We're only half way through 2018, and we've already seen our fair share of great films. From sweeping blockbusters to quiet indies, this year has produced a diverse pool of cinematic gems, and it isn't even awards season yet. Consider this the first installment of our semi-annual best of list. Our favorite films of 2018 so far are...
Lav Diaz's reputation for inaccessibility has always been a matter of runtime, not comprehension — his films are classical narratives told at a geological pace, patient rather than opaque. It's fitting, then, that Magellan, at a comparatively brisk two and a half hours, is simultaneously his most "accessible" work and his least conventional: less a story than a series of tableaus, an art installation masquerading as a costume epic. Gael García Bernal anchors a docu-drama about the birth of an empire, and the result is one of the year's most quietly devastating history lessons. Minor spoilers ahead…
A 16mm stunner through a Tarot-inspired, heightened-reality Louisiana, Annapurna Sriram’s Fucktoys is a luscious, filthy homage to lost artforms and the best film out of SXSW this year: a modern day “trashterpiece.” Minor spoilers ahead…
Welcome to my dispatch from this year’s SXSW. Like always, I won’t be writing full reviews of everything I see at the festival, but this year has plenty of notable features worth at least a quick write-up: Paul Feig’s long-awaited sequel Another Simple Favor, Michael Bay’s kinetic foray into documentaries, and Alison Brie and Dave Franco’s gross-out “metaphorror” flick. Here are the capsule reviews for A Simple Favor 2, We Are Storror, Together, and Death of a Unicorn.
As with typical Christopher Landon fare, Drop is by-and-large a lighter version of a movie you’ve already seen with its glaring flaws plastered over by an immensely likable lead. Here, Meghann Fahy navigates a first date that plunges into a paranoid nightmare, terrorized by anonymous drops that threaten her family. With a winnowing bag of tricks and a bottle-episode location that feels more limiting than creative, Drop works as well as it does solely upon Fahy’s winning performance and frantic interiority. Minor spoilers ahead…
The speed-dating, line-dancing, “dudes rock” surprise of the year, Gavin O’Connor’s The Accountant 2 detonates its predecessor’s satisfying, yet tonally confused, drama into something much more assured — and better yet, much more outrageous. A buddy comedy in the place you would least expect it, The Accountant 2 finds strikes the perfect balance of Ben Affleck and Jon Bernthal’s bickering within a web of ludicrous criminal intrigue. Minor spoilers ahead…
Digging up turpitude from the deep recesses of dark web opportunism, Pascal Plante’s Red Rooms is a serial killer thriller that finds power in its restraint and shocking prescience: an evil — yet vital — film to understand the stranglehold of postmodern, screen-abetted detachment. Juliette Gariépy’s chilling performance is a roundhouse kick to the teeth to dismantle our culture of macabre obsession, parasocial madness, and growing numbness. Minor spoilers ahead…
David Cronenberg handles his own grief the only he can: through a talky, corpse-voyeur, techno-conspiracy non-thriller. Way ahead of its time, strangely comforting, and wildly funny, The Shrouds extends the legendary filmmaker’s polarizing late oeuvre into deeply personal territory. Minor spoilers ahead…
Mike Leigh returns after six years away from the director’s chair with Hard Truths, a work of pure alchemy transforming misanthropic comedy into a brutal downer. Reuniting with his Secrets and Lies star, Leigh excavates the nooks and crannies of a small-scale drama with a towering deftness on the things left unspoken: Marianne Jean-Baptiste is absolutely titanic in what is likely the best performance of 2024. Minor spoilers ahead…
Once again transmogrifying old-school exploitation into her own feminist styling of New French Extremity, Coralie Fargeat trades in the empowered bloodletting of 2018’s Revenge for body horror. The Substance is one-note, obscene, and about as subtle as a sledgehammer — and it also happens to be one of the best movies of the year. Minor spoilers ahead…
Better to be a corpse and dream than to live forever and not. And movies are how we dream. Bi Gan’s behemoth is an ode to the artform and a lamentation of our times, carving a path through image-making history.Resurrection is a fever-dream time capsule of the last century of cinema, a hundred-year fugue state disguised as a five-part anthology of dreamers and desire. Somewhere between somnolent and peculiar, it's confirmation that the Chinese filmmaker is one of the strangest, most vital visionaries working today. Minor spoilers ahead…