Looking Back and Forward

At the time of writing, I've been running Matinee Everyday on and off for the better part of three years. I've found that I don't really have the time or passion for cranking out blog posts as much as I usually do.

It's been a productive year for me on every front except for this humble little blog. I've only published three posts in total. Why such a low number? Partly because I've been busy with other matters; but, mostly because I'm lacking the same drive towards traditional criticism that I used to (and even then, it was still just a hobby).

So, I'm changing things up a bit here. Even with new priorities, I still think there's a place for critique alongside the craft itself. From this point forward, Matinee Everyday will host a wider variety of my content. Reviews, opinion pieces, my own short films, insights towards my own filmmaking journey and a few other things. I have a big announcement coming tomorrow. So, keep an eye out for that.

So, happy new year! It's an exciting time to be alive, folks. Here's to keeping this running for as long as I can.

Jack's Favorite Movies of 2019

When we look back at the 2010s in terms of movies, 2019 will probably not be the defining year of this particular decade. Frankly, I’d say that honor goes to either 2014 or 2017 just because of the wealth of future classics they offered. This wasn’t exactly the best year for cinema in the opinion of this humble writer (with a lot of movies that just slid off my brain like Teflon and some outright duds that are best left unmentioned).

Regardless, the first half of 2019 may have been a dry spell; but, the second half proved to be one impressive hot streak. Any year that can produce a list of this many quality titles shouldn’t be so callously dismissed. You got to find those silver linings when you can and such. Without further ado, this is my top twenty of 2019...with the usual caveats these year-end lists always come with. This isn’t my final word on this topic, the list is always subject to change, you may have discrepancies with my choices and that’s totally fine, etc. You get the idea. On with the show!

#20) HIGH LIFE

A24 has really been knocking it out of the park since they sprouted up back in 2013 and the first of many entries from their catalog on this list is this abstract space oddity courtesy of Claire Denis. One of the most bizarre and experimental visions from an indie powerhouse that made its bones gifting modern audiences with peculiar visions.

#19) JOJO RABBIT

Taika Watiti took a big swing with a premise this out there and potentially abrasive; but, it paid off as he really hit home with Jojo Rabbit. A film that’s deceptively thoughtful, sharply cutting, flagrantly quirky, surprisingly emotional, and deeply human. In an age where edgy comedy is either rarer than gold dust or misunderstands the point of such venomous humor, it's nice to see a film succeed without feeling like it's trying too hard to piss people off or pulling it's hardest punches out of fears that they may be crossing a line. The best "offensive: comedy always has a deeper meaning than simply catching an audience off-guard for a moment or two. In this case, it's mocking the monsters themselves and not the atrocities they committed. And, most potently of all, recognizing the childishness behind one of history's most unfathomable evils with shocking clarity.

#18) DOLEMITE IS MY NAME

All that talk you’ve been hearing about this being Eddie Murphy’s best performance in years wasn’t hyperbolic in the slightest. A wonderful parable about the power of on-screen representation and a nice window into one of blaxploitation cinema’s most quixotic figures. You can find it on Netflix right now. It’s good comfy viewing. No more, no less.

#17/16) TIE: JOKER/SHAZAM!

Look, I know I’m cheating by including two movies in one slot and breaking my goal of going to go a year or two without any superhero movies on the list. Nevertheless, I have more than a few good reasons to include both of these films.
We'll start with Joker because it's the most contentious of the two. For starters, the discourse surrounding it has been as captivating as it has been maddening. Joker is by no means a masterpiece; but, it’s stuck with me in ways few other comic book flicks (hell, few other movies period) have in recent memory with it's grimy visuals, bold if not a little simplistic script, and a rightfully celebrated performance from Joaquin Phoenix.

As for Shazam, that’s a matter of finding new ways forward by going back to the roots of a genre. It’s nice to know you can still get a crowd pleasing hit out of something made by filmmakers with clear enthusiasm and passion for what they're making. Like if Joe Dante made a superhero flick in the mid-90s, it would almost definitely look and feel like Shazam. From the looks of things, DC may rule the 2020s much like how the Marvel Cinematic Universe dominated the 2010s. And, considering how their next film looks like someone turned True Romance into a comic book flick, I’d say this is a rather exciting development for the genre.

