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Tuesday
Mar122019

Nathaniel's (Belated) Top Ten List of 2018

by Nathaniel R

Given that we're two months into a new year, the best cinema of 2018 is receding in our mind's eye, still shimmering but moving out of focus. But so much vivid color and feeling remains. Before we are fully blinded to its beauties (until, that is, they are "old films" and we can revisit) by a whole new batch of cinematic images to obsess over, here's one last post to honor the year that was. Here's your host's choices for the 25 best films of 2018.

This year's HONORABLE MENTIONS are a varied bunch taking us from horny self-discovery in Swedish woods to a trash-heap island in Japan. Strangely, grief was the year's most defining theme across genres as diverse as horror, tragicomedy, bopics, thrillers, character studies, and romantic dramas.

The films are listed in loosely ascending order, though we always reserve the right to change our minds where lists and rankings are concerned:

  • Paddington 2 (Paul King, UK) If all franchises were crafted with this much heart and warmth and wit, Hollywood wouldn't feel souless at all.
  • Border (Ali Abassi, Sweden) A refreshing oddity which totally commits to its own hybrid identity as its protagonist discovers hers.
  • Spider-Man: Into the Spider-Verse (Ramsey, Persichetti, and Rothman, US) If all superhero movies were this fun, inclusive, and inventive, they'd deserve their now automic success in the marketplace.
  • First Man (Damien Chazelle, US) A nation's epic ambitions paired with a marriage's intimate drama. So elegantly crafted.
  • Burning (Lee Chang-dong) as elusive and mysterious as a cat that doesnt want to be seen, until it saunters boldy into sight to stare you down.
  • First Reformed (Paul Schrader, US) The year's most disturbing drama. Hard to shake and necessary.
  • Widows (Steve McQueen) Overstuffed and strangely paced, but reverberating with provocative ideas and juicy characters. 
  • Capernaum (Nadine Labaki, Lebanon) For all that urgency and visceral feeling, not to mention one of the great child performances.
  • Support the Girls (Andrew Bujalski, US) for its ramshackle charms and subtle character-portrait
  • Hereditary (Ari Aster, US) What a calling card debut, from that dollhouse opening shot all the way through that psychotic break ending, a new horror classic. 

RUNNERS UP. Oh, if there were room in the top ten for all of these...

Click to read more ...