2018 year end mini-reviews.

The year finally draws to its close, and once again, here's my chance to talk about some films I've neglected to mention, or didn't have much to say about them (It's hard to give everything a thorough write-up). So enjoy my mini-reviews, and I'll see you in the next year.

The Favourite movie review.

At one point in The Favourite, a room full of wealthy aristocrats take wagers and cheer raucously as prized ducks take part in a makeshift race. Why? For no other reason then they can. Seeing it play out, it is absolutely ludicrous, but perhaps no more so than many of the most outlandish moments of the film, the latest dark comedy from Greek director Yorgos Lanthimos, a director able to concoct such Gonzo high-concept premises, he lacks nothing in originality.

But despite that originality, I've always found his films incredibly forced and inhumanly candid in their humor, which gave them this very cold and distant touch, especially with last year's The Killing of a Sacred Deer that completely put me off. The Favourite, on the other hand, proves an interesting deviation, as he isn't writing his own script this time, and thus has the benefit of fresh blood to fuel his approach. And such is an approach that absolutely pays off for The Favourite, that while easier to digest is still unmistakably a Lanthimos joint, one teeming with rich dry humor and wickedly entertaining venom.

Mary Poppins Returns movie review.

Mary Poppins is one of my very favorite movies of all time. In fact, it may be the quintessential example of the perfect movie musical. Loosely based on the stories by P.L. Travers, it's one of the most effortlessly charming films I've ever seen, a perfect mixture of musical bombast and enchanting whimsy, showcasing an amazing soundtrack, and the title nanny a practically perfect performance from the legendary Julie Andrews. As far as I'm concerned, it's the single greatest film that Walt Disney ever had a personal hand in. But it also wasn't an achievement without hurdles.

Travers became notorious for butting heads with Disney in the film's early stages, attempting to stifle its spoonful's of sugar, and for years tossing relentless criticism for its deviations, showcased in the watered-down 2013 film Saving Mr. Banks. As a result, Travers refused any sequels Walt and the company wanted to make, but fifty years later finally coercing her estate to let them go ahead with one in the form of Mary Poppins Returns, with Chicago director Rob Marshall leading the charge, and Emily Blunt taking over for Andrews. Finally, we have the chance to see if we can adore it in grateful chorus, or in short we have a ghastly mess. Personally, I'm inclined to believe the former.

Brief thoughts on Mowgli: Legend of the Jungle.

If anyone had the right or experience to make a great motion-capture film, it was Andy Serkis. Having spent extensive time perfecting the performance art with Gollum and Caesar, and studying under a filmmaking titan like Peter Jackson, it seemed only ideal. Now on Netflix, we have his second directorial feature (actually his first as well), Mowgli: Legend of the Jungle, a retelling of Rudyard Kipling's The Jungle Book, wherein he surrounds himself with an army of effects artists and talented craftsman bringing this world to life. That said, it's something of a half-life at that.

Bumblebee movie review.

Hasbro's Transformers toys are among the most popular and enduring of brand names, widely loved for their unique shapeshifting nature, and lucrative from a marketing standpoint. Unfortunately, they've become somewhat infamous in recent years, specifically for inspiring Michael Bay's continually dwindling franchise, that continues to sink lower into false-grittiness, detestable human characters, and a general incompetence in filmmaking. But in hindsight, another great failing is that with each passing entry, it gets further away from the audience it was always meant to cater to; kids.

With each entry, they've become more cynical and mean-spirited, losing the lightness that the toys, as well as the TV shows inspired in their wake, had always brought out in those who played with them. And following Bay's exit from the franchise, we now have a prequel entry - and soft reboot - that attempts to return the series to its roots, by exploring one of its most enduring characters, Bumblebee. And while it may have its own little stumbles along the way, I... actually didn't hate this movie. Bumblebee is such a pleasant surprise, and a richly needed rebirth for this series.

Ralph Breaks the Internet movie review.

Come sprinting out the gate some time into the Disney Revival, Wreck-It-Ralph quickly became one of the most fondly regarded Disney films of the modern age, mainly for its hooking premise of a video game world come to life, a Pixar inspiration that was by no means accidental. While I liked the film, and acknowledge it as good, I was always of the apathetic mind to consider it overrated, mainly for squandering its original premise on a thoroughly predictable story.

But successful it was, and only less than four years later, director Rich Moore would go on to greater success with the smash hit Zootopia, as well as announcing an upcoming sequel to his inaugural Disney outing. I myself was cautiously optimistic, given there was a lot of room for it to keep exploring, but dreading a potential decline in quality. But thankfully I can report that it didn't come to that. While some may debate if Ralph Breaks the Internet was a better film, I certainly enjoyed it more than its predecessor.

Beautiful Boy, Bohemian Rhapsody, Can You Ever Forgive Me?