#15) THE FAREWELL

What a beautifully empathetic, quietly powerful little film. Along with Dolemite is my Name and a few other titles that unfortunately didn't make my list, it’s the greatest argument for representation and diversity in the modern filmmaking scene. Because without it, we don’t get stories as honest, passionate, eloquent, and personal as this. I liked it when I first saw it and it’s grown on me ever since. Don't miss this one.

#14) THE LIGHTHOUSE

A monochromatic fever dream that mixes psychological character drama, absurdist dark comedy and supernatural horror into a mesmerizing cocktail. The best way I can describe it is that it feels like a richly textured classic novel. One where the atmosphere is so palpable and the characters are equally enigmatic. You can practically smell the salty sea air after you leave the theater.

#13) DOCTOR SLEEP

The late-2010s have been a mini-renaissance for Stephen King adaptations and this is no exception. In fact, it may be the best of this recent run. As a sequel to one of the most beloved horror films of all time, Doctor Sleep does an admirable job of blazing its own trail while respecting what came before it. Rose the Hat is one of the most memorable horror villains in recent memory and the whole story is tinged with a gentle melancholy that I found deeply arresting.

#12) JOHN WICK CHAPTER 3: PARABELLUM

A decade of truly excellent action cinema ends with a bang with the penultimate entry in the genre's current creme de la creme franchise. I have no clue how they’ll top this with Chapter 4; but, I couldn’t be more excited to see how they try.

#11) THE MAN WHO KILLED DON QUIXOTE

Terry Gilliam’s notoriously long-gestating dream project is finally here and, by God, it was well worth the wait. Adam Driver and Jonathan Pryce make for a winning duo and it features some of the most striking dreamlike imagery you’ll see in a movie this year or any other. Try it if your taste is a little adventurous.

#10) FORD V. FERRARI

Contrary to popular opinion, I don’t always limit my moviegoing habits to the super artsy or the super bizarre. Sometimes, a good crowd-pleaser is all it takes to keep me happy. Such is the case with James Mangold’s riveting recollection of the 1966 race at Le Mans. A film whose subtext of creative freedom equating to long-term benefits spoke to me and feels all the more necessary in a post-Disney/Fox world. Sure, the whole cast is aces; but, the standout is Christian Bale. He’s an absolute fire-cracker here, giving his usual brand of intensity a much lighter spin that’s compulsively watchable and consistently entertaining.

#9) APOLLO 11

Among the many trends to pop up in movies over the last decade, it’s really nice to see documentaries having a healthy life in the spotlight. Last year offered us bountiful riches like They Shall Not Grow Old and Won’t You Be My Neighbor?. This year, amid some other notable titles, we got Apollo 11. The footage the filmmakers had access to is absolutely breathtaking and the way it’s assembled is consistently compelling.

#8) PARASITE

Bong Joon-Ho’s latest masterwork is a one-of-a-kind celluloid entity that deftly balances dark comedy, chilling suspense and poignant class-conscious social commentary while also making excellent use of its stunningly designed central location. I’d say more; but, that would be giving the game away now, wouldn’t it? See this knowing as little as possible. Believe me, it lives up to the hype.

#7) DRAGGED ACROSS CONCRETE

S. Craig Zahler strikes again with his best picture to date. Vince Vaughn continues to reaffirm himself as a far more compelling dramatic actor than anyone could have predicted while Mel Gibson turns in one of his best performances in years. It deals with themes of modern society’s complicated view of law enforcement in a unique and nuanced way. The kind of thoughtfulness that makes you wish other similar films could do the same. At this point, if he keeps this hot streak going, I’m more than willing to credit Zahler as a new master of cinematic pulp among greats like Samuel Fuller and John Milius.

#6) KNIVES OUT

Boy, oh boy, does it feel good to unreservedley love a Rian Johnson picture again! Built on the foundation of an immensely well-crafted screenplay, it’s performed by a game cast and executed behind the camera with clock-work precision. A good old-fashioned murder mystery with modern touches that never feel pandering, out-of-place or desperate. Really, to say any more would be needlessly redundant. Suffice it to say, I haven’t felt this satisfied by a film’s final frame in a very long time...well, with the one exception being the film in my number four slot. But, I'll get to that in due time. Moving on...

