of an adolescent girl in a time of social media, and this smart, sensitive, occasionally excruciating and ultimately uplifting film, from director Bo Burnham, features a hugely engaging central performance by newcomer, Elsie Fisher.

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6. A Quiet Place.

The first of two horror films in a strong year for the genre (see also Apostle, Mandy, Halloween, etc). Unfair on my behalf, but I was absolutely not expecting this from Jim Halpert from The Office. Directed and co-written (along with Scott Beck and Bryan Woods) by John Krasinski, this post-apocalyptic monster movie hits all the right beats, gradually unveiling a world of silent terror using a personable family, headed up by Krasinski and the always-excellent Emily Blunt. Understated until it doesn’t have to be, this is great, old-school horror that could easily have worked as an old Twilight Zone episode.

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5. Ant-Man & The Wasp.

Tricky one, this. I didn’t want to fill my list with Marvel movies (seeing as we had three releases from them in 2018) and I really struggled between this and Black Panther, but in the end I had (slightly) more fun with Peyton Reed’s delightfully light-touched sequel, especially since I’m the type of Marvel Geek who believes this film will pay off more once we see Avengers: Endgame.

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4. Hereditary.

Ari Aster’s uneven but striking mix of family grief and the supernatural is a divisive film, very much a case of go-with-it-or-don’t. The first three-quarters of the movie is mostly all slow-burn intensity until the final twenty minutes or so go off into full-blown hysteria (which is where many viewers seem to check out). I went with it the whole way on my viewing, but will be curious to see how it holds up next time. Worth pointing out that regardless of any future reaction, I’ll still laud it for probably the most outrageous WTF moment in cinema this year.  Review here.

3. The Meg (just kidding).

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3. The Other Side of the Wind.

Freewheeling and meticulous, Orson Welles’ lost masterpiece (never a more fitting appellation) first started production in 1970 and was only completed after Welles’ death by a team headed up by Peter Bogdanovich and producer Frank Marshall. Released onto Netflix at the end of the year, Welles’ mesmerising film is both a celebration and a satire of Classic Hollywood and avant-garde filmmaking. Review here.

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2. Roma.

The only disappointing thing about multihyphenate Alfonso Cuarón’s almost tone poem telling of a tumultuous period in the life of his childhood home-help is that I haven’t yet had the opportunity to see it on a cinema screen, seeing as it’s one of the most beautiful things I’ve laid my eyes on in a long time (to avoid a lynching by my significant other, I mean cinematically, of course). Review here.

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1. Avengers: Infinity War.

Marvel Geek nirvana. The Russo brothers and co. pulled off a remarkable, if overpacked, feat in bringing to a head ten years of films across multiple franchises while still managing to create a cultural zeitgeist moment with a single finger click. Of course, we know most of the galaxy’s missing half will be restored (…don’t we!?), but the joy, as with many comic books of the source material, is in seeing how our heroes snatch victory from the jaws of defeat. And now we don’t have much longer to wait. Review here.

Dishonourable mention: Suspiria (don’t @ me).

See you all in 2019. Feel free to leave me your favourites from 2018 in the comments below.

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Hereditary: New, Old-Fashioned Scares

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I’ve seen many reviews stating that Hereditary is a “new kind of horror”, and similar nonsense. In fact, there’s very little new about Ari Aster’s film, but that doesn’t mean that what he does with it won’t creep the living daylights out of you.

Rather, what Aster and co. do is not wholly rely on what have become the standard, tired tricks of a great deal of modern horror: the jump scare of something appearing in frame, or a door slamming, the sudden burst of sound and music. Instead, we are treated to long moments of dread and unease, surrounded by a film which takes its time exploring the emotions of its central characters and wrapping it all in the universal pain of grief – in particular, how we often don’t deal with it. Only once we’re pulled in by all this does Hereditary blow up with reanimated corpses and family members crawling across the ceiling.

And then, of course, it gives us that much talked about ending, which will really test whether or not the film has you in its hooks.

Hereditary begins quietly, pulling a little Stanley Kubrick Overlook maze trick from The Shining with a model house, but doesn’t do so frivolously: it’s a great unsettling moment, revealing one of the movie’s first pieces of disturbing symbolism, teasing us that there’s something not quite right about this family home. More of the film’s themes are immediately set out as we follow the family preparing for a funeral, for the mother of Toni Collette’s Annie.

Soon enough, both Annie and her two children, Peter and Charlie, are sensing things around the house and at school, and we see the family, rounded off by Gabriel Byrnes’ father, Steve, resolutely not coming to grips with not only this death but also events that have occurred in their lives previously.

Tension builds, and Aster, along with editors Jennifer Lame and Lucian Johnston and committed performances by the cast, allow their film all the time it needs to do so, as we are gradually introduced to wilder events beyond the confines of the house and the family, before one of the truly great shock moments of cinema leads us into a more heightened third act, letting the story fully off the leash in the last fifteen minutes or so. One or two of the final scares and revelations almost threaten to derail the careful build, but by the time they come we’ve been engulfed enough by the family’s deterioration not to stop us from enjoying their obvious pleasures.

It’s difficult to discuss the final five minutes without veering into spoiler territory, but suffice to say the various breadcrumbs laid throughout the previous two hours are brought together in a truly off-kilter way, with an ending which reminded me both of Rosemary’s Baby and of Robert Egger’s modern classic, The Witch, being both truly horrific (as you understand the fates of two of the central characters) and utterly bizarre.

Hereditary allows a few howlers through which occasionally threaten its entry to the hallowed halls of classics such as the aforementioned Rosemary’s Baby, The Exorcist and The Haunting: clunky lines of dialogue here and there (“Dad, it’s the cemetery,” “About what?”), the discovery of a book (“Guide to Spiritualism”) which might as well be labelled “plot device”, and some irritatingly, The Deadly Bees level superimposed flies (yes, I’m being nit-picky, but these elements stand out like sore thumbs in an otherwise classy affair like this).

But despite these caveats, Hereditary works like a dark charm because it picks at a sore scab and works at it: grief is something most of us struggle with, and while we may not conjure up dead loved ones in an effort to deal with that grief – or at least, I presume we don’t – we are given time to empathise with the very real and raw emotions experienced by the film’s family, and the unravelling of that family as a result of their inability to deal with their pain. And that’s true horror, after all, even with the addition of a meddling witch’s coven.

To return to my original point, Hereditary might not actually offer us something new, but it does what it does to a mostly masterful level, where the simple sound of a vocal clicking is made scary, and follows the lead of John Carpenter’s Halloween by using the frame to create unease.

And if you’re unfortunate enough to have dealt with death and the ensuing emotions we’re left with, it will resonate long after a dozen pump-up-the-volume, jump scare Paranormal Nun horror movies have faded into one another.