2018 has been one of the best years for film in general. This year sees the comic book movie genre reaching its absolute height. Even the struggling DCEU managed to get in a decent flick with the like of Aquaman. The world of animation is once again ripe with the fruits of incredible imagination and advanced computer technologies. Unlikely successes like The Incredibles 2 and Ralph Breaks the Internet prove this beyond any doubt. Original projects shine in films like Sorry to Bother You and Blackkklansman. The former presents a nuanced critique of Capitalism through the lens of absurdist cinemas. The latter shows Spike Lee at his best in years, producing a humorous and entertaining story based on a true event, whilst crafting one of the most somber and gut-wrenching ending I've seen in a long time.
Other filmmakers steer away from colorful stories and styles and produce thrillers with incredibly fresh perspectives. A Quiet Place creates a world noises are the villains. The sound design of the film, not surprising is incredible. Searching is an effective thriller in its own right, without the subtle and inherent social commentary in it. Man franchises decide to go back to the basics: Halloween brings Michael Myer back in style with one of the most delightfully entertaining horror films in a long time. Whereas Bumblebee gives a much needed resuscitation to the dying Transformers franchise by giving it the most basic plot of all: that of E.T. of course. Idiosyncratic directors like Wes Anderson and Steven Spielberg dial their stylistic choices up to 11 and produce films that represent their body of works in the most endearing ways. Spielberg's Ready Player One is flawed but it is as Spielberg as it gets, at least in its directing and characterization. One need not elaborate on the Anderson touches in Isle of Dogs.
One aspect of films that really improves this year is representation. The critical and commercial success of Crazy Rich Asians bring the faces of Asian actors to the fore front of Hollywood. Love, Simon further adds to the discourse on homosexuality. Both of these films borrow from the popular traditions of the Rom-com and the high-school movies, respectively but give them new perspectives.
There is not many years that I could say this much positive things about film. It's incredible that so many films in the honorable mentions (which are engrained in the paragraph above) feel as if they could have a spot in the list. It speaks not only of how films genuinely affect me this year but also, in my opinion, the amount of passion filmmakers manage to pour into their works. The cynicism of the Emoji Movies is confined in films like Fifty Shades Freed. And my least favorite film of the year – The Cloverfield Paradox – suffers from a tragic compromising of the artistic vision. Whilst I ended last year's worst list with a slam against Disney, specifically its bland and heartless remake of Beauty and the Beast, this year the studio manages to produce one of the most heartwarming sequels yet with Mary Poppins Returns. Even in the unoriginal realm of sequels and prequels, the most capitalist company in the world still manages to produce a genuinely passionate piece of art. Which for me, only narrowly misses the list.
Once again, I cannot make a list out of the films I objectively like the most. That is not something that I'm going to do this year. The films that make the Top 12 will not be perfect. They may not be well liked by all people. They may have flaws. But at the end of the day, they most genuinely impact me. I find that the best films of this year are ones that almost viscerally attack my emotions. And those that stand especially high on the list find ways to leave marks on my memory, whether temporarily or long-term – that I do not know.
I find also that the films that make this year's list are varied in their genres and natures. We have blockbusters and art-house films. We have horror and comedy. Actions and dramas. Films that make you sad and films that make your heart leap with joy. 2018 has been great on so many fronts, I don't envy 2019 for having to follow it up. Without further ado, let us get to it.
YOU ARE READING
The Filmgoer's Diary 2018/19
No FicciónThe Filmgoer's diary consists of a series of film discussions or reviews. Reviews will be produced more regularly, whilst film discussions may be presented in a longer essay format. Discussions may sometimes focus on a single subject matter touche...