#5) UNCUT GEMS

The Safdie Brothers have returned with their most nerve-wracking game of cinematic pinball yet. That wording may be more than a little intense; but, so is this movie. I have yet to see another film that captures what stress feels like this viscerally or this acutely. Adam Sandler is positively electric as a livewire human freakshow who's so enthralled to his need for push himself to the edge, that he's blinded himself to what real danger actually lurks behind his every move. His much-discussed Oscar nomination has a 50/50 shot of actually coming to pass. Regardless, he deserves it for delivering a performance this layered and committed. That kind of craft and attention to detail is worth something in my book. It’s just dropped in theaters this past Christmas. Definitely give it a shot. You’re never going to see a crime flick quite like this for a long time. Bonus points for what may be the best on-screen use of Billy Joel ever.

#4) THE IRISHMAN

Returning to the subject of perfect final shots, no other film this year has ended on such a deceptively simple yet ultimately devastating note. Martin Scorsese came back to the gangster pictures that many say he perfected in the ‘90s to give the storied genre it’s day of reckoning. It’s well-paced, well-textured, and somber while not devolving self-pitying. Absolutely essential viewing.

#3) AD ASTRA

A sort of Solaris by way of Apocalypse Now, Ad Astra is easily James Gray’s best work to date. Max Richter’s score is off the charts, Hoyte van Hoytema’s cinematography is next-level beautiful and I’ll be damned if that climax didn’t hit me where it hurts. A stunningly great science fiction film to cap off a decade that’s given us more than its fair share of superb cinematic sci-fi… oh, and did I mention this also has space pirates in it? Because there’s space pirates in this and they chase Brad Pitt around on the moon. That’s just awesome, plain and simple.

#2) ONCE UPON A TIME IN...HOLLYWOOD

Going from one film that presses all my buttons in all the right ways starring Brad Pitt to another film that presses all my buttons in all the right ways starring Brad Pitt...well, you get the idea. It’s a slight film upon first viewing. One whose riches grow more rewarding with each successive viewing. To borrow a phrase from Tarantino himself, Once Upon A Time In ... Hollywood is a terrific hangout film. In an age where we’re growing more and more skeptical of why we hold the City of Angels in such high regard, this is a splendid reminder of why we fell in love with it’s decadent fantasies in the first place. It's a lovely cruise through a Technicolor dreamland, inspired by reality yet undeniably cinematic.

Before we get to my number one film of the year, I’d be remiss if I didn’t shine a spotlight on some honorable mentions:

• READY OR NOT (for being a solid horror-comedy with a solid script with clever surprises abound and plentiful amounts of carnage)
• GLASS (for being the other intellectually stimulating and divisive comic book flick of 2019)
• THE ART OF SELF-DEFENSE (for being one of the smartest, most unique dark comedies I’ve seen in a while. It's also just the hardest I've laughed at any movie this year.)
• ROCKETMAN (for proving that music biopics can have a pulse and actually resonate with audiences besides the ephemeral appeal of watching movie stars lip-sync iconic pop ballads)
• THE BEACH BUM (for simultaneously gifting us with the quintessential Matthew McConaughey performance and the most beautifully photographed movie to ever be set in Florida)
• IN FABRIC (for being the most entertainingly bizarre movie-going experience I’ve had all year, possibly in my whole life)
• CRAWL (just for being a lean, mean, well-done creature feature)

And now, my favorite film of 2019 is....(insert a drumroll here if that's your bag)....

