In early 2019, I will rank the best of all the movies I have seen the previous year. This time, however, I have chosen to also include a list of the best films to come out between January and the end of June. This is subject to change at the end of the year, as some films hold up better than others. But this is where my opinion stands as of right now. I'm embarrassed to admit that I missed Hereditary in theaters and have yet to see it. If buzz is to be believed, that will probably impact this list by 2018's end. Some movies I've already seen in July, such as Ant-Man & The Wasp and Sorry to Bother You aren't eligible because they weren't released in the first-half. As for movies like Annihilation, Deadpool 2, and Ocean's 8... they almost made the cut, and might still make it onto my year-end list when I rank the best 20-25 films. Now, without further ado...
When it comes to my end-of-year list that I'll publish in early 2019, these two won't make the official cut, as I exclude documentaries. However, I had to include both in this list to try and persuade people to go out and see these incredible portraits of American figures.
In RBG, I was moved by a touching tribute to Supreme Court Justice Ruth Bader Ginsburg, and one that truly shows what a brilliant mind she is, as well as showcase her relentless spirit in interpreting the U.S. Constitution. It strays from what could have been a political agenda to simply show where she came from and champion how remarkable Ginsburg is to women and Americans everywhere. It's impossible not to feel empowered walking out of RBG.
Similarly, Won't You Be My Neighbor? paints a beautiful portrait of Fred Rogers and his unlikely stardom as the host of Mister Rogers' Neighborhood on PBS, though it's tinted with sadness. The film makes a remarkable effort to demonstrate Rogers' philosophy towards children (and likewise, his effect on adults) and throw out the argument that we have strayed from it. He was a man who preached through the television, and told us to be kind and admit our mistakes and embrace our vulnerabilities. Now that he's gone, we're left only with the vision of who we could have been, and who we can be if we adhere to his teachings. But Won't You Be My Neighbor? doesn't really push this agenda, it's just the necessary questions Rogers' show and personality present to an audience looking back at his legacy.
Both of these documentaries are inspiring depictions of two important figures in American history, so I found it fitting to put them together. They make for one great documentary double feature.
#9. Set it Up
If you know me, you know that I'm not a fan of Netflix original films. Aside from Mudbound, most lack qualities that a theatrical film holds. They often seem like expensive TV movies, undeserving of my attention when so many great films are in theaters. Set it Up is a romantic comedy about two overworked personal assistants of two horrible bosses in the same building. They team up to try and matchmake, setting their bosses up to try and get some time off. It's a charming "will they / won't they story" about their bosses, and it turns it into a "will they / won't they" for the assistants themselves, and spins a clever story about the great relationship employees can have with their bosses, and how life can be downright awful with a bad one. The dialogue is great, and it's absolutely the best romantic comedy to come around in years. I normally hate the genre for it's tropes and stereotypical blandness, but Set it Up turns the whole genre on its head because it throws the rulebook out the window. This may be the best film Netflix has to offer, and that's no exaggeration.
#8. Jurassic World: Fallen Kingdom
Though Jurassic World was a monster hit, I really don't think it's a great movie, and I know that I'm not in the minority. However, I have a great time whenever I watch it, and have enjoyed it countless times. I enjoyed that Fallen Kingdom was not as bland a story as the first film, and attempted to carry a stylistic vision of director J.A. Bayona (The Impossible, A Monster Calls). It was the dinosaur horror movie I've always wanted, and it legitimately packed plenty of deserved scares. It's not without its flaws, like some ridiculous plot points to set up a sequel and an ultimately worthless title. Yet at the end of the day, it's an entertaining film that merits thoughtful attention. I was captivated, emotionally moved, and on the edge of my seat, and isn't that what we want from these popcorn blockbusters, rather than more of the same?