As the Oscar season goes into full swing, I decided to finally lend my attention to some of the potential heavyweights and contenders that’ll come into play this season. Thanks to my AMC Stubs A-List subscription (no, this isn’t sponsored),  I was able to take three of the acting hopefuls out in one feel swoop. All of them offered something of value, some more than others, but all of them making great use of their onscreen talent. Let’s have a look…

The Grinch movie review.

My apologies. I originally had something longer in mind for this review, but having lost all of my original text, I’ve decided to offer my thoughts in truncated form.

Since it’s publication in 1957, How the Grinch Stole Christmas by Dr. Seuss has been an enduring holiday classic. Finding appeal both in adults and children, the book’s enormous popularity was solidified further in 1966, with the Chuck Jones directed animated special with Boris Karloff. Then in 2000, Ron Howard would make a live action take starring Jim Carrey in the title role. Feeling like an amalgamation of both prior versions before it, this third take from Illumination Entertainment, the creators of The Secret Life of Pets and Despicable Me, attempts to add new to the story, only barely scraping that goal with a 39 and a half foot pole.

First Man movie review.

Given our many differences and political walls, especially in the modern age we live in, it's easy for us as a people to become cynical and get lost in the shuffle of constant bickering and political biases. But if there's one thing any of us can come together for, it's when witnessing history in the making, of a truly spectacular and transcendental event forever changing the world we know, and that hopefully this change will inspire and unite us for ages to come.

Such was an extraordinary event when the crew of Apollo 11, captained by astronaut Neil Armstrong, successfully landed on the moon and returned safely to earth. Punctuated by Armstrong's powerful declaration "it's one small step for man, one giant leap for mankind," the image of Armstrong's first step on the moon's surface has become ingrained not only in American culture, but in world history, becoming an iconic and inspirational staple of the wonder man can achieve. In his follow-up to La La Land, director Damien Chazelle reteams with actor Ryan Gosling to bring Armstrong's great achievement to life, in the fittingly excellent First Man.

A Star is Born movie review.

"Remake" is seen as something of a dirty word, often in the context of thoroughly unnecessary cash-ins that only clog the continually unoriginal Hollywood system even more, putting their effort into an idea that most likely has its definitive representation, and in that case what can you really hope to top. And to be fair, remakes like Point Break certainly validate this apathy towards them, but it can also yield better efforts like The Fly. And even if those the likes of A Star is Born, itself a product of three remakes, doesn't necessarily top its earliest predecessor, the template of what that film deals with is still versatile enough to justify different interpretations.

So coming into this new version of A Star is Born, marking Bradley Cooper's directorial debut, I found myself in an interesting position. I have to admit I've not seen prior interpretations to this story. I came into it fresh, so in essence, this new version was tailor made for people like me. And I think this film proves that not only can such a story still hold relevance from decades ago, but detached from its source, it can stand and endure superbly on its own. A Star is Born is fantastic!

Brief thoughts on Crazy Rich Asians.

Figured I'd go ahead and pen something down for this movie. I actually intended to review it a long time ago, but other things kept me from seeing it. Thankfully for me, Crazy Rich Asians is still quite a popular and relevant film even a month after its release, a popular audience favorite and critical darling, most often noted for its extensively Asian and Chinese cast. Adapted from the book by Kevin Kwan, there's very little that the film actually does to innovate outside of its progressive casting. But it's still a film that works. Really well.

Brief thoughts on Christopher Robin.

Oh, stuff and fluff. Even Winnie the Pooh has gotten his own live action reimagining in the latest family offering from Disney. As one of Disney's more timeless icons, the cartoons based on A.A. Milne's classic story books (who got his own film with Domhnall Gleeson's similarly named biopic), Pooh bear has always been the definition of innocence. I find it hard for anyone to be able to hate Pooh, even if they hate Mickey Mouse. So, I was always somewhat hopeful that this new offering would be able to capture the affectionate nostalgia that made his animations so endearing. But Christopher Robin half succeeds. In doing nothing, something wonderful does come along, but it's when it actually does *something* that it gets nothing.

Brief thoughts on Mission: Impossible - Fallout.

My mission - now I choose to accept it - is to dissect and lay out the fabric of my thoughts on Fallout, the sixth entry in the Mission: Impossible franchise. After starting very badly with two films, the series made a significant recovery under J.J. Abrams and the Bad Robot label, with Ghost Protocol and Rogue Nation becoming standout action flicks. Both prior films were very successful in balancing out lean characterization, tightly staged action set-pieces, and amazing feats of daredevilry accomplished by star Tom Cruise. Following Rogue Nation, we now get its direct follow-up, helmed again by writer/director Christopher McQuarrie, to deliver what many are now calling one of the best action films ever made...

...Is it really?

Eighth Grade movie review.

We've seen the coming of age teen drama go through a bit of a resurgence recently, building from the blueprints laid out from Boyhood several years back. But more specifically, we've seen the resurgence of coming of age films from the perspective of young women. It's a trend that was bolstered by the release of The Edge of Seventeen in 2016, but really seems to have cemented its grand return with Greta Gerwig's Lady Bird.

