The Hollywood Outsider – Film and Television Podcast | Reviews An award-winning film and television podcast for the fan in all of us
A movie theater is a magical playground for me. Every year, I saunter into countless auditoriums with nothing more than an expectation that what I am about to see will transport me to another world. Occasionally I learn about a struggle I was unfamiliar with or a persevering spirit, and just as often I catch dazzling heroics leaping off the screen. The variations are innumerable, yet that feeling of discovering a fresh 120 minutes or so of escapism never fails to entice me to immediately embark on this endeavor yet again. Movies are my passion.
2018 has come and gone, and over the past year I have personally screened over 150 new films. That number seems astronomical, yet honestly it only scratches the surface of the content currently available for consumers. If you toss in the 500+ scripted television shows currently available, we truly are living in a crisis of riches. Quality stories covering every race or creed, ages young and old, both DC and Marvel…it’s insane! When you arrive at a point in life when your entertainment options cause legitimate stress, you know we’re simply far too spoiled.
But the time has come to whittle that total down to the essentials, the bare bones, and deliver my 10 most entertaining films of 2018. I try to stay away from the term “Best” for this list because it feels like elitist nonsense. What I enjoy isn’t necessarily what you like, so how are my choices any “better” than yours? I prefer to instead focus on what I personally consider to be the most entertaining movies of the past year. Some entertain me for artistic reasons, cultural significance, occasionally it’s derring-do, and every once in awhile, it’s an old-fashioned annihilation of the human race!
Every year when I compile this final list, some internet warrior always feels the need to point out how “you rated X movie higher than that OTHER movie in your written review, so HOW can it be a better movie now?!’, so let me address that right now: You are absolutely correct. But the plain truth is that some movies play better with repeat viewings – Deadpool 2 and Game Night are prime examples of this – while others roll the opposite way. Such is the way with life. So take a breath, slap together your own Top 10 and post it in the comments, I’d love to compare.
Without further adieu, let’s get into it. Here are the 10 most entertaining films of 2018!
Honorable Mentions: Green Book, Spider-Man: Into the Spider-Verse, They Shall Not Grow Old, Number 37, Calibre, Mary Poppins Returns, Aquaman, Ant-Man and the Wasp, Tully, To All The Boys I’ve Loved Before
10. Game Night
I adore Clue, both the whodunit board game and the fantastic film stock full of comedy greats hunting down a murrrrrrrrrrderer while trapped inside a mansion. There is a delicious itch that is feverishly scratched whenever a gaggle of morons bond together over homicide. And Game Night is stacked with the right brand of lunacy.
Jason Bateman ditches his Ozark stoicism to link hands with Rachel McAdams as gaming power couple Max and Annie. Every week, they gather their closest friends (minus their dangerously unhinged neighbor played by Jesse Plemons) to embark on a savage round of whatever game they fancy. When Max’s show-off brother arrives, the stakes are raised as it seems they now will work together to solve an ingeniously orchestrated kidnapping. But what if this convenient crime is actually legit?
The entirety of Game Night plays out as each friend showcases their best and worst attributes in an attempt to win, damn the consequences. Why it works is because we ALL have friends like this. Over achieving sore losers who would sooner leave you in the midst of a heart attack to chase down a random clue, rather than chance a 2nd place finish. At the same time, this seems like a helluva game to play. It’s exaggerated hyperrealism at its finest, and each member of this party delivers on the movie’s promise of having a damn good time.
9. A Simple Favor
This is the least Paul Feig movie that he’s ever Feig’d. A director known for his comedy (Spy, Heat), Feig decided to cast aside the unforgiving sodomy he was unfairly treated to over Ghostbusters, and instead dabble in a bit of Hitchcockian mayhem. Utilizing a brightly lit palette to accentuate suburban living, Feig’s camera follows Blake Lively’s enigmatic Emily Nelson as she befriends Anna Kendrick’s uptight vlogger, Stephanie Smothers. What seems an odd pairing grows sinister when Emily mysteriously disappears, leaving Stephanie to care for both Emily’s child and husband as she frantically searches for hints as to what truly happened to Emily.
