A list of 2018 releases seen this year across the U.S., Sydney, and occasionally, VOD and mid-air. As a result, there are some late 2017 releases, and it’s missing late 2018 U.S. ones.
Initial tweet-reactions to the higher rated films included. In alphabetical order, by star rating…
Blindspotting
If it takes jabs at gentrification, it unloads a gun of seething, stylistic anger at race and identity. The climax alone is worth the price of admission.
Burning
Wickedly mysterious in its writing and pacing, with some of the best character interplay of the year that left me wanting way more than 148min. Steven Yeun is a charming devil!
Cold War
The soft, ravishing camera and framing is sheer bliss to take in, supporting the cyclical romance dealing mostly in extremes. Its musical core is felt throughout, with the choreographed numbers and songs adding plenty to the mood.
First Man
Directed by the steadiest of shaky-cam hands, this is perfect, immersive storytelling for me, utilising all cinema has to offer. The music is SO SO good.
Minding the Gap
Comprehending the scope of what this young filmmaker is pulling off as it grows in importance and courage by the minute gave me chills. I’m so glad Bing Liu got to tell his story, and it has me hopeful for other storytellers out there. A must-see.
Mission: Impossible – Fallout
Seeing Cruise, a 56 year old man, push the limits of practical action sequences in film with every new outing is a wholly unique thrill. The plane jump, the motorcycle, hell, even him just god damn running!
Phantom Thread
A PTA-constructed game is one I’m always willing to play and relish, no matter the rules. Adorned with Greenwood’s score and DDL to complete the holy trifecta.
Roma
A miracle of a movie, and certainly one I didn’t think would come from Cuaron. He’s taken his beautiful eye for cinema and movement, marrying it with the richest of milieus, and the actress of the year.
Shoplifters
Another multi-generational, humanist gem of the highest grade from Kore-eda. More pointed than I can recall his other work, particularly with the ending and its structure.
Spider-Man: Into the Spider-verse
A masterpiece in animation. In awe of how it was conceived and put together. Luckily it doesn’t stop there. Plenty of heart, action, humour, and hope, like the best of the comics.
Summer 1993
It’s as close as I’ve come to understanding and realising the complex emotions of a child. Deeply attuned writing and direction. The highs and lows all revel in nuance.
The Rider
The kind of pure, human cinema and story that is astonishing to think about when the credits roll. Easily 2018’s best to date. Hooray for Chloe Zhao. There’s so much to unpack in those taming scenes, but you know it’s special in the moment.
Won’t You Be My Neighbor
“Paddington 2 is so wholesome.” Mr Rogers: HOLD MY MARMALADE. The theatre was in danger of flooding by the end due to all the tears. Truly bittersweet given mass media today.
You Were Never Really Here
If it’s not mindless violence, is it mindful violence? Distinctive and considered in its vision by Ramsay. Joaquin is carnal and caring.
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