And not only has the sub-genre begun to rise, but now with new storytellers coming to offer a more mature sense of observation, they make for modest, natural, and sometimes brutally honest portraits of the turbulence and mundaneness of adolescence. And the trend continues with the release of writer/director Bo Burnham's Eighth Grade, of which I'm lucky enough to see before its wide release.

Sorry to Bother You, but what do I even say?

It's not often you come across a film that's as singularly odd and mad as Sorry to Bother You. Maybe it's because of the times we live in, but we've grown accustomed to the surreal and the macabre. Nowadays, shock value (with actual merit) is harder to come by because of that contentedness. But then you get a film like this, the debut of writer/director Boots Riley, that is so off the walls insane, blending high concept commentary with relentlessly dark humor, I'm at a loss. I somehow have a lot to say about it, but I'm also at a loss for words on it. That's shock value that feels unheard of anymore.

Brief thoughts on Sicario: Day of the Soldado.

Having seen Won't You Be My Neighbor? a couple weeks ago, it was easy enough to *say* that spreading more positivity would go a long way. In the back of your mind, however, you know it can never be that easy again, since we as a people live in fear of terrorism and within a world of conflict. And what conflict is more timely than the issue of immigration control, and the ongoing cartel wars of Mexico. Three years ago, we were plunged headfirst into that war with Sicario, a brutal and sweat-inducing thriller of the so-called "good guys" resorting to the violence of their enemies, that made us question if there were any real heroes and villains anymore. And that's a fear that gets further explored in Day of the Soldado, that drops any pretense of heroic duty as its leads are let loose like ravenous wolves tearing coyotes to shreds.

Ant-Man and the Wasp movie review.

While the immediate Avengers were still raking in money through their second crossover Age of Ultron, one of Marvel's lesser known, quirkier characters made a surprise entrance onto the scene. That being Ant-Man, the man donning a suit allowing him to shrink at will, giving him added agility and strength as he took on smaller targets in the criminal world. Despite its seemingly filler appearance, it was a fun change of pace for the MCU, veering it closer to a heist film full of inventive visual enjoyment, and was lifted by Paul Rudd's spot on lead performance.

But one detail that excited many was the tease for future films featuring the Wasp, Ant-Man's longtime partner, being able to dominate the scene right alongside her charming teammate. Three years later, you have many of the original team, including director Peyton Reed, to finally deliver on that potential with Ant-Man and the Wasp, which comes to cap off Marvel's mega-successful 2018 (not counting the peripheral Venom spin-off). Of course, one wouldn't expect it to reach the heights of Black Panther or Infinity War, so it's best to take it as a nice, inoffensive cleanser. And that's precisely what it is, ending Marvel's year with neither a bang nor whimper, but a pleasing growl.

(Not so) Brief thoughts on Won't You Be My Neighbor?

It seems only customary and normal anymore that we as a people should be cynical, seeing much before us with jaded eyes, and expecting the worst. Because it works; cynicism sells, in business, in media, so often clouding our judgment and suppressing our happiness. In today's day and age, that a soul as patient and as warm-hearted as Fred Rogers, an ordained minister who spearheaded the popular Mister Roger's Neighborhood for PBS, would exist is unheard of, living by a philosophy of a little kindness going a long way, a kindness carried over into Won't You Be My Neighbor?, encapsulating his life and his spirit.

Jurassic World: Fallen Kingdom movie review.

Celebrating it's 25th anniversary this year, Jurassic Park has had its up and downs in bringing John Hammond's vision of a world where dinosaurs co-exist with humans to life. After the disaster of his initial first vision, his dream finally came to glorious life through the Masrani Corp. with Jurassic World, that corrected those mistakes while simultaneously making new ones. And yet, we can't seem to imagine a world where these dinosaurs aren't in our lives, destined to fade into extinction as the once proud Isla Nublar meets its end.

And like its screen counterparts, the Jurassic Park series has had its own ups and downs. Many know of my adoration of Steven Spielberg's original masterpiece, and Colin Trevorrow's highly enjoyable update three years ago, even if it couldn't live up its standards. But all good things must come to an end, as we now must wave goodbye to those memories on Isla Nublar, as the dinosaurs take a greater step into a more expansive future. Embrace it, dread it, it can't be stopped. And I know this for sure, as there's plenty within Jurassic World: Fallen Kingdom that I dread AND embrace.

Incredibles 2 movie review.

The Incredibles was a very unique entry in Pixar's lineup, a semi-satirical take on the superhero genre, and the studio's first film to feature an all humans cast. While I thought it was not a perfect film, it certainly lived up to its title with its tightly focused storyline and stylized kinetic action. But what really made that film so strong is the superhero family at the core of the film, that despite their powers were very imperfect people, and great characters at their center, that even without the heroics it would still have been a great movie. It was very much a passion project for director Brad Bird, who'd just come off the Iron Giant, and proved himself a highly capable animation director.