Paul Feig once again displays an uncanny understanding of what makes women click. What could have boiled down to two hours of oversexualized objectification, instead highlights Stephanie’s desperate need for acceptance, and the dark truth that sometimes what seems like a unique friendship is often built on falsities and our own innate desire to place others on an unworthy pedestal. Emily is elusive and frustrating, yet never do you debate why anyone would become enamored with her beauty and confident posturing. Stephanie, on the other hand, begins our story as the person you would most want to avoid in any social setting, only to grow from her experiences into a character the audience comes to love in a much deeper, profound way.
A wonderful combination of intrigue, uneasiness, and wickedly black comedy lead to two of the strongest and somehow unheralded performances of the year.
8. A Quiet Place
What else could be said about one of the most talked about films of the year? Finally leaving The Office behind, John Krasinski dazzled both as a director and actor while Emily Blunt astounded as a pregnant mother determined for her baby to see life in a world surrounded by death. So much of what transpires within A Quiet Place could conceivably bottom out at any given moment due to the inherent nature of its central conceit: make a sound, you die.
Yet, it never does.
For the duration of the film, the audience awaits on pins and needles as the Abbott family survives tragedy after tragedy as they desperately avoid horrific beasts that hunt by sound as opposed to sight. Unlike Netflix’s Bird Box, A Quiet Place’s gimmicky hook refuses to feel like one, and by the heartbreaking conclusion, I knew full well I had just witnessed 2018’s premier horror flick.
7. Mission: Impossible – Fallout
Even halfway past 50, Tom Cruise rivals Jackie Chan as cinema’s most dedicated actor-stuntman. Sure, Jackie swivels and pivots on a dime, but is any actor more determined to deliver up-close-and-personal thrills than Cruise? The man jumped out of a plane over a hundred times for us! I may be exhausted from hearing the regurgitated story of how Cruise broke his ankle on his rooftop jumping stunt, yet it never fails to amp up my E-meter that he’s still willing to give it a go at his age.
This latest Ethan Hunt adventure finds the superspy attempting to thwart a nuclear attack, or something. I can’t remember the logistics, and I honestly don’t care. I stopped watching Mission: Impossible movies for plots ages ago, nor do I pause to admire Henry Cavill’s ridiculously overpublicized mustache and amazingly reloadable arms. I watch for the visceral thrills, insane stunts, and a whoooooooole lotta Tom Cruise running. And this installment delivered on every count.
6. Black Panther
Wakanda Forever!
Come on, who HASN’T yelled that at a random moment of perceived awesomeness this year?
It was 2018 when African culture hit the stratosphere as director Ryan Coogler unleashed a billion dollar Marvel hero unlike any before it in Black Panther. In a year when diversity reigned, Chadwick Boseman’s King T’Challa led the way as he fought to defeat the rare Marvel villain that doesn’t completely suck in Michael B. Jordan’s Killmonger. Here was a nefarious character whose evil plan, while misguided, was sadistically reasonable by his own justifications. It’s the epitome of the old Chris Rock adage, “I’m not saying he should have done it, but I understand”.
Coogler gave us an entire world and culture to behold, a visually enthralling and enticing one. I would pack up and move to Wakanda at a moment’s notice if my GPS could ever locate it. Not only does the universe pop, every character leaps off the page, and each one finds themselves deserving of their own respective franchise. Wakanda Warrior Women as a spin-off perhaps, Disney?
Though a sequel has yet to be dated, I can’t wait for a return trip to Wakanda…provided a few Avengers ensure the dust has settled from that last little brawl.