#1) UNDER THE SILVER LAKE

Now, from a film that can’t stop singing Hollywood’s praises, we transition to a film so frustrated and disgusted with it all that it’s determined to burn the whole thing down. After staking his claim with the superb It Follows, David Robert Mitchell’s latest film is quite the curious case study. A film of numerous walking contradictions. Where the mysteries are labyrinthine, overwhelming and always in the foreground; yet, by the end, they’re all cast aside simply and end up meaning little to nothing. Andrew Garfield gives one of the best performances of his entire career as a scruffy wannabe gumshoe navigating his way through the dizzying hipster detritus that is contemporary Los Angeles. Ditto for the mesmerizing score courtesy of Disasterpeace. If his previous work on It Follows was him exploring his inner John Carpenter, this is him experimenting with his inner Bernard Herrmann.
It’s an utter thing to behold…which makes the fact that it’s distributor buried it so unceremoniously all the more heartbreaking. Thankfully, it’s easy to find on streaming and it’s starting to grow a cult fanbase (of which I am most certainly a part of). I can’t say it’s for all tastes. But, if you’re looking for something new and bizarre, I couldn’t recommend highly enough. It’s a film that I could talk about ad nauseum (to the point where I’ve been trying to figure out the best long-form approach to it for at least six months). Needless to say, this is the best movie of its kind since Inherent Vice. I’ve seen it two or three times already and I’ll probably end up watching it even more throughout the coming years. It’s a mesmerizing fever dream of a film that’s dense to pick apart for hours and bold enough to mock the viewer for doing so. A true original. Please give it a look.

Thanks for reading and have an amazing new year! Onward to 2020!

JOKER Review

(poster made by yours truly. Credits, logos and whatever else belong to their respective IP owners)

Good or bad, I knew from its inception that Joker would be a movie worth paying attention to. Superhero movies as a genre have desperately needed to evolve for a long time now. As fun as the Marvel frenzy has been for the past decade or so, it’s worst impulses have led to a state of creative stagnation and (if they don’t break free) I reckon they won’t be staying around for much longer. Yes, even a pitch as gonzo as a supervillain origin story that owes more to names like Scorsese, Lumet and Friedkin than anything on the four-color page is the kind of out there experimentalism I’ve been craving. You better believe I was excited for this.

So much so that I was able to wade through the exhausting pre-release discourse that’s been raging for months on end (a lot of which seems disingenuous or outright misinformed). I don’t want it to take up the whole review. So, I’ll be frank. A good chunk of those who engage in the bafflingly idiotic controversy surrounding the film mainly seem to forget is that there’s a very hard line between empathy and sympathy. Pardon me for repeating myself if I’ve said this before; but, until the moral panic brigades cease to exist, I’m going to keep beating this drum with the force of a thousand suns. Take this to heart, dear reader: DEPICTION DOES NOT AUTOMATICALLY EQUAL ENDORSEMENT!

You’d have to be thick as a brick to not tell that our villain protagonist is warped from the start and that the society that fostered him has already failed him. Even before he crosses several lines, it’s completely understandable both why he’s driven to such hideous criminal activities and why the world didn’t particularly care for him in the first place. Does it all feel a bit thin in spots narratively and subtextually? Sure. But, what’s there is absolutely worthy of discussion. The specters of abuse, societal collapse, mental healthcare, and mass violence palpably haunt every frame. That last one in particular seem to be what riles the film’s detractors up the most. Said masses repeatedly cry out “Now’s not the right time for this movie”. Respectfully, I must disagree. I think 2019 couldn’t be a better time for a movie this big to confront these specific issues.

Joker might be stuck in the strange transitional period that was the early 1980s; but, a lot of what it has to say speaks to our current cultural discontent and despair. A billionaire public figure promising salvation yet only delivering more unrest and degradation. Social isolation driving wedges between the common people further and further, day by day. Media talking heads simultaneously demonizing and fetishizing cowardly acts of cruelty against normal people perpetrated by other so-called “normal people”. Anyone else think that sounds even remotely topical or worthy of debate? The best speculative fiction always transports us while still keeping what we’re escaping in the subconscious (although I’d argue this provides purely an indictment on our world rather than a brighter path forward).

Anyway, let’s get back to the brass tacks. The actual nuts and bolts behind this picture’s construction. As everyone else has written ad nauseum elsewhere, Joaquin Phoenix is phenomenal here. I never thought I’d cringe that hard seeing someone laugh; but, here we are. The subtle touches he brings to the role create a frightening portrait of mental illness that rarely dips into outright caricature.

Likewise, the direction courtesy of mainstream comedy veteran Todd Phillips is surprisingly stellar. It all looks like the New York only '70s cinema could capture filtered through a phantasmagorical carnival funhouse mirror. The jarring contrast between the contrasted against harsh yellows, greens, and blues creates a trance-like effect distinguishing it from every other superhero movie out on the market. It’s grimy and raw while maintaining a sense of vibrant color and slick style. Like a lot of my peers, I never would’ve guessed he had this kind of flick in him; but, I’m ecstatic he made it. My only real gripes are a certain third-act plot reveal needing to be handled with more subtlety and grace than it actually receives. Well, that and for all the talk of how this is the “dangerous comic book flick you’re not supposed”, it’s awfully tame (relatively speaking) for the majority of its running time. It always walks the line, never skewing too far one way or the other.



Like I said, I don’t think Joker reaches all of its goals to perfection; but, I respect the hell out of it for trying at the very least. On the whole, it’s solid stuff with a few cracks in the armor; yet, individual moments pack massive punches. Furthermore, I hope it’s success inspires a more interesting step forward. It’s a diamond in the rough to be sure and if there’s one thing I can definitely say in its favor is that it stuck with me (which is more than I can say for the likes of this year’s MCU offerings).

RATING: 8/10

GLASS Review

BRIEF DISCLAIMER: There may or may not be a couple minor spoilers in the following text. With that in mind, I'd recommend seeing the film and bookmark my critique for after you've seen it. It's my belief that criticism that should be supplemental material to aide one's appreciation of art, not a deciding factor on whether or not said art is worth your time. Also, if you're not familiar with Unbreakable or Split, fix that before seeing this.



There's nothing new to say about this guy, is there? Every praise about his few good films has been sung and everything afterwards has become fodder for that depressing corner of online film culture that only likes talking smack about movies generally. So, is M. Night Shyamalan really back on track after a string of high-profile failures or was Split just an entertaining fluke? Now, I recognize that I'm probably in the minority opinion here; but, my answer is a resounding yes. What we're given is a tough film to love (albeit one that's endlessly intriguing nevertheless). In fact, I feel like I might have jumped the gun when I called Widows the least audience-friendly mainstream release of recent years. What it lacks in thrills it more than makes up for in ideas. Big ideas. Ideas that not everyone in the audience is going to be on board with. But, they're big, bold, and worthy of kudos for even diving into them.

Anyone reading this is most likely aware that the "realistic superhero movie" isn't much of a novelty these days. We've seen the Zack Snyder/Christopher Nolan cycle of the DC movies, Kick-Ass, Logan and even Shyamalan's own Unbreakable (which has been around for the better part of two decades); but, as much as I love all of those, I'd say Night has gotten the closest towards fully realizing this realist conceit. What few action scenes there are go for a more intimate, awkward and cluttered approach than the crowd-pleasing epic scale brawls common to the likes of the Marvel Cinematic Universe. Plus, this take on what superheroes and their stories mean in the broader cultural context is one I find fascinating due to its balanced levels of contempt and respect for the genre. It's taking material seriously as art rather than strictly as adaptation. Glass has the slick appearance of subtlety and grace even if its creative head honcho's artistic flourishes are anything but. Aside from all that pontifical weight, it's got some real directorial strength to brag about. It's methodically paced, imaginatively shot and the various narrative yarns are fairly well-balanced. There's a shot during the second act of Sam Jackson's eye that feels like nothing less than a clever tribute to John Frankenheimer's Seconds that I greatly appreciated among other wonderful references and homages.

Despite working at the top of his game for the first time in eons, some of M. Night's worst habits also crop up every now and then. Although, they're not prevalent enough to bring the whole show down. There's the spectre of schizophrenic tonal shifts and narratives that don't entirely add up have always loomed large over his body of work and this is no exception. If there's a weak link in the cast, I'm disappointed to say that it's Sarah Paulson. To be fair, her character is the worst written in the entire film; so, she's given almost nothing to work with; but, her flat affectations don't add anything to the proceedings and (intentionally or not) manages to make the stilted dialogue feel even more unnatural. Everyone else is thankfully operating in top gear. Once again, James McAvoy is the standout whenever's he's effortlessly switching back and forth between The Horde's various eccentric personalities and he's even given some effective comedic moments*. Samuel L. Jackson isn't afforded the level of screentime one would expect from the title; however, when he gets time in the sun during the climax, he really comes to play and his presence is magnetic. Of course, it's also nice to see a recent movie with Bruce Willis where he seems act like he actually wanted to be on set besides the paycheck.