So well-received was the film, that for years fans had repeatedly asked for a follow-up. And with Pixar going full steam recently with sequels, I don't think any made more sense than this one to receive it. However, there was always the pervading fear in my mind that the film wouldn't live up to everyone's hype - especially with Bird coming off a bomb with Tomorrowland, and that maybe this had more to do with business than passion. I'm happy to report that it is the latter. In fact, I think a more extreme case can be argued... that Incredibles 2 may actually exceed its predecessor.

Hereditary movie review.

It seems every generation, we're always yearning for that next "classic in horror" to come and wow us. The horror film has no shortage of classic films preying upon our deepest, most psychological fears, taking us uncomfortably into the realm of the supernatural. We yearn for those films in the vein of Rosemary's Baby and The Exorcist to return atop the pedestal, after horror took a more slasher approach in the vein of John Carpenter and Halloween. But anymore, amid the constant jump scare factories and shoestring budget fodder, the search for that next horror classic is harder and harder, so desperate are we to convince ourselves Unfriended was the next big thing.

But those gems are not gone, merely hidden in the rough. Horror has stepped its game up in recent memory, with this year alone giving us the fantastic A Quiet Place. Distributor A24 has waged its own chips in the horror realm, driving us closer to the days of literal and figurative horror, and the release of their latest film, newcomer Ari Aster's Hereditary, may be the closest thing yet to becoming that horror classic of a generation.

Brief thoughts on Hotel Artemis.

Figured I'd go ahead and churn something out real quick for this movie. Imagine John Wick, but the film took place entirely within The Continental, and you have a pretty good idea of what to expect of Hotel Artemis from Drew Pearce. Set within a futuristic riot-torn Los Angeles, the film centers on the caretakers and the revolving patients of the Hotel Artemis, an underground hospital for criminals with paid memberships, with strict rules of non-violence within the premises. As the busy night of rounds unfolds, those rules will be broken as the night reaches a brutal finale.

Brief thoughts on Ocean's 8.

I can't say I find Steven Soderbergh's Ocean's trilogy to be classic movies in any way, but they've always remained reliable pieces of popcorn entertainment to me, enjoyable for their slick production value and interlocking games of deception, and for the cast chemistry that elevates the thinly written characters. And if any movie felt as appropriate to receive a gender-swapped retool, Ocean's 8 was certainly it, here following Danny Ocean's sister Debbie, as she plans her own heist rounded out by her own eclectic team. The result certainly didn't disappoint me, proving as entertaining - if slight - as its early predecessors.

Brief thoughts on Adrift.

In 1983, Tami Oldham and Richard Sharp sailed directly into the path of Hurricane Raymond, rendering their sailboat damaged and leaking, at which point Tami took charge in fixing up and steering the boat to landfall. Her story would become an inspiring tale of perseverance, leading up to a film adaptation of her book detailing those harrowing events, and the love she shared with Richard, in director Baltasar Kormakur's Adrift.

Solo: A Star Wars Story movie review.

Han Solo is one of my favorite characters in Star Wars history. In fact, he may well be the quintessential example of a perfect film character. A charming, but reckless smuggler caught up in the middle of a galaxy-spanning conflict he wants nothing to do with, a man unafraid and perfectly willing to get his hands dirty if it means survival, but at the core of that rugged exterior of his, lies the heart of a good man simply afraid of others hurting or betraying him. This is to say nothing of Harrison Ford's performance, whose own rugged charm has become synonymous with the character's legacy.

But if The Force Awakens understood anything, it's that Han had very little left to go at that point, sending him off on a fitting, but bittersweet note. So what do you do after one of your star characters has been killed off? In the case of Solo, the second in Disney's Star Wars Story anthology series, take us back to the past and show the origins of the infamous cad. And in all honesty, this is one step too far, because in an attempt to give a character more depth, they've actually made him less intriguing as a result.

Deadpool 2 movie review.

After a dismal first attempt in the form of X-Men Origins, cult favorite antihero Deadpool made a strong recovery in the form of his titular solo feature, which took multiplexes by storm back in 2016. Fondly regarded by critics and audiences alike, the movie was very much a passion project for star and producer Ryan Reynolds, whose enthusiasm for the character could be felt in every second, as it should, since the film was single-handedly anchored by him.

That said, while I thought it was a funny film, I continue to be put off by the origin story that dominated the first half, that played itself too sincerely for its own good, and brought the film to a screeching halt anytime it cut back. But now that audiences are caught up with his origins, and the studio finally gives the creative team a sizable budget, perhaps its sequel should fix those issues. Alas, while the film still remains funny and charming, Deadpool 2 feels like it actually doubles down on those issues.

Brief thoughts on Tully.

