Top Ten of 2018

So, it’s time for THE LIST: the ten best films I saw in the cinema in 2018. What a year – it was almost impossible to choose just ten (please note honourable mentions at the end).

In alphabetical order, here we go …

A Star is Born: I knew that I would love this film, pretty much just based on the concept and its two leads. But, boy, did I love it. The love story; the songs; the tragedy. Right up my musical and dramatic street.

Bad Times at the El Royale: One of the most entertaining films of the years, Bad Times is not without flaws. But with a wonderful cast, some whip-smart dialogue, and a super stylish look, I had an absolute ball.

Death of Stalin: This political farce by the master of the genre (Armando Iannucci) is a riotous joy to behold. So smart, so funny, so ridiculous, so on-point. And worth the price of admission alone is Jason Isaacs, clearly having the time of his life.

The Favourite: Yorgos Lanthimos is fast becoming my favourite director. Following on from his surreal masterpieces The Lobster and The Killing of a Sacred Deer is The Favourite – an absolute treat, with three wondrous performances from its female triumvirate.

Mary Poppins Returns: I was a nervous wreck before seeing this film. Why even touch such a beloved classic?!! Well, I needn’t have worried. More of a remake/homage than a sequel, Mary Poppins Returns delivers. Blunt and Miranda are delightful. I grinned throughout.

Phantom Thread: A cinematic masterclass – in acting, directing, writing, scoring, everything. This beautifully quirky film has stayed with me all year. And I can’t order breakfast – or even think about sausages – without remembering that particular scene and chuckling.

Roma: Both a sweeping visual masterpiece and an intimate telling of domestic life in 1970s Mexico, Roma was simply beautiful. A film in which everything and nothing happens all at once.

The Square: There are few films that I would recommend to almost no one, but The Square is one. A wonderfully astute poke at the modern art world, this film is baffling, funny, and completely bonkers. With one of the most disturbing scenes I can remember in quite some time.

Tea with the Dames: At 84 minutes long, this wonderful film is several hours too short. In fact, I could spend days and days with these four formidable Dames. Utterly delightful.

Upgrade: A properly violent, grown-up action flick. The compelling concept really delivers, with a great anchoring performance from Marshall-Green. At a refreshingly tight 95 minutes, Upgrade is sharp and funny.

And some honourable mentions: At Eternity’s Gate, Coco, First Man, Isle of Dogs, Ladies in Black, Ladybird, McKellan – Playing the Part, R.B.G., Vice, Widows

Top Ten of 2017

It's that time of year again ... the ten best films I saw in the cinema in 2017. I saw *a lot* of films this year - they call it funemployment! - and there were certainly some cracking good ones.

So, in alphabetical order, here we go ...

Baby Driver: I agonised about including this one. Yes, because of the "Kevin Spacey Factor". Ugh. But I had to - this is a modern classic. Utterly original from the brilliant mind of Edgar Wright. A rip-roaring and ridiculous ride, with surprising heart.

Brisby Bear: What a strange wee film. It's really best you see this without knowing much about it. If you want to simultaneously feel a bit weirded out and a warm glow, check out this indie gem.

Denial: What a cast. What a story. What taut drama. The three leads - Rachel Weisz, Timothy Spall & Tom Wilkinson - are a triumphant triumvirate of masterclass acting. A great courtroom drama based on real events.

Dunkirk: The most surprisingly intimate war movie in recent memory. In Christopher Nolan's capable hands, the varying timeline strands are a masterstroke. I cried buckets.

The Killing of a Sacred Deer: Director Yorgos Lanthimos' films are an acquired taste, for sure. His 2015 outing, The Lobster, is one of my favourite movies of this century. Sacred Deer is just as discombobulating and definitely darker. Highly recommend (to a very small group of people!)

Logan: A welcome relief from the same-same superhero movies that have inundated cinemas in the last few years. Logan is excellent - grimy and violent and sad, with great performances by Huge Action and Sir Pat Stew.

Maudie: What a gem. It's a big call, but Maudie might just be my film of the year. This is an enchanting, emotional, intimate movie about finding happiness in unlikely places. Sally Hawkins and Ethan Hawke deserve *all* the awards.

Norman (The Moderate Rise and Tragic Fall of a New York Fixer): Who knew Richard Gere had some real acting chops behind that charmingly wooden silver fox exterior? This is a smartly told, satisfying, surprisingly affecting story. A great wee film that no one saw.

The Shape of Water: Magical. Guillermo del Toro does it again with this masterful, very adult fairy tale - funny, poignant, horrific, other-worldly. And Sally Hawkins - she can do no wrong in 2017.

Three Billboards Outside Ebbing, Missouri: This darker-than-the-darkest-night comedy is brilliant. Frances McDormand is at her Fargo-best as an angry, vengeful, grieving mother. In fact, everyone is pretty angry in this funny, sad, violent film.


Honourable mentions: Colossal, Manchester by the Sea, Moonlight, Paddington 2, The Party, Toni Erdmann

Top Ten of 2016

It's that time again - these are the top ten films I saw at the cinema in 2016. A year of some unforgettable performances.

Arrival - I was deeply moved by this film. So sad and not at all what I was expecting. Amy Adams was utterly tremendous.

David Brent: Life on the Road - The return of Ricky Gervais' creation could have been a disaster. And while this film has received mixed reviews, I thought it was brilliantly funny and extremely poignant.

Girl on a Train - Also a divisive film, I was utterly mesmerised by Emily Blunt's amazing performance in this thriller. For me, it lived up to the book, which I also loved.

Hail, Caesar! - So so funny and clever, I adored this Coen Brothers film. Completely worth it for the "would that it were so simple" scene alone.

High Rise - I'm not sure I'd be in a hurry to see this film again, but I highly recommend just one viewing of this visceral and disturbing thriller.

Lady in the Van - For my money, this film contains two of the outstanding performances of the year. Maggie Smith and Alex Jennings give a masterclass in acting in this funny and sad true story.

La La Land - It felt like this movie was made with me in mind. This romantic musical is a joy, with an abundance of chemistry between its gorgeous leads Ryan Gosling and Emma Stone.

Room - I saw this award-winning film so early in 2016 and yet it has stayed with me all year. A beautiful, difficult, sad, uplifting story.

Sing Street - A must see for any child of the 80s, this musical is brimming with talent and laughs and joy. Loved it.

Steve Jobs - Michael Fassbender's portrayal of Apple founder Jobs might be my performance of the year. This is a compelling and interesting biopic with a unique and revealing story-telling structure.

Honourable mentions: Jason Bourne, Rogue One: A Star Wars Story

Top Ten of 2015

My top ten films of 2015, as seen at the cinema, at the time they were released in NZ … No obvious favourite this year, but a lot of quality, off-beat movies, so I can’t complain.

Amy
A compelling and harrowing account of Amy Winehouse’s rise to stardom and her tragic death, told through and by Amy’s family and friends. From the man behind Senna (another cracking documentary), you don’t have to be a fan of the singer to be a fan of this movie.

Black Mass
This film has got a bit of a bad rap. But for my money it’s the most compelling thriller of the year. Tremendous acting by a stellar cast, not least a back-on-form Johnny Depp. It’s not always an easy watch, but it’s a rewarding one.

Inside Out
An absolute joy. One of those kids films that transcends its target audience, and has much on offer to delight and reward its adult viewers. Inside Out genuinely moved me.

The Lobster
Off-beat. Disturbing. Hilarious. Tragic. Surreal. And so much more. A real gem of a movie that, I freely admit, is not for everyone. But it certainly tickled me.

London Road
London Road’s true-life subject matter – the discovery of the bodies of five women in Ipswich in 2006 – makes for an unlikely and unusual musical mockumentary. This film is definitely an acquired taste, but I loved it.

Macbeth
A grimy, dark, anguished telling of one of Shakespeare’s most compelling tales. With some of the best acting you will see this year or any other, particularly from Michael Fassbender as Macbeth and Sean Harris as Macduff.

Mad Max: Fury Road
LOUD!!! And brilliant – a feminist tale in a dystopian world. But mostly LOUD!!!

Minions
I won’t apologise for featuring this film in my top ten. Nothing made me laugh more this year than these weird little yellow weebles. BANANA!

Mr Holmes
A telling of the final days of super-sleuth Sherlock Holmes. Ian McKellen gives an absolute masterclass of acting in this gentle, moving film.

Star Wars: The Force Awakens
Well done JJ – you didn’t mess it up. And more than that – you made an entertaining, funny, action-packed, heartfelt movie reminiscent of the good trilogy (as opposed to the ‘trilogy-of-which-we-shall-never-speak-again’).

Honourable mentions (aka "nearly-made-it"): Legend, The Martian, Spectre, Trumbo.

Top Ten of 2014

What it says on the tin - my top ten films of 2014. As seen at the cinema, at the time they were released in NZ:

August: Osage County
This emotionally epic tale of the worst family you will ever come across has remained with me all year. Bitterly funny and tragic. With superb performances all round from an A-list cast. My film of the year.

Boyhood
A feat of film-making, