THE BEST FILMS OF 2018

1

LOVELESS 

Loveless, from Russian director Andrey Zvyagintsev, is a masterpiece, a brutal, uncompromising, stunningly well crafted and extraordinarily observant depiction of modern life, relationships, parenting, and society. At every turn it is revealing and stunningly precise about the human condition. It offers the viewer a chance not only to reflect on their own life but to truly search their soul. Like the very, very best films, I believe that if I listen to it, I can be a slightly better person for it.

2

ROMA

The film is epic and intimate; in the seemingly simple story of Cleo (the stand- in for Libo) and her unusual year, we are driven to contemplate huge issues and major themes: class and ethnicity, the nature and dignity of work, what actually constitutes a family and parenting; what it means to love. It is a film of constant compassion and absolute humanity. It is totally, essentially personal to Cuarón, but it is also fundamentally universal. It is filmmaking of the highest order.

3

BPM

Deservedly taking out a swath of awards at this year’s Césars, including Best Film, Editing, Music, Screenplay, Supporting Actor and “Most Promising” Actor, Robin Campillo’s portrait of Act Up-Paris in the early 1990s is sweeping, compassionate, funny, angry, ambitious and full of the kind of detail and incident that can only be drawn from life. Campillo was a part of the movement at the time, and wrote his screenplay based on his own experiences, while allowing himself dramatic freedom.

4

HEREDITARY

Aster’s judgement is confident, mature, unerring. The film’s casting is precise and evocative, and includes a striking find in young Milly Shapiro, playing Collette’s daughter. The cinematography is beautiful, unnerving and deliberate, emphasising shadows, moonlight and dusk (the film was shot in Utah) that evokes the feel of the great American horror cinema of the 1970s. The music is unobtrusive yet consistently effective, the production design immaculate and vital. Most satisfying of all is the pace, which is stately. Aster doesn’t rush a thing. He’s written a brilliant script and he’s brought it to the screen with the respect it deserves.

5

THE BALLAD OF BUSTER SCRUGGS

The Coen Brothers’ supreme mastery of all elements of cinematic storytelling are on full display with their portmanteau of the old, wild west, The Ballad Of Buster Scruggs. Frequently hilarious, occasionally moving and always stunningly beautiful – every frame a painting, indeed – the six stories contained in this generous two and a bit hours of sublime entertainment can be enjoyed at one sitting or over a span of viewings; ether way, entertainment will be achieved.

6

THE DEATH OF STALIN

Armando Iannucci created three of the funniest television sitcoms of all time: I’m Alan Partridge, The Thick of It and Veep (which has one season to go, but whose reins he has let go). He is a master political satirist and my favourite screenwriter. The Death of Stalin, his first feature film as a director, is, as befits his leap from the smaller to bigger screen, an ambitious effort: Iannucci boldly gives us a whale of a time with enormously witty dialogue, but also the very violent history of the political infighting that occurred in the days and weeks after Josef Stalin’s death in 1953.

7

THE FAVOURITE

The dialogue is supremely witty, the design glorious, and the acting sublime. Colman, despite having such a distinctive look and vocal quality, is utterly convincing as every character she plays, and her Anne is one of her finest creations. This Queen is complicated, contradictory, confounding: childish at times, wracked with gout and sadness, she seems utterly malleable, yet the question of just how much she is aware of the intrigue around her is one of the film’s most compelling tensions. Colman owns the role; it’s a triumph for her.

8

AMERICAN ANIMALS

In 2012 British TV documentarian Bart Layton made the leap to the big screen with feature documentary The Imposter, and blew my, and a lot of other, minds. It stands as one of the great documentaries; if you’ve not seen it, don’t google it first. Like Tickled, the less you know, the more you’ll get. Now he’s back on the big screen with a docudrama about four well-off young Kentucky men who got together, in 2004, to commit a crime. He interviews the actual men, their parents, and some other connected parties, but the bulk of the running time is dramatization, which is to say, a proper scripted filmic take on the events. The result is wildly, gleefully entertaining and I can’t recommend it enough.

9

CUSTODY

Loveless was, in its quiet way, an epic, a scathing indictment of modern humanity. Custody examines the day to day affect of joint custody and is far more contained and seemingly modest. Yet by the end, it has achieved momentous power. It is meticulously constructed, building with painfully specific intent. Ultimately, it is shattering. This is a film where strangers (at a general public screening at the French Film Festival) and I all checked in with each other afterwards, because we were all so moved, and shaken. A spectacular debut.

10

A STAR IS BORN

This is a movie to gush over, to see again, to buy the soundtrack to, to urge others to see, to dream about. It’s classic material, but not all the versions have been classic. This one is. There are absolutely ways you could find fault with aspects of the film; you could pick apart elements of the plot, or have problems with the specificity of its music and how it relates to the modern market. Or, you could do as I did, which was to fall deeply for its charms, and let yourself get swept away. As another critic noted, “The way to like this film is to love it.” I love it.

11

BLACKKKLANSMAN

12

WAJIB

13

WILDLIFE

14

THE OTHER SIDE OF THE WIND

15

CLIMAX

Hereditary

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* * * * 1/2

Hereditary is the best American horror film since The Sixth Sense. The fact that Toni Collette is in both says a couple of things. That she can pick fantastic projects, and collaborators, absolutely. But also, that writer/director Ari Aster has impeccable taste along with a sense of history. To my mind, Aster knew, when he finished his screenplay, that he had written the best horror script since The Sixth Sense, and that – as when that film came out, revitalised the upmarket American horror film scene, and established M. Night Shyamalan as a “master of horror” – so too would all those things happen for him. They deserve to.

It remains to be seen whether his film will make it all the way to the Oscar race, as The Sixth Sense did (and as Get Out did last year); certainly, Collette should be in the running. Her performance here, as an artist, wife and mother dealing with the death of her own complicated, problematic mother, is one for the books. It’s got the lot: emotional complexity and integrity but also audacity and unwavering commitment to the essence of the film, what it’s trying to be. She understands the intention of every beat, and that while on the whole realism is the order of the day, sometimes something else, something for the sake of the moment and the mood, is necessary. She’s never afraid, or embarrassed, that she’s in a horror film.

Aster honours horror’s past beyond the casting of Collette, and one of the most admirable and effective things about the film is how many established horror tropes it uses in fresh, inventive ways. The whole film could have felt like a stale pastiche, but it is anything but; indeed, it’s the opposite, feeling like a rebirth or an awakening. And it is; this is the dawn of a new filmmaker of consummate skill whom we must notice and follow if we care about American horror cinema at all.

Aster’s judgement is confident, mature, unerring. The film’s casting is precise and evocative, and includes a striking find in young Milly Shapiro, playing Collette’s daughter. The cinematography is beautiful, unnerving and deliberate, emphasising shadows, moonlight and dusk (the film was shot in Utah) that evokes the feel of the great American horror cinema of the 1970s. The music is unobtrusive yet consistently effective, the production design immaculate and vital. Most satisfying of all is the pace, which is stately. Aster doesn’t rush a thing. He’s written a brilliant script and he’s brought it to the screen with the respect it deserves. One of the films of 2018, which is turning out to be a very, very good year for discerning, adult cinema.