Top ten films of 2018

This Sunday heralds the arrival of the 91st Academy Awards, and with it the interminable horror/delight of the annual movie awards season draws to a close. In honour of this fact, I’ve assembled a list of my ten favourite films of the last twelve months – and it’s been another fantastic year for film fans of every variety. Untested film-makers like Boots Riley and Bradley Cooper dazzled audiences with spectacular directorial debuts, while experienced masters like Lynne Ramsay and Paul Schrader returned to screens in stellar form. As a human being with responsibilities and limited time on this Earth, I can’t claim to have been comprehensive in my selection, but I nevertheless hope that I’ve distilled a varied range of the brilliant films which have graced our screens this year, and shed light on a few lesser-seen gems in the process.

10. Mission: Impossible – Fallout

mission impossible
Dir. Chris McQuarrie

Far and away the best blockbuster I’ve seen this year, the sixth instalment in the Mission: Impossible franchise is a masterclass in big-budget action cinema. Now approaching his hundredth birthday, Tom Cruise continues to astound as the world’s most charismatic crash-test dummy, but it’s the slick work of writer/director Christopher McQuarrie which sets the film apart from its competitors. The plot is a plainly absurd mixture of well-worn genre tropes and contrived techno-babble, but it works perfectly as a stage for the most awe-inspiring stuntwork and special effects since 2015’s Mad Max: Fury Road. It’s exciting, crowd-pleasing cinema which doesn’t require leaving your critical faculties at the door, and I can’t wait to see what McQuarrie does next with his next two Mission: Impossible sequels, due for back-to-back release in 2021 and 2022.

9. If Beale Street Could Talk

hero_beale-street-talk-2018
Dir. Barry Jenkins

Adapted from James Baldwin’s acclaimed novel, If Beale Street Could Talk is a love story which chronicles the black experience in modern America, in both its joy and its injustice. Following on from his stunning 2016 directorial debut, Moonlight, director Barry Jenkins has again demonstrated a knack for immersive cinema, pulling his audience through the frame into an authentic vision of 1970s Harlem. The characters who populate this world are compelling and full of life, while Nicholas Britell’s delicate score provides a sultry backdrop. The result is a deeply atmospheric experience which pays tribute to the human capacity for love and denounces our complicity in cruelty and prejudice. For a much more eloquent and insightful perspective on the film than I could ever produce, I heartily recommend checking out Tayler Montague’s review for Little White Lies.

8. A Star is Born

A STAR IS BORN
Dir. Bradley Cooper

It’s not often that remakes are among my favourite films of the year, but there’s a reason A Star is Born is now in it’s fourth iteration. As an exploration of the music industry, its themes are simultaneously contemporary and timeless. Making his directorial debut, Bradley Cooper has offered a deeply affecting meditation on art, artist, and how celebrity can bring about both the making and the destruction of a person. But all this would be meaningless if the romance at the centre of the film didn’t feel utterly believable. Both Cooper and Lady Gaga are astonishing in the lead roles, disappearing into their characters and fizzling with chemistry during intimate moments as well as bombastic musical numbers. Significantly, the film’s tactful depiction of male mental health feels relevant and essential at a time when such conversations are much-needed.

7. Sorry to Bother You

sorrytobother
Dir. Boots Riley

In the best possible way, Sorry to Bother You is one of the strangest films I have ever seen. It drifts between razor-sharp satire of modern capitalism and python-esque absurdist comedy – and often both at the same time. With shades of Terry Gilliam’s Brazil and Jordan Peele’s Get Out, Sorry to Bother You is a consistently hilarious but damning critique of the consumerist rat-race in which we all live. Writer and director Boots Riley, a veteran rapper and activist but unproven film-maker, helms the film with a lightness of touch which results in an enjoyably surreal experience, despite the script’s earnest subtext. Constantly second guessing its audience, Sorry to Bother You is not the film you expect going in, nor is it the film you think it is after watching for an hour – and you won’t see anything like it this year.

6. Widows

widows
Dir. Steve McQueen

Steve McQueen has never been known to shy away from sensitive subjects. His previous films have dealt with the Northern Irish troubles, sex addiction, and slavery, and Widows follows in a similar vein. The film confronts the issues of politics, race, gender, and violence which plague modern America, but all within an exciting and deftly executed crime thriller. Adapted from Lynda La Plante’s 1983 ITV television series, Widows masterfully follows the heist movie textbook, complete with a chalkboard planning sequence, a vehicle chase, and a last minute twist, but McQueen gives the genre a contemporary makeover. It’s probably his most accessible film yet, but that doesn’t mean it has any less to say. All this is supported by a magnificent ensemble cast including Viola Davis, Elizabeth Debicki, Liam Neeson, Colin Farrell, and Robert Duvall, and a typically aggressive score from Hans Zimmer.