5. Upgrade
Upgrade follows Grey Trace (Logan Marshall-Green) – an old-school mechanic living in a technology fueled future world – as he recovers from an attack that leaves his wife murdered and his body paralyzed. A brilliant developer offers Grey a solution of sorts in STEM, a new chip that can reconnect the damaged and severed nerves to make him whole again. It works, and soon Grey is on the trail of the men responsible for his tragedies.
Evoking early James Cameron, Upgrade is that hidden genre film you stumble upon when browsing the Netflix catalogue, and then kick yourself for never watching before. Leigh Whannell (Saw) does bonkers better than almost any writer in Hollywood, and Upgrade is no exception. As Grey’s spinal-AI grows more intuitive and decisive, morphing Grey into a brutally efficient killing machine, the plot twists amplify. By the film’s final reel, it becomes obvious you have just witnessed something special, wrapped in the bow of nostalgic glory.
Catching this film in early March, it’s a testament to its success that Upgrade still remains a highlight of the year for me. And solidified Whannell as one of my Must-See writers and directors going forward.
4. Deadpool 2
Hype has killed more films than Uwe Boll ever has. As a critic, I typically talk myself down before viewing anything I’ve personally been excited for, simply to ensure I approach the final result as it was intended and not necessarily what my hopes and dreams have demanded. Because of my insanely blind adoration for the comic character, as well as the first cinematic iteration of Deadpool, I actually abstained from even reviewing this film as I seemed unable to temper my expectations. Ironically, I also fully expected the film to crash-and-burn specifically because of them.
And now, 7 viewings later, I’m happy to report I am still firmly in love with Ryan Reynolds as Wade Wilson in this second installment. I’m talking passionate, willing to meet up in a seedy motel in West Burbank for blindfolded naked roulette type love. Ok, that was probably too far. But I’m game.
Regardless of my propensity for physical Olympics with a fictional character, Deadpool 2 never disappointed. From the introduction of Josh Brolin’s criminally underused Cable, to the scene-stealing arrival of Zazie Beetz’s Domino, this was easily the comedy of the year…and it wasn’t close. Now I have to chew fingernails until we receive confirmation Disney will allow Deadpool 3 to proceed unmolested, aka with its R-rating fully intact.
When you toss in 2018’s greatest cinema moment as we follow the uber-touted X-Force departing a cargo plane to its uproarious conclusion, how can you not love this foul-mouthed merc?
3. Thunder Road
Officer Jim Arnuad (Jim Cummings) is at a crossroads. Like so many of us, losing a parent creates a rift difficult to come to terms with. While struggling with the loss of his mother, Jim begins to understand that he might not be the best father nor cop out there. In fact, perhaps he’s not meant for law enforcement at all. Jim forges on, fighting for custody of his daughter and to improve his position in life, all while attempting to get a grip on the feelings of immense anger and sadness that seem to control his world.
Refusing to fall into one central category, Thunder Road is a head-scratcher of an anomaly. Every scene in the film is laced with a genuine honesty that makes it difficult to pigeonhole. We root for Jim, roll our eyes with him, chastise him, and ultimately sympathize with him. Often in the same scene. His family and friends – especially his forever understanding partner Nate (Nican Robinson) – relate to Jim’s plight, even if everyone kind of knows he’s a bit of a loon.
As an indie filmmaker, writer-director-star Jim Cummings knows this is his shot, his chance for a lasting impression with audiences and film execs alike. And while most actors would focus strictly on a redemptive arc where their character is a victim of misfortune, Cummings commits to the cluster of a life the narcissistic Officer Jim has carved out for himself. And while Thunder Road’s opening is enough for any actor’s highlight reel, as the camera refuses to pan away for 10 uninterrupted minutes while Officer Jim exhibits a mental breakdown at his mother’s funeral, Cummings carries that depth and levity continuously until the touching conclusion.
Far too many gems like these get swept up and lost in the shuffle, and Jim Cumming’s talent and commitment here deserves to find an audience. Not only was it a touching find in the indie world, Thunder Road is also one of the best films of the year.