Our mothers: The most significant people in our lives. The most unconditionally loving souls imaginable. But also often the most undervalued. The life of a mother is rewarding, but it is also a very rough ride paved with exhaustion. Through each splinter, changes in schools, balancing work and home life, and every individual quirk in the household, our mothers are forced to don those brave faces for the benefit of their children, never letting the cracks that come with the territory show. It can be a frustrating, joyous, but also uneventful experience, one captured superbly by the Young Adult trio of Jason Reitman, Diablo Cody, and Charlize Theron in Tully.

Avengers: Infinity War movie review.

There was an idea to bring together a group of remarkable characters. To see if they could become something more. So that one day, when we needed them, they could launch a universe that no one else could. When Marvel set forth to do just that, everyone assumed they were crazy, and yet ten years later, they've achieved the impossible. With back to back hits Iron Man, Thor, Captain America, Guardians of the Galaxy, Spider-Man, Black Panther, culminating in two Avengers crossovers, they've turned what many thought was a surefire trainwreck into a gargantuan event series.

For ten years, Marvel has been hard at work breeding their characters for the eventual culmination of their journeys, and the steady stream of Infinity Stone introductions, at the hands of Thanos and the restoration of the Infinity Gauntlet. Gargantuan a task it was, perhaps one that could have undone Marvel despite their success. It's all inevitable that Marvel will eventually fall victim to the hype they themselves generated, and with what a bloodbath and earth-shattering climax the Infinity War would be, this could have been the place to do it. No doubt, with the sheer number of characters and personalities at play, this is an exhausting movie. But one with a titanic bravado, and even if hitting road bumps, succeeds at hitting the expectations of those devoted fans who've followed their exploits for a decade.

Isle of Dogs movie review.

Few directors are as idiosyncratic as Wes Anderson. Warts and all, his signature style is unmistakable, crafting obsessively layered films both in craft and in concept, with the likes of The Royal Tenenbaums, The Grand Budapest Hotel, and Moonrise Kingdom standing out as some of his finest highlights. Given what a hands on filmmaker he is, it certainly made sense for him to venture into stop-motion, previously adapting Roald Dahl's Fantastic Mr. Fox to the screen in 2009.

It's been far too long since his last feature, and now he returns again to stop-motion with Isle of Dogs. Any animal lover would likely be put off by that very premise, given the grisly fates that animals and pets in his films usually meet, which is only one area where Anderson has proven himself a distinctly macabre visionary. But even if it's likely to test your sensitivity, Isle of Dogs certainly proves no less an outstanding effort from the prolific filmmaker.

Brief thoughts on A Quiet Place.

Sound and silence are often taken for granted. With movies, in particular, since films have ironically evolved from no audio at all, to sound and dialogue becoming a huge part of our stories. Nowadays, silence tends to take a back seat to the big budget spectacles, with studios at war with and one-upping each other to see who can have the biggest explosions and mayhem. But silence is never truly gone, simply buried, waiting for a truly special film to make use of it. And so does A Quiet Place, director John Krasinski's eerie and terrifying feature.

Ready Player One movie review.

I am, and I assume many of my readers are, a nostalgic lover of the 80's and its pop culture. The decade of Duran Duran and Michael Jackson still continues to resonate with a great many for its iconic achievements and shifting social attitudes, that obsession continuing to follow us to today, as 80's franchises find new life in continuations and reboots, and generating brand new pop culture phenomenons like Stranger Things, that wear their old-fashioned setting like a badge of honor.

And if you were a lover of the 80's, chances are you were also a lover of Amblin and Steven Spielberg, for crafting some of the most endearing and memorable franchises and films of the decade. But, fun as nostalgia may be, to leap into it blissfully unaware of the world's larger problems can be a danger all on its own. That's an issue Spielberg himself tackles, in his adaptation of Ernest Cline's fanboy favorite book Ready Player One, of a world crumbling to pieces as that nostalgia dominates.

Congratulations, Roger!

14 nominations and 23 years later, you finally earned your gold! Who could ever forget the final traitorous moments of Jesse James’ life, the foreboding snowy mood of Brainerd, when Those We Don’t Speak if surrounded a small village, or when freedom was finally won from Shawshank? These are just a few of the iconic images to grace our screens and burn themselves into our memory, finally earning his due through the intoxicating world of Blade Runner. Congratulations, Deaks, and thanks for all the memories.

Now let’s give Thomas Newman and Greg Russell one.

My official predictions for the 90th annual Academy Awards.

"I'm so glad we've had this time together," but now the pay-off to a long Oscar season concludes this Sunday with the upcoming Academy Awards telecast, and man am I excited! I know I made it clear last year that the Academy Awards are nothing to get too enraged or invested over, but there's always something about that friendly sense of competition between viewers with difference in personal preferences, and the joy to correctly guess your most long shot predictions on your ballot.

But boy, does the telecast itself have a lot to live up to. Last year's ceremony was the best I'd seen in quite a long time, thanks to the charisma and bite of host Jimmy Kimmel, who'll be trying to recapture that lightning in a bottle. He certainly has the chance, what with the wealth of burn material handed to him on a silver platter (expect some scathing jabs at Trump and Weinstein). But how on earth they'll address and poke fun at last year's bewildering Best Picture slip-up? We'll have to wait and see.

But putting aside the telecast, here I am once more to list out my predictions in all 24 competitive categories. Last year saw me hit a personal low of 14. I thought that by playing it safe, I'd be able to get a decent score, so imagine my surprise at shocker wins like Fantastic Beasts and Where to Find Them, and of course Moonlight's big upset. This year, I've decided I want to be more risky with a lot of my picks, so we'll see if that bolsters my tally. Here are the selections!

Annihilation movie review.

You'd be forgiven for not knowing Alex Garland by name, as much of his career has been strictly behind the scenes. Rising to prominence as an author thanks to his popular novel The Beach, Garland soon made the transition to film, backing films the likes of 28 Days Later, Sunshine, and Never Let Me Go. His limited, but varied credits, that blended psychological character study with powerful central themes, made him a natural fit for the Sci-Fi realm.

But rather than play behind the scenes, he soon struck out on his own, his debut resulting in the fascinating Ex Machina, that took a very intimate and minimalist approach to the genre. So how do you follow up such an ambitious debut? In Garland's case, opt for a larger scale, but just as intimate blend of sci-fi and horror, with an adaptation of Jeff Vandemeer's Annihilation. So what head-scratching ideas has Garland proposed to us today?

Brief thoughts on Early Man.

I absolutely love the work of Aardman Animation, the British stop-motion studio. Like many, I grew up adoring their Wallace and Gromit shorts, and over the years, I've also loved their foray into feature length with films like Chicken Run, The Curse of the Were-Rabbit, and Shaun the Sheep. In 2018, what looks to be the next big year of stop motion, they've already given us an early delight in the form of their prehistoric Early Man, a long-gestating passion project for the legendary Nick Park, in his first solo directing credit.

Black Panther movie review.

Despite their decade spanning output, and launching several prominent franchises for less popular characters, the Marvel Cinematic Universe hasn't always been the most diverse when it comes to its characters, and even with prominent characters like Falcon and Black Widow, it's been frustrating not to see Marvel give one of those characters their own solo outing to combat those criticisms. It may have taken them a while, but they've finally attempted to diversify their films, by unleashing the long awaited Black Panther.

Black Panther is commonly noted as the first mainstream superhero of black or African descent, soon paving the way for the likes of Luke Cage, Blade, and the aforementioned Falcon, but standing above them all with audiences who continue to resonate to his nobility and outsider status. Having laid the groundwork previously in Marvel's Civil War, and with his solo entry brought to life by Creed director Ryan Coogler, all the ingredients were there for another enjoyable Marvel flick. But what if it were more? What if Black Panther were Marvel's best film so far?

My Top 15 Most Anticipated Films of 2018...

2017 was an eventful year, with a great level of variety to go around, as new and engaging films came and went, with great effort taken to bring diversity to the system, and one can hope that 2018 will be able to say the same. As it is now, I am so eager for the big films to come out this year, and if February's uncommonly decent slate is anything to go by (with films like Black Panther and Annihilation taking their bows), it looks to be an impressive year.

And as I do every year, I'll be listing down the films I'm most excited to see this year. Once again, I'll try to keep expectations and hyperbole in check, but even so, I'm still so excited by what there is to offer.

And before we start, a couple rules for my list. For me to include a film on here, it must either have a guaranteed release date, or at least have a trajectory to open this year (for this reason, I've left off Martin Scorsese's long-dormant The Irishman). The film must also have been released after this list is published, and if a film made the list or honorable mentions last year but got pushed back to 2018, it will not be eligible for consideration (otherwise, Annihilation and Mute would be on here).

Please note that this list is mainly geared towards films that are more well known at this point, so there's not gonna be a whole lot of independent fare with little clout, and this is purely how it stands at the moment. And if a film you're looking forward to isn't on here, I either haven't heard of it yet, I am looking forward to it, but not enough to list it, or I'm just not excited for it at all (Dead! Pool!).


First up, the honorable mentions:
25. Tully

24. Pacific Rim: Uprising

23. JT LeRoy

22. Colette

21. Incredibles 2

20. Where'd You Go, Bernadette?

19. A Wrinkle in Time

18. Illumination's The Grinch

17. The Little Stranger

16. Jurassic World: Fallen Kingdom


And now, I present you the main fifteen...

The Top Ten Best Films of 2017.

Dark rises, and light to meet it as we approach the final chapter of 2017's story. And despite all the tragedy that such a year held, the cinema proved as inviting and comforting a safe haven as ever.

