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tocinephile · 6 years ago

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Ada’s Top 10 Films of 2018

In tandem with this post, I’ve also recreated this list in Letterboxd.com, you can find it at: https://letterboxd.com/palindr0me/list/adas-top-10-films-of-2018/

Between Christmas shopping, baking a couple hundred cookies, and rewatching Bad Santa every December, I try to take a peek at critics’ lists of the top films of the year (even if I myself manage to procrastinate well into February to compile my own list each year). On December 31st a good friend and fellow writer published his list, the opening sentence of his blog proclaimed 2018 was the best year for film this century and that’s when I began to panic.

Though I was far from finalizing my list, I had thought 2018 to be one of the worst years for film in recent history! I immediately starting chasing all the award season favourites plus other talked about films at TIFF 2018, and spent as much of January in front of a screen as possible. I hoped against hope that I somehow missed all the good films of 2018.

A month later I will say this: 2018, it wasn’t as bad as I thought! However, after much brainstorming and revisions to the order of my list, I will say that not a single film stood out for me as the year's best, which is very rare. So here are 10 films (and then some) in not much of a particular order that I think should be talked about for 2018.

Qualifying films for Ada’s Top 10 Films:

• any film that screened at a festival that I attended in 2018 • any film with a Canadian theatrical release dated in 2018 • is listed on www.imdb.com as released in 2018

1. Widows 2. Hotel Mumbai 3. Destroyer 4. Capernum 5. The Hate U Give 6. Love, Simon 7. Isle of Dogs 8. Pick of the Litter 9. Shadow 10. Transit

Honourable Mentions:

• Shoplifters • Free Solo • BlacKkKlansman • A Star is Born • Vox Lux • Everybody Knows • The Other Story

1. Widows

I firmly believe Widows film came in under the radar considering all that it embodied. In a year of diversity in film, Widows is made by a man of Caribbean descent (Steve McQueen), written by a woman (Gillian Flynn), starting FOUR women - 3 of which are of a visible minority (Viola Davis, Michelle Rodriguez, Cynthia Enviro, and Elizabeth Debicki), and Daniel Kaluuya portrays one cold-blooded villain. And on top of that, Widows is good entertainment! I may have a soft spot for heists and ass-kicking women, but I’d like to think I know a good thriller when I see one. I feel that Widows didn’t get the love it deserved and so I'm mentioning it first.

2. Hotel Mumbai

I saw Hotel Mumbai last year and it is dated 2018 across the web, but it is coming to theatres soon and I assure you it’s good entertainment for your buck. I saw it in the midst of back to back films and long work days during TIFF 2018, worried that I’d accidentally nod off. Instead, I couldn’t close my eyes if I tried. Again this ensemble cast film is more about entertainment value that cinematic artistry, and I never compared the story on screen to historical facts, but what I took in was enough to stay with me and rank it amongst one of the best times I had in a movie theatre in 2018.

3. Destroyer

Destroyer is fresh in my mind having only seen it a few weeks ago. Due to the nature of my volunteer work with TIFF, it was one of the films this year that I kept walking into mid-movie (much to my dismay). I purposely avoided the ending of the film and then had no opportunity to see it again until recently, giving me lots of time to forget anything I might have accidentally absorbed. Fully aware that it was going to be a dark, depressing watch, I quickly found myself engrossed in the story reminiscent of the HK police dramas that I grew up with about divided loyalties and double agents. Director Karen Kusama pushes Kidman's character well past the point of likability but the story keeps you invested in the events as they unfold. That's when you know you've got a good story.

4. Capernaum

Also fresh in my mind is Capernaum, a Foreign Film nominee in this year's awards season. This film that looks at extreme child poverty from Lebanon is at once heartbreaking and endearing. The film follows young Zain but is supported by a host of complex characters, ch with a detailed back story of struggle and survival. Together they give the film a fullness and weaves a world where although individuals' actions fall into a decidedly grey area, no explanation is required to justify them. It is a world unknown to the majority of people who will see this film, but it is utterly engrossing.

5. The Hate U Give

This was a last film on my list of 2018 movies to watch before compiling this list and I'm really thankful I didn't get lazy and skip it. While there's no single aspect to make it truly stand out in awards season, it's a shame that The Hate U Give isn't getting quite as much love as Green Book nor BlacKkKlansman because it delivers a similar powerful message, from a different angle that actually made it the differentiator for me. The story comes from the eyes of young black teenager girl named Starr, wonderfully portrayed by Amandla Stenberg, and addresses an aspect of being a visible minority that speaks volumes to me: assimilation. Compared to other common themes (oppression, profiling, etc)

6. Love, Simon

When I think of light hearted, entertaining but impactful teen-targeted, coming of age tales, I like to compartmentalize them by the decade. Now maybe I'm getting too old, or maybe it's become so ok to be and do whatever you want that no individual story can resonate anymore, that I don't have too many examples from the 10's, but Love, Simon is definitely one of them. It's not heavy nor gritty, rather glossed over in fact (the main character even admits it), but the message shines through and it's a really fun film that I think will remain a crowd pleaser for years to come. There is a place in our hearts for movies like this one, it's easy to go over the top or fall flat in this territory but I think Love, Simon really hit the nail on the head.