#7. Avengers: Infinity War
Fanboys may be shocked that this is so low, but hear me out. Infinity War really isn't a movie, it's an event. If you haven't seen every single Marvel movie and are invested in the masterful storytelling of the MCU as an entity, this movie means nothing to you and you get nothing out of it. If I were to rank event movies, this would challenge The Force Awakens for #1. The stakes are real and the gravitas I felt for the entire film and the shock felt at its bleak ending are unmatched for someone who has grown with these characters over a decade. Yet as a standalone film, it's not the best that Marvel has to offer because it has so many characters and moving parts. Because of this, not every storyline and character works, no matter how hard they try. Thanos is easily the best character and best villain, and his strangely sympathetic arc is an example of Marvel's willingness to subvert expectations. But in bringing him to the forefront, a few characters and arcs suffer, namely Peter Dinklage and Thor's quest for an axe. Theyjust don't hold the same weight as other storylines and feel dull as a result. The film is great for fans, and the first viewing was an experience unlike any other, but as a film, I'd be kidding myself if I argued that this is the best Marvel had to offer this year.
#6. Isle of Dogs
#5. Game Night
#3. Incredibles 2
#1. Black Panther
Side-note:
The messages in Wes Anderson's latest film Isle of Dogs are by not new. The film explores the relationship between man and dog and a dog's devotion to its master. These are themes in the most basic of American classics such as Old Yeller and Where the Red Fern Grows. It tugs at the heartstrings like most dog movies before it. If it weren't for Anderson's inventive script and design, it could easily written off. This film is absolutely gorgeous, and much like Fantastic Mr. Fox, the use of Anderson's impeccable symmetry and the beauty of these dogs make for a visually arresting film. Then there's Anderson's always-witty script, and incredible voice performances from Bryan Cranston, Jeff Goldblum, Scarlett Johansson, Edward Norton, and Frances McDormand to name just a few. While it favors whimsy and style over realism, Isle of Dogs is the kind of charming movie that's impossible to not fall in love with. It's not his best, but Anderson is one of the only directors left whose every project demands attention. He doesn't disappoint here.
Game Night is the ultimate surprise. No one saw it coming, and not enough people saw it in theaters. It's a "high-concept" comedy, meaning that the plot and themes drive the story rather than character development. While a zany Rachel McAdams and a fantastic supporting cast of B-level comedy actors definitely help, it's the convoluted and crazy story that makes Game Night so engrossing. The black comedy about a group of friends dragged into real mob affairs during a murder-mystery game night is hysterical, but it's even funnier because it's smart. Too often movies get a pass for dumb, silly humor that gets a quick laugh. This isn't to discount that brand, as I'll laugh at Kevin Hart every time. But there's a payoff in a hard-earned laugh. Game Night is actually trying hard to create organic and realistic humor, and turn convention upside down. The reward is one of the smartest comedies of the last decade, and one that I could not recommend enough.
Expectations for a sequel to The Incredibles were fourteen years in the making and incredibly high. I was skeptical going in, as the first film holds a very special place in my heart. But then again, part of the build-up to this film was how special The Incredibles is to so many. I was pleasantly surprised that director Brad Bird crafted a sequel that rang true to the social undercurrents of the superhero genre while still retaining a crowd-pleasing aura. I've seen it twice and both times felt the intensity of the final act in my chest. While Incredibles 2 is a little predictable and overuses some tropes in its driving narrative, I was so engrossed in the characters and story that I ultimately forgave its mistakes. It's a beautifully animated film, and one that could easily have asked simply for us to turn our brains off and enjoy. But Bird and Pixar presented a film rich with gender role commentary and realistic problems affecting family dynamics and wove them into one of the most enjoyable and re-watchable films of 2018.
#2. A Quiet Place
#4. Love, Simon
Love, Simon is another film that I would have never expected to be as good as it is. What seems like a fairly standard high school romance that should be riddled with clichés is one of the most original stories of the year. It's essential in the sense that it is the first LGBT high school romance, but there are so many more reasons to see it. It's quite possibly the most accurate film about what high school is in the 2010s. Then there's its almost perfect channeling of John Hughes classics, funneled through a current teen landscape to create a whimsical tale that harkens back to 80s films like Ferris Bueller's Day Off, Sixteen Candles, and The Breakfast Club, but still feels current. Anchored by a great performance by Nick Robinson in the titular role, and a great supporting cast of newcomers, Love, Simon may not be one of your first picks, but it's one you cannot afford to miss. Love, Simon could have easily been all message, and it delivers on being a faithful and resonant LGBT film. But it reaches for more. It is relatable to anyone of any age, race, or sexuality, and tries to send home a message that separates it from the crowded pack of young-adult fare. The result is a film that almost nails every target tries to hit, which is an achievement given Love, Simon's huge plate.
A Quiet Place is a mainstream film that feels like an indie classic. Centering around a family in the near-future, where the Earth is seemingly inhabited by blind and bloodthirsty creatures who hunt anything that makes noise, A Quiet Place is a tour-de-force in horror film. Director John Krasinski (Jim from The Office) ditches comedy and replaces it with a deft hand for scares. Krasinski realizes that the horror genre has often been used as a vehicle for important messages and pathos (most recently, Get Out) and presents us with a strong underlying message of how we parent. Who better to share this message with than his real-life wife, Emily Blunt? A very pregnant Blunt and Krasinski try desperately to protect their young children from the beasts, albeit in very different ways. And A Quiet Place isn't shy about portraying which parent's method works, prompting interesting discussions I've had with many who have seen the film. Even more incredible is that the film is nearly silent. The characters mostly interact through ASL. The technique is definitely tricky to pull off, and I give credit to all involved for creating an atmosphere in the theater in which every person was terrified to make a sound. No one dared pick up their popcorn. This fueled anxiety for when the monsters would strike. Also, it's great if a horror movie is actually scary without relying on gore and shock, and A Quiet Place was genuinely terrifying. Even more satisfying — the film never tries to answer why the monsters are here. A Quiet Place values art over story, and it does not get caught on the hang-ups of the genre. It's here to evoke a powerful reaction, not necessarily a visceral one, and Krasinski has no interest in explaining his work.
#1. Black Panther
Here's a film that we all seem to get behind, and it's for good reason. Black Panther is second to none. It's a rare film that utilizes its blockbuster platform to convey extremely significant social messages to the largest audience possible. Before its release, I heard whispers in the film community that Black Panther was unlike any superhero film before it, and some critics even claimed it would strike at the heart of American culture in the same way that Roots did when it aired on television. I scoffed at that comparison, but completely understand looking back. Though it is set in a fictitious African nation, the problems Wakanda faces are all too relevant in the world today, and director Ryan Coogler (who previously helmed Fruitvale Station and Creed) uses the fictional narrative to push forward problems and ideas that are very real. Wakanda struggles with its identity. Its technological superiority and immense wealth benefit little more than itself, and a strong argument is made for whether a country with resources should help those in need. A strong feminist message exists in the Dora Milaje; Wakanda's entirely female royal guard. And then the most prevalent message lies in black identity. T'Challa struggles with the decision to use Wakanda's resources to help blacks around the world, never having seen the struggles and persecution they are submitted to outside of Africa. Michael B. Jordan (in a nomination-worthy performance) is the stand-in for those still bitter at slavery and decades of oppression at the hands of the white man, and those with a desire for justice through revenge. Jordan's character of Killmonger is a villain painted in shades of grey. His motivation is clearly from a place of pain and suffering, and one that we all know is very alive in our country. Very rarely does a hero interact with a villain, realize the villain is (mostly) right and then modify his actions to interpret his ideas. Black Panther tackles a lot, and succeeds with flying colors in every area. A Shakespearean-like narrative, beautiful costumes and sets, a score and soundtrack by Kendrick Lamar that is true to both African culture and the hip-hop roots of culture today, and so much more is present in this film. Black Panther is a movie unlike any in recent memory. It has layers upon layers, and is a film I believe will eventually be taught in film school. I normally favor indie films when the year ends, but Black Panther is a masterpiece. It goes to show that when you put artistic talent in blockbuster territory, they're not sell-outs. And Ryan Coogler is here to stay.
Side-note:
(If you need any more convincing, my mother absolutely hates Marvel movies. We dragged her to Black Panther and she loved every part of it. It's a movie for everyone, and one for the books.)