If 2016 found us in a depressed state, then 2017 was a year that looked to find the hope and optimism when we grew uncertain of the future, attempting to make sense as we went along. From films like Three Billboards outside Ebbing, Missouri that directly confronted our morality and sense of justice, to The Shape of Water that slyly dealt with ongoing xenophobia. 2017 also gave us films based on events of the past still relevant to today, with true stories surrounding Winston Churchill, The Washington Post, and soldiers desperately clinging to hope of rescue. Even something as fake as The Greatest Showman emulated P.T. Barnum's ability to create genuine, if only superficial enjoyment from his viewers. Not to mention that 2017 finally saw attempts at greater diversity, including prominent films from black filmmakers like Get Out and Mudbound earning due attention, Greta Gerwig's Lady Bird strongly resonating with audiences, Wonder Woman's long-awaited solo venture doing justice to her iconic legacy, and Pixar doing justice to Mexico's heritage with Coco.

And even outside of films, 2017 was a year where we needed more than ever to lean on each other. Through the controversial politics, fear stoked through hatred, and the tragedies of Hurricanes Harvey, Irma, and Maria, 2017 was a year that depended on our unity. United through blocked travel bans, people risking their own lives to save others affected by those hurricanes, and the broken silence of victims of sexual abuse. Even if it was only minor, 2017 was a year defined by those still crucial moments of triumph, and even though those struggles will always be waiting, it's that camaraderie that gives one hope even in the bleakest of times.

But now it's time to move on to more upbeat territory, and to cover all of those fantastic - and heavily varied films that I saw over the year.

As always, some honorable mentions. Just missing out was War for the Planet of the Apes, which blended the excitement of a blockbuster with a deeply emotional and gripping moral journey, featuring breathtaking CGI and Mo-Cap, and an even more breathtaking lead performance from Andy Serkis. The Post proved that Steven Spielberg is still a master of his craft even at B-material, methodically running us through a still timely story of journalistic integrity and its importance, and also made great use out of a huge ensemble cast. The Disaster Artist was one of the year's funniest films, director and star James Franco excelling in portraying the vices and passion of the singularly odd Tommy Wiseau, made even better by the power and sweetness of Wiseau and Greg Sestero's friendship. It was by far my greatest pleasant surprise of the year, largely for the powerful, flawlessly cast young actors who believably embodied the tightly knit group of friends, and delighted with its effective and nightmarish scares, especially Bill Skarsgard's animalistic Pennywise. Mudbound was a striking and deeply felt tableau of 40's southern life, tackling issues of early PTSD and always ongoing racial barriers in sensitive yet uncompromising fashion, and factoring in a great ensemble cast bringing her vision to life makes Dee Rees one to watch.

And without further ado, my top ten best films of 2017. Put this on your "Good Morning, Missouri" wake up broadcast!

Brief thoughts on The Cloverfield Paradox.

The dumping ground of February is here, and in very atypical fashion, it looks to start the year with some actual decency, between Black Panther and Annihilation. But not to be outdone, Netflix made a surprise move when launching The Cloverfield Paradox with discreet fanfare, with the kind of secrecy before a film's release I never thought I'd see. Unfortunately, I just wish the surprise were a pleasant one, because my official start to the new year lands with a dud.

The Top Ten Worst Films of 2017.

I've always found it odd and reductive how quickly critics have been to call the year quits, to have their selections for best of the year ready a few weeks away from Christmas. For one, who's to say that certain films released after such lists have been made public, that few or no one have even seen, wouldn't make a dent (think The Last Jedi or All the Money in the World)? More importantly, it just doesn't give one necessary breathing room, or proper time to reflect on the year in general. Basically, this is all to justify why I do my Best and Worst lists in February.

As for my own thoughts on the year, 2017 was a step up for films from 2016, even if it didn't have anything quite as good as La La Land (then again, what does). For one, the year marked a significant turn in the right direction, as studios finally took to addressing long-brewing backlash against lack of diversity and representation in cinema, the likes of Lady Bird and Get Out becoming among the year's defining films. We've still got a long ways to go, what with Ghost in the Shell attempting to "Asian up" Scarlett Johansson, and the reboot to Hellboy facing backlash after casting Ed Skrein in an Asian role, but the effort was clearly there.

Aside from The Last Jedi inexplicably becoming the year's most hated film by the general public, the actual films were the least crazy part of 2017. Hollywood started making greater headlines for those representing their films and studios, with notorious producer and Oscar campaigner Harvey Weinstein at the center of a massive scandal, facing numerous accusations of unwanted sexual advances and assault, a watershed moment that led to the now ongoing "#MeToo" Movement. He wasn't the only one, as other serious testimonies were raised against the likes of Louis C.K. and Bryan Singer. This also included Kevin Spacey, whose own scandal led Ridley Scott to recast his role in All the Money in the World with Christopher Plummer mere weeks before release. We'd always thought about it, and joked about it, but this showed the toxicity and selectiveness of Hollywood in its true colors, marking a year where we finally tackled such cases and discrepancies head on. It's still not perfect, and it's a shame change came at such a late hour, but one can hope that such events will lead to positive change

But enough about that. Let's get into my selections for the worst films of the year. As I post this, I've seen just over eighty films, so I think I've got a good variety to go on. But as always, the bad movies in my list are limited solely to what I personally saw. I do have my limits in what I subject myself to, so I've avoided duds the likes of The Bye Bye Man, Let There Be Light, Chips, Flatliners, or Boo! 2: A Madea Halloween.