2. The Hate U Give
Do wrongful shootings occur in other neighborhoods, to other races? Of course. Does it happen to others so frequently they need to raise their children with a standard code-of-conduct for dealing with police officers as a life-saving measure? Not likely. Poor black communities, gangs, and law enforcement have shared a checkered past for many years, and criminally underappreciated The Hate U Give showcases each perspective fluidly while never abandoning its central theme.
The mesmerizing Amandla Stenberg headlines as Starr Carter, a young woman torn between the two worlds of her all-black neighborhood in Garden Heights, and Williamson’s predominately white prep school. Starr is a creature of culture, blending in seamlessly as she navigates society’s prescribed stereotypes. All of that changes when her best friend since childhood, Khalil, offers her a ride home after a party goes wrong. Minutes later, sirens and frustrations turn to tragedy as Khalil is taken from Starr’s life before her very eyes.
Confronted with the realization that her testimony to a grand jury could put her educational pursuits and standings at risk, as well as incur the wrath of Khalil’s drug lord boss, King, Starr finds herself at a crossroads. If she does testify, it could place her future on the line and her family in danger. If she doesn’t, then who is she? Can she live with herself if her best friend’s memory is spit on and raked over the coals? The answers are within these frames, as we join Starr on her journey of self-discovery and personal truth.
This is not a movie preaching to the choir. Instead, it’s taking the hymns to the streets, a cinematic movement determined to spark a conversation in ANY neighborhood. It’s not often a film comes along that inspires us to simply be better. So find The Hate U Give, listen to the perspectives within, and then share your voice with the world.
Khalil lived.
As you digest George Tillman Jr.’s beautiful adaptation of Angie Thomas’ powerful novel, the most important memory we’re left with are those words. Khalil is not simply a fictional character in a feature film, senselessly gunned down by an overzealous police officer at a routine traffic stop. No, Khalil represents disenfranchised African-American men and women everywhere.
Never forget that throughout our history there have been many men and women who wore the shoes of Khalil, and every single one of them have lived.
1. Avengers: Infinity War
OH SNAP!
Yea, I know. What a tired joke, right? And on the same token, who isn’t exhausted from hearing about Avengers: Infinity War in general? This has to be the most overhyped and overexposed film in cinema history at this point, doesn’t it?
N. O. P. E.
Instead, Infinity War – a culmination of 10 years running of Marvel’s meticulous planning – is the rare “sequel” that gives us everything fans of these films have ever wanted to see on screen…and then savagely abused our joy by leaving us with a heartbreakingly horrific conclusion.
We are allllllllllllll aware that this year’s Endgame will likely rectify a majority of the trauma and loss. But that doesn’t negate the boldness of taking one of the most anticipated films of this century and refusing to maintain the safest course by instilling hope. Infinity War declines this offer and fades out on our sadistic villain’s complacency with the fact that he defeated the universe’s greatest heroes, and succeeded in reorganizing all known life in his own image. Darkness wins.
What’s more, there are times when we come to empathize with his overall reasoning for the ultimate plan hatched by Josh Brolin’s Thanos (arguably the actor’s greatest performance outside of the obvious Brand). It only takes 33 seconds on your favorite social media outlet to know he might actually have a point.
Ultimately though, we want our heroes to prevail. We demand they rise to the occasion, fighting for what’s right, putting aside petty differences and squabbles to save the universe from certain destruction. Marvel has even conditioned us to this result for a decade now. Essentially, we want them to do the polar opposite of everything Star-Lord does in the movie.
Ignoring fan service, giving each ego equal starring time, and respecting every character’s previous arc is no easy task. The astronomical pressure directors Joe and Anthony Russo must have been under never shows its creases though, as Infinity War zips on by every opportunity to disappoint us.
Instead of divisiveness and frustration with the movie’s dour conclusion, we are left knowing that Marvel has its Citizen Kane in terms of sheer populist entertainment. Avengers: Infinity War is easily the most entertaining film of 2018.