7. Isle of Dogs

Wes Anderson + endearing tale about dogs, I mean, come on! None of my defenses would be strong enough to dislike this film! I wish I'd had a chance to rewatch it so that I offer you more than just a rehashing of all the things I love about Wes Anderson's style and trademarks.

8. Pick of the Litter

Perhaps 2018 was truly the year of the dog, not just in the Chinese Zodiac but in film as well. Pick of the Litter was my most memorable documentary of the year, I did not make it through the intro without tearing up (it was really embarrassing and thank god the friend I went to see it with was sniffling harder than me) It was truly a journey, and insightful too, it goes way beyond humour and cuteness, and believe me there was a lot of cuteness. The thing that hit home most about Pick of the Litter for me besides the idea of guide dog named Phil (and we still always wonder how Phil and his human are doing!) as how invested I became in the litter's story through the course of the film.

9. Shadow

Ok, here's my Chinese film of the year. Joke aside, Zhang Yimou's Shadow is not on this list merely because I need an Asian film to fill a quota. With the possible exception of Isle of Dogs, the films on my list this year were selected largely based on story over style... Except this one. This is all style, it's a visual stunner that really puts the director back at the top of his game. He devotes the film to a steely palette that's at once cold but exciting. Come to the think of it, the story wasn't bad either.

10. Transit

If you haven’t seen Transit, I have some advice for you. This is not a spoiler so please take it into consideration. Transit is adapted from the 1942 novel by Anna Seghers with a few modernizations that calls for a leap of faith. As an audience member, be prepared to suspend believe and it will make all the difference in your enjoyment of the film. I wish someone had told me this beforehand so that I didn’t spend half the movie trying to make sense of details that had little bearing on the plot. I spent days after the fact trying to decide whether I loved the film or it didn’t make any sense. Thankfully the conclusion I came to was that Transit is a lucid tale of love, loss, longing, and humanity. Characters and story mirror each other in early meanderings that creates an almost surreal existence contrasting against the harsh realities of events taking place around them. There is profound sadness, but there is also beauty.

Honourable Mentions:

You'll note from above my list of honourable mentions is getting to be almost as long as the top 10 itself (in fact it was probably just as long until I trimmed a few films off... You don't need me to tell you about Avengers: Infinity War and Black Panther)

I saw Destroyer, Capernaum, and The Hate U Give quite recently, but until I had, Shoplifters and Free Solo had firmly been in my top 10.

I'm typically not a fan of Japanese cinema, but there are always exceptions and Shoplifters was definitely one that defied the odds. It broke from the often tiresome mold (to me) of demure characters, restraint, and complicity that's often portrayed in that country's cinema. The message of making your own happiness and family being those that loved you most regardless of genetic ties was heartwarming and resonating.

Free Solo ranked amongst the fictional narratives on my list for thrilling and edge of your seat viewing. It takes a lot to keep me wide-eyed griping the arm of my chair in the theatre in anticipation and fear for an hour and a half. I love heights and I was scared witless.

BlacKkKlansman and A Star is Born are seemingly award show favourites, though not winning as many awards as they might have hoped, both have strong scripts, powerhouse talent, skillful direction for the former, and one of my favourite songs of the year from the latter. They truly are amongst some of the best films made in 2018.

Vox Lux is one of those films that warrants a discussion after viewing, at least for me. Though it feels like the film scored points neither with critics nor audiences, there’s a part of me that’s drawn to intricate explorations of the selfish and narcissistic. Natalie Portman was great in the role in my opinion. To make an unlikable character worth watching is not an easy feat, especially when the possibility of redemption isn’t really on the table. Like Destroyer, it takes one hell of an acting performance and skilled direction to pull this off. I guess this is where some thought Destroyer nailed it, and pretty much no one thought Vox Lux did.

Everybody Knows (Spain, thought director Asghar Farhadi is Iranian) and The Other Story (Israel) were also amongst the most enjoyable foreign films I watched in 2018. I'm not sure if The Other Story got Canadian distribution but Everybody Knows is playing at TIFF Bell Lightbox right now for those who want to see it. Both are dramas centred around families.

We're well into 2019 films now and I'm really hoping for some standouts this year, at least in my eyes. I mean, Once Upon a Time in Hollywood does have a July release date after all! As well, we're about to wrap another decade in film so even more lists charting the best of the last 10 years. But first, we got some more movies to watch!

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