When I think of Glass, I recall an idea once posited by the great Francois Truffaut: that a film being interesting is far more important than any perceived measure of quality. As much as I've dunked on Blumhouse over the years, I highly respect Jason Blum for being a sharp-witted businessman and the fact that he gave Shyamalan carte blanche to make a film only he could've made. Despite being all over the place in others respects, it stirkes a stable mix of the meditative moodiness of Unbreakable and the schlock sensibilities of Split (ditto for West Dylan Thordson's phantasmagorical score). It's built from the ground up to be a polarizing experience. When the absolutely bugnuts third act rolls around, you're either going to go along for the ride or you're going to instantly tune out and it'll bounce off you. It's the kind of thing that can spark hours upon hours of conversation about whether or not it even really works. Structuring the climatic entry in a trilogy to be deliberately unsatisfying or even downright puzzling is a bold choice that's not going to click with everyone. For now, I'm happy to say this is the most fascinating and out there work in the superhero genre since Logan (or hell maybe even Batman v Superman).

GLASS gets a...
KINO PAR EXCELLENCE out of TEN

Jack's Favorite Movies of 2018

2018 has been a tough year for many people and even I've had my lesser moments. Thankfully, we've had plenty of awesome flicks to pass the time in between all the chaos. A lot of good stuff flew under the radar and I'm going to try to give all of it some time in the sun (be it in this article or some other down the line). Likewise, I won't do a "Worst of the Year" list because they're tacky, boring and ultimately unproductive. Besides, why would waste my precious time pissing and moaning about films I either didn't care for or outright despised? Never have, never will. End of discussion.

Art is subjective and people are free to like or dislike whatever they wish to. I'd also like to note that nothing about this is set in stone or sacrosanct. Chances are these rankings will fluctuate and change over time. My thoughts on each entry may increase or sour as the years pass. That also feeds into why I call these lists my "favorite" movies of the year and not the "best". So, take this with a tiny grain of salt. Now, with all of that expository garbage out of the way, on with the list. The following fifteen films are what I'd consider to be the standout works of cinema from 2018. Enjoy!

#15) SEARCHING

Contemporary techsploitation has finally yielded its first out-and-out success with Searching. Doing a more subtle riff on the likes of Taken (only leaning more towards slow-build tension rather than cheap white knuckle thrills). John Cho and company give great performances in spite of the constraints inherent to this kind of movie. Really, everyone involved gave this project 110%.To say it's refreshing would be an understatement.

#14) YOU WERE NEVER REALLY HERE

Consider this a sort of arthouse Taxi Driver. Joaquin Phoenix gives a gut-wrenching yet understated as a hitman grappling PTSD. Plus, it's all undercut with what I'd say is some of Radiohead alum Jonny Greenwood's best work as a composer and that's really saying something. Words can't properly sum up what it's like to watch this. It's a personal experience that means different things to the different people who've seen and/or loved it.

#13) THE BALLAD OF BUSTER SCRUGGS

A lot has been said about Netflix lacking quality releases when it comes to their film output. Thankfully, it appears that won't be the case for much longer. They've really stepped their game up this year and we're all the better for it. Joel & Ethan Coen gifted the streaming titan with a Western anthology. Veering wildly from the comical to the darkly tragic to the poignant, The Ballad of Buster Scruggs is a nice Western-flavored slice of everything that makes the Coen brothers so endearing.

#12) GAME NIGHT

Frequently hilarious and thrilling, Game Night is a wonderful example of what you get when focus on comedies as movies first and not ninety-minute sitcoms (albeit with leeway to push the envelope a tad further regarding content). Here's hoping this and Tag serve as shots in the arm for a genre that needs to evolve now more than ever.