So let's take a look at the worst of what I did see, starting as always with the dishonorable mentions. David Ayer's Bright was a horrid follow-up to his similarly incoherent Suicide Squad, faltering from the same inept editing and incomprehensible screenplay elements, but worst of all is how it portrayed serious issues of racism surrounding the police force with the subtlety of a jackhammer. The Great Wall starred a disinterested Matt Damon in a wannabe Peter Jackson epic, crafting a thoroughly derivative story in a world whose internal history is murky, and even its style and flair was subpar thanks to some appalling CGI. The Dark Tower failed to do justice to Stephen King's storied series, packing hundreds of pages of exposition into a cramped 90 minute time frame, and despite the efforts of Elba and McConaughey, they couldn't save this dull, lifeless attempt to launch a shared universe. The Circle had a dumb but ambitious premise surrounding cellular and corporate pervasiveness, but squandered it all on such a draggy and cartoonish plotline with virtually no suspense, and no attachment to characters either, including poor Emma Watson as the wooden lead. Speaking of wooden, Valerian and the City of a Thousand Planets lacked any chemistry between stars Dane Dehaan and Cara Delevingne, who failed to elevate the directionless script, resulting in a stylish, but ultimately disenchanting visual landscape.

And with those out of the way, let's tackle the big ten!
ROLL OUT!

The Last Reviews of 2017.

And with that, these will be my last 2017 reviews bfore I finally call the year quits (or at least for now). It's been a very crazy experience the whole way through,and I hope you've enjoyed following my write-ups as much as I did forming them. Stay tuned for my picks for the best and worst films of the year very soon,but for now, thank you, and enjoy.

Call Me By Your Name and Phantom Thread.

This will be my last set of double reviews for the year, with an abbreviated collection of my very last write-ups to follow very soon. So let's get right to it.

The Post and Three Billboards Outside Ebbing, Missouri.

Another double feature of reviews to put up today, and perhaps not the last as we inch ever so closer to finishing the year up. Today, we'll be taking a look at heated glimpses into the world of the printing press, and the complex politics of the police system, brought to us respectively by Steven Spielberg and Martin McDonagh, in two of the year's very best films. Enjoy!

Brief thoughts on Molly's Game.

Poker's not a game of chance, explains Molly Bloom. It's a game of skill, a back and forth production of players deceiving the others and exploiting their tells and body language, where keeping secrets to the chest is a necessity to thrive through the game. Secrets, skill, deception, perhaps that makes Bloom - dubbed the "Poker Princess" - the greatest poker player never to take part in the high stakes game, building a mini-empire out of the underground poker rings headlined by wealthy celebrities and business giants, and even when landing under the eye of the FBI, refused to let those close secrets and the names of the people within her rings be publicly known. It's a fascinating true story, and one that the film based on her book Molly's Game tackles with the same suitable wits as its signature game.

Brief thoughts on The Disaster Artist.

Few movies are as singularly bizarre as The Room, the brainchild of enigmatic filmmaker Tommy Wiseau, that premiered in one LA theater in 2003. Originally conceived to emulate a Tennessee Williams melodrama, those intentions backfired when the film left audiences rolling with unintended laughter. The film soon gained intense cult status, being hailed as the "Citizen Kane of bad movies", and intentional or not, has become a singular masterpiece utterly shattering the line between good art and bad art. The making of this movie sounds like a great movie in its own right, which certainly proves to be the case for The Disaster Artist from director and star James Franco, becoming one of the year's sweetest and funniest movies.

Belated year-end reviews.

And with the year finally come to a close, taking all of the bewildering insanity and infuriating bitterness with it, it's time once again to reflect on the cinematic year that has been, and what the future holds in store. That doesn't mean the coverage is over mind you, since Oscar season is now in full swing, and there are still plenty of high profile releases to be seen. I look forward to all of those coming out, but as always, it's time to turn my attention to some smaller or under the radar releases, both from recently, and from earlier in the year. Enjoy?

All the Money in the World, Darkest Hour, and The Shape of Water.

All right! Time to play catch up. I'm always one of the last to unveil my picks for the best and worst movies of the year, as my local theater scene doesn't always make it convenient for me to play catch-up (and Heaven forbid those movies have subtitles), and 2017 has been a particularly brutal year personally. But now, I'm ready to see some of the year's most buzzed-about titles, which finally make their way to my side of town. Starting things off, are some thoughts on the latest big contenders, from seasoned veterans Joe Wright, Ridley Scott, and Guillermo del Toro.