5. First Reformed

first reformed
Dir. Paul Schrader

No one makes films about disturbed and reclusive men like Paul Schrader does, and First Reformed marks a welcome return to form for the seasoned film-maker. It’s a slow-moving and deeply contemplative film which stars Ethan Hawke in a career-best performance as Reverend Toller, the pastor of a small-town church who has become a husk of himself following the death of his son and collapse of his marriage. As he tries to reconcile his faith with the cruel and decaying world he sees around him, Toller finds a new and obsessive purpose upon meeting an expectant mother called Mary (no points for subtlety there, Paul). There are undeniably shades of Travis Bickle in Toller, but the quiet rural parish of First Reformed is a world away from the scum-filled streets of Taxi Driver‘s New York. More than a character study, Schrader’s script examines the role of faith and the church in a world on the brink of environmental collapse, and a discomforting sense of impending disaster appropriately permeates the whole film. What begins at an unhurried pace gradually builds in intensity until a breathless climax and the best cut-to-black ending of 2018.

4. The Favourite

favourite
Dir. Yorgos Lanthimos

The reign of Queen Anne has never been a popular arena for cinema, and it feels appropriate that the idiosyncratic talents of Greek director Yorgos Lanthimos should be directed towards this neglected era with The Favourite. As usual, he brings his subtly disorientating camera work and an acerbic script, but this time he’s joined by three fine leads in the form of Olivia Colman, Rachel Weisz, and Emma Stone, who bounce off each other with alacrity. It’s a subversive take on the costume drama; from the foppish absurdity of almost every male character to the liberal use of the word “cunt”, this certainly isn’t Pride and Prejudice. Although the results are generally hilarious, there are sudden and very effective moments of tragedy which are handled masterfully by Lanthimos and give real depth to characters who might otherwise seem caricatured. It’s also fantastic to see Olivia Colman receiving the roles and recognition she deserves as one of this country’s finest actors. Having followed her career since the days of Peep Show and That Mitchell and Webb Look, it’s difficult not to feel a peculiar sense of pride in watching her ascent to international stardom.

3. Cold War

coldwar
Dir. Paweł Pawlikowski

Probably the most difficult film of the year to find on Google, Cold War perfectly demonstrates the simple power of visual storytelling. Following the tumultuous romance of two lovers in Communist-era Poland, the film is an epic tale which spans across years and borders, as the two suitors drift passionately, and often destructively, through each others’ lives. Despite this tremendous scope, the film runs slightly less than an hour and a half in length, an admirable effort in brevity from co-writer and director Paweł Pawlikowski. Above all, he is a film-maker who understands the primacy of the image as a means of telling his story, avoiding the need for lengthy exposition or protracted dialogue. Each frame of the film is more beautiful than the last, but more impressive is how these images capture the unspoken intensity of true love and the cruel world which seeks to extinguish its spirit. The power of Pawlikowski’s approach would have been dulled  were it not for the subtle work of his two lead performers, Tomasz Kot and Joanna Kulig, who, with barely a word, communicate both the excitement and melancholy of love.

2. Roma

roma
Dir. Alfonso Cuarón

A loosely biographical tale of a housemaid in early 1970s Mexico City,  Roma is a study of both the personal and the political, and how these two worlds intertwine in powerful but almost imperceptible ways. The experience of a single woman, and the family for which she works, is placed against a sweeping historical backdrop of economic and social turmoil, without ever losing focus on the human drama at its core. Newcomer Yalitza Aparicio is a revelation in the central role, while the film around her is crafted with Alfonso Cuarón’s trademark finesse. Every movement of the camera is executed with a deliberate, almost ethereal omniscience, placing the viewer into an strangely voyeuristic role. As a Netflix production, Roma also represents a turning point in how major films are made and distributed; the much-maligned streaming service is knocking on Hollywood’s door.

1. You Were Never Really Here

you were never
Dir. Lynne Ramsay

Eight years since her last feature, We Need to Talk About Kevin, director Lynne Ramsay has again proved herself to be one of the finest film-makers in the business. Visually dazzling with a dark and uncompromising character study at its heart, You Were Never Really Here simply could not have been made by anyone else. Joaquin Phoenix is a brutish and enthralling presence as Joe, a violent enforcer barely clinging to his grip on reality, who must embark on a rescue mission into a depraved underworld he cannot begin to comprehend. Ramsay’s films have always had a preoccupation with the internal experiences of her characters, with their singular perspectives providing a stark new lens through which to see the world. As such, every shot in this film is filtered through Joe’s confused and erratic psyche, enveloping everything in a suffocating intensity. The effect is heightened by Paul Davies’ cacophonous sound design and Jonny Greenwood’s entrancing score, and it all combines into a sensory assault which is experienced as much as it is watched. It may clock in at a lean 89 minutes, but You Were Never Really Here is a film I haven’t stopped thinking about for almost a year.