#11) THE OTHER SIDE OF THE WIND

Whenever the release schedules start feeling predictable, I find that it's always important to remember that pleasant surprises still lurk around the corners. Case in point: The Other Side Of The Wind. Distributed by Netflix, the posthumous final film of the legendary Orson Welles turned out to be a Fellini-esque tone poem that poses the interesting thesis that Welles himself might have far from the genius that film snobs praise him as. Or, for a more recent comparison, a more abstract work in the vein of Birdman. What does it all mean? I'm not entirely certain. Nevertheless, I can't wait to return for several more viewings in the vain hope of figuring out this inscrutable cinematic puzzle.

#10) UPGRADE

Speaking of pleasant surprises, Upgrade seemingly came out of nowhere to the delight of hardcore movie nerds including myself. Every action beat is next-level brilliant, with uniquely mechanical camerawork and a gleefully cavalier approach to gore. All of which is anchored by an appropriately maleable yet grounded performance from Logan Marshall-Green. Combining the best elements of revenge thrillers, body horror and cyberpunk into one unique, it's a fantastic B-movie from Leigh Whannell as well as a showcase the best of what Blumhouse is capable of.

#9) ISLE OF DOGS

Wes Anderson popping up on anyone and everyone's year-end best list stopped being surprising eons ago. What is surprising is how that never became tiresome. 2018 was a mostly solid year for animation and Isle of Dogs reigned supreme among the genre's myriad of offerings. Some misconstrued as an act of cultural appropriation when it turned out to be a sincere work of cultural appreciation. Soulful, quiet, and visually sumptuous, it's a solid family adventure with more artistic flair and high-minded ambition than this sort of fare usually gets.

#8) WIDOWS

If Drive owed more than a little debt to Thief, then this has a lot of Heat in its DNA. Timely, slick and morally uncompromising, it's decidedly an slow burning anti-crowdpleaser which makes it all the more engrossing. The less I say about this picture, the better. If it's still playing in your area, check it out.

#7) MANDY

Nostalgia has become so ubiquitous in the culture that by now that not only have people started to grow tired of its omnipresence; but, complaints and thinkpieces about have grown more tiresome. Then, there comes a movie like Mandy that shows how it can be used to push the medium forward rather than being strictly reflexive. It accomplished the impressive feat of combining Nicolas Cage's cult appeal while also reminding everyone how we continue to underestimate him as an actor. The sophomore film of Panos Cosmatos is a fascinating intersection of art and exploitation, creating a meditative moodpiece out of visuals ripped straight from a Megadeth album cover. Plus, who can't groove with a film that opens with a King Crimson track and climaxes with Nicolas Cage engaging one of the villains in a chainsaw duel?

#6) THEY SHALL NOT GROW OLD

A war documentary that takes the questionable practice of colorizing black-and-white footage and uses it as an indispensable storytelling technique (opting to use it to rather make something old more suitable for modern audiences). Without a doubt, it's the best thing Peter Jackson has made since he remade King Kong almost fifteen years ago. It's a remarkable work of craftsmanship and film preservation all the same. Do not miss this when it opens wide next February. I rarely this phrase because it's as cliched a saying as "instant classic"; but, They Shall Not Grow Old is essential viewing.

#5) SOLO: A STAR WARS STORY

There are times where I wonder if I'll ever go a year without having a Star Wars movie in my year-end best list. If I could redo my Best of 2016 and 2017 lists, Rogue One and The Last Jedi wouldn't have made the cut (or, at the very least, wouldn't rank as high as they did). A lot of discussions have popped up around the latter regarding how it radically subverts expectations and attempts to push the franchise forward. On the other side of the storytelling spectrum, you have Solo. A film that was plagued with production issues, had the least necessity for its own existence out of all the various sequels/prequels/spinoffs/whatever else is being pumped out of the LucasFilm system and was casually ignored by general audiences; yet, I'd be lying if I said this wasn't my favorite of the new movies. It stayed true to the spirit of it's title character while expanding his and adding to the overall mythos in satisfying ways. Sometimes, you don't need to reinvent the wheel. Rather, you can do wonders by just polishing and fine-tuning it.

#4) WON'T YOU BE MY NEIGHBOR?

Now, I can't say this is the best documentary of the year; but, it's an engaging reminder of how important Fred Rogers and his messages still are in increasingly cynical times. It effectively brings him down to Earth without being a feature-length hitpiece. It's gentle and sincere while . An emotional yet experience. If you missed it while it was in theaters, rent it when you can. You won't regret it.

#3) READY PLAYER ONE

It's hard to think of any praises for Steven Spielberg that haven't been sung time and time again. Let's face it, he's not going to be around forever. When he's gone, there's going to be a lot of difficult discussions and debates we're going to have over his extensive catalog of work. One of which I've already accepted is that his more serious movies aren't going to be the first things that come to mind. To put it more bluntly, we're going to remember him for stuff like this, Jurassic Park and Close Encounters moreso than the likes of Lincoln or Schindler's List. Matinee friendly popcorn fare like this is going to be the reason we continue to for decades to come. Taking a charming yet clunky novel and deciding to reinvent it from the ground up to make it fit better on screen and sneak in undercurrents of career introspection. it has enough on it's mind to make it more than simple entertainment. Even if you're not digging for subtext, Ready Player One is just an awesome ride from one of the all-time masters of silver screen spectacle. The only way I could've fallen for this even harder is if I'd seen this when I was still a kid.

#2) ANNIHILATION

Speculative science fiction cinema with top-notch production design and gorgeous cinematography while managing to strike a balance of being open to interpretation without coming off as unbearably pretentious. Did I mention it's also perfect nightmare fuel? (that Bear scene still gets under my skin just thinking about it). It's scary for what it shows and even more terrifying for what it suggests. How something this out there and challenging could come out of the studio system is as ambiguous as the note writer-director Alex Garland chose to end his latest masterwork on. I have a good feeling we're going to be  talking about this one for a long time.

As per tradition, I'd like to shift some focus towards some honorable mentions. After all, tons of good movies come out every year and you can't stick everything on a year-end list without losing all the weight that's important to these lists. Anyway, here's a few films I liked even if they didn't find a place on the final list.

MANIAC
Yeah, yeah, I know this doesn't really count because it's a miniseries. You know what? I don't particularly care. If the third season of Twin Peaks can make lists from professional critics in 2017, I don't see why I can't gush about this at the tail-end of 2018. It's so well-executed, intellectually stimulating and skillfully put together it might as well be cinematic.

AQUAMAN
Out of the all the comic book flicks that came out this year, this was far and away my favorite out of the bunch. Did it have the best screenplay? Nope. Was the story the most original? Of course not. But, did it look spectacular and lean into everything that made the comics such goofy fun? You better believe it did! Aquaman is big-budget camp of the highest order and I wouldn't have it any other way.

PADDINGTON 2
File this with Won't You Be My Neighbor under "Cinematic Bastions of Wholesomeness and Positivity" (although you'll probably feel a lot happier after finishing this one).

MISSION: IMPOSSIBLE - FALLOUT
Techinally superb and relentlessly entertaining, Fallout finds welcome company among high watermarks of action cinema.

And, now, my favorite film of 2018 is....

#1) BAD TIMES AT THE EL ROYALE

The downside of having years where there are plentiful cinematic riches is that there's going to be a lot of stuff that gets lost in the shuffle. Such is the case with Drew Goddard's latest picture, Bad Times at the El Royale. A coastal neo-noir set in the late-60s with as much polish and sleaze as such a description would entail. It starts out quiet and unassuming (steadily increasing the mystery of what exactly might be going on)...and then Chris Hemsworth shows up, giving what is arguably the best performance of his entire career, and things go completely off the rails. A crime thriller with a unique setting, inventive story twists and occasionally thoughtful ruminations on redemption. Like a few other pictures on this list, you can trace its cinematic reference points; but, it's like nothing seen before. Once again, looking to the past to see how we can bring art into the future. Top that off with an expertly utilized soundtrack and a remarkably satisfying ending, what you get is one of the most well-crafted slices of cinematic pulp ever made and my favorite film of 2018.

Well, there you have it. If you didn't see a certain title pop up here, never stress. I haven't been able to see absolutely everything this year and I might write about a few in future. Happy New Year!