The 2018 clued-down Movie Awards

Say what you like about the last year, but it’s been a marvellous time for movies. Whether you’re into blockbusters, art house, or anything in between, there’s been something for every film fan, and it feels unfair to single out any one film or film-maker for praise – but that’s why I’m here. Below you will find my nominees and winners for the best achievements in film of 2017/18.

Best Film

Nominated

Call Me By Your Name

John Wick: Chapter 2

The Death of Stalin

Get Out

Good Time

The Shape of Water

Lady Bird

Paddington 2

Phantom Thread

Winner

Dunkirk

dunkirk1

Christopher Nolan’s Dunkirk is a miraculous cinematic achievement, a perfectly executed tour-de-force of visual storytelling. Its technical triumph in recreating the 1940 evacuation of Dunkirk is matched only by its narrative ambition, weaving together three competing perspectives from the land, sea, and air. Nolan makes no effort to clumsily tackle the moral or political implications of the conflict, only the senseless terror of its experience, and the result is a heart-pounding deconstruction of heroism, tragedy, and triumph in the face of defeat.

Best Director

Nominated

Christopher Nolan – Dunkirk

Jordan Peele – Get Out

Greta Gerwig – Lady Bird

Paul Thomas Anderson – Phantom Thread

Winner

Guillermo Del Toro – The Shape of Water

shapeofwater2

This year’s selection of directors represent a refreshingly diverse mix of voices and artistic ambitions, and any one would be a worthy winner. Nevertheless, Guillermo del Toro’s The Shape of Water is a technically stunning and emotionally uplifting masterwork which could only have spawned from the brilliant, demented brain of this Mexican auteur. Del Toro manages to weave together elements of thriller, sci-fi, fantasy, horror, and romance into a single, spellbinding tale of tolerance in the face of prejudice.

Best Actress in a Leading Role

Nominated

Vicky Krieps – Phantom Thread

Soarise Ronan – Lady Bird

Sally Hawkins – The Shape of Water

Meryl Streep – The Post

Winner

Frances McDormand – Three Billboards Outside Ebbing, Missouri

threebillboards

Frances McDormand has never been known for playing your typical big-screen heroines. Before now, she was probably best known as the kind hearted and heavily pregnant police chief Marge Gunderson in the Coen Brothers’ Fargo (1996), for which she won her first Academy Award. Now, over two decades later, she has at least matched that performance with an wholly different but no less affecting role. As grieving mother Mildred Hayes in Three Billboards Outside Ebbing Missouri, McDormand provides a nuanced portrait of a physically and emotionally aggressive woman, yet she manages to imbue her performance with a hint of repressed vulnerability beneath the surface. The result is a wholly believable and multi-layered rendering of a person’s journey through loss, anger, and forgiveness.

Best Actor in a Leading Role

Nominated

Daniel Day Lewis – Phantom Thread

Chris Kaluuya – Get Out

Gary Oldman – Darkest Hour

Timothée Chalamet – Call Me By Your Name

Winner

Robert Pattinson – Good Time

Robertpattinson

The Safdie Brothers’ Good Time was entirely overlooked by most major awards bodies this year, perhaps unsurprisingly for a film so unashamedly rough around the edges. Nevertheless, it’s an unusual and aggressively compelling crime-caper, thanks in large part to the efforts of Robert Pattinson. He stars at the centre of the film as Constantine “Connie” Nikas, a morally unscrupulous bank-robber determined to show his disabled brother a “good time”. It’s a restless performance which demands attention, particularly as the camera lens pushes into insistent close-ups to capture every twitch of a muscle or bead of sweat. The London-born actor entirely disappears into the part of a New York lowlife, and it’s exciting to see the bloke from the Twilight films continue to prove himself as a compelling lead performer.

Best Actor in a Supporting Role

Nominated

Adam Driver – Star Wars: The Last Jedi

Daniel Craig – Logan Lucky

Sam Rockwell – Three Billboards Outside Ebbing, Missouri

Michael Stahlberg – Call Me By Your Name

Winner

Hugh Grant – Paddington 2

hughgrant

Having long been typecast into bumbling romantic leads, Hugh Grant is an actor of underestimated versatility. As the villainous Phoenix Buchanan in Paddington 2, he is finally given the opportunity to flex his theatrical muscles in a delightfully camp romp across a plethora of accents, prosthetic disguises, and song-and-dance numbers. Paddington 2 wasn’t eligible for this year’s Oscars, having only arrived into American cinemas in early 2018, but here’s hoping that Hugh Grant receives the recognition he deserves in next year’s ceremony.

Best Actress in a Supporting Role

Nominated

Laurie Metcalf – Lady Bird

Octavia Spencer – The Shape of Water

Mary J. Blige – Mudbound

Allison Janney – I, Tonya

Winner

Lesley Manville – Phantom Thread

lesleymanville

A veteran of stage and television, Lesley Manville is nonetheless a remarkable cinematic presence, even when going to-to-toe with the fearsome Daniel Day Lewis. In Phantom Thread, she does just that in the role of Cyril Woodcock, sister to the obstinate Reynolds Woodcock (Day Lewis) and matriarch of the haute couture House of Woodcock. She regularly steals the scene from her venerable co-star, as their ambiguous relationship plays out with all its affection and conflict. Every put-down and backhanded compliment is delivered with satisfying bite, but this acerbic façade is only part of the story. Indeed, Manville takes what could have been predictable old crone and develops her into something much more interesting and sympathetic. It’s a delicate performance which reveals more upon repeat viewings, as the true nature of Cyril’s intentions become less transparent.

Best Original Score

Nominated

Hans Zimmer – Dunkirk

John Williams – Star Wars: The Last Jedi

Daniel Lopatin – Good Time

Alexandre Desplat – The Shape of Water

Winner

Jonny Greenwood – Phantom Thread

phantomthread2

Arguably better known as the lead guitarist and co-songwriter for Radiohead, Jonny Greenwood’s contribution to the world of film has been every bit as essential as to that of rock music. A long-term collaborator of director Paul Thomas Anderson, Greenwood was previously robbed of an Oscar nod for his work on There Will Be Blood (2007). Fortunately, this is no consolation prize; his score for Phantom Thread is his best work yet. Managing to be both whimsical and sinister at the same time, the music provides almost every scene with a heft and intensity that never feels intrusive. It’s a magnificent, sweeping evocation of Bernard Hermmann’s best work, cementing Greenwood and Anderson as one of cinema’s great director/composer partnerships.

Best Cinematography

Nominated

Hoyte Van Hoytema – Dunkirk

Sean Price Williams – Good Time

Bruno Delbonnel – Darkest Hour

Rachel Morrison – Mudbound

Winner

Roger Deakins – Blade Runner 2049

bladerunner

I’m not sure if Blade Runner 2049 really is the best achievement in cinematography from the last year – after all, Dunkirk did stick an IMAX camera onto a Spitfire – but this award still goes to Roger Deakins, more for his incredible body of work than any single film. Probably the greatest living cinematographer, Deakins lends each of his films a picture-postcard quality, from the snow-swept vistas of Fargo to the intimate brutality of Sicario. Characteristically, every shot of Blade Runner 2049 is a masterclass in framing, colour, and lighting, with an expertise that goes beyond just looking pretty and weaves itself into the fabric of the storytelling.

Best Original Screenplay

Nominated

Martin McDonagh – Three Billboards Outside Ebbing, Missouri

Jordan Peele – Get Out

Greta Gerwig – Lady Bird

Guillermo del Toro and Vanessa Taylor – The Shape of Water

Winner

Paul Thomas Anderson – Phantom Thread

phantomthread4

Paul Thomas Anderson has made a career writing complex, languorous character studies; from a Californian oil magnate at the turn of the century to a porn star in late-70s Los Angeles. Phantom Thread delivers a story in a similar mould, dropping the audience into a dizzying slice of 1950s London and its lavish haute couture scene. What begins as a familiar study of artist and muse is quickly subverted into a richly rewarding tale of love, passion, and control. While asking profound questions about the very nature of human intimacy, the script also manages to feature more laugh-out-loud zingers than most comedies. Phantom Thread cements Anderson’s place as one of the finest writer/directors currently working in American cinema.

Best Adapted Screenplay

Nominated

Paul King and Simon Farnaby – Paddington 2

Armando Iannucci, David Schneider, Ian Martin and Peter Fellows – The Death of Stalin

Scott Frank, James Mangold and Michael Green – Logan

Scott Neustadter and Michael H. Weber – The Disaster Artist

Winner

James Ivory – Call Me By Your Name

callmebyyourname

Adapted from the novel by André Aciman, James Ivory’s screenplay for Call Me By Your Name is an affecting, delicate, and occasionally painful portrait of a fleeting summer romance. In a story where the characters rarely have the words for what they truly feel, Ivory manages to communicate their innermost desires and conflicts. It articulates the confusing and overwhelming sensation of being in love, and the inevitable agony of knowing that it must come to an end. The power of the script lies in its abstraction, functioning as both an intimate study of gay discovery and sexuality, and a universal tale of love, passion, and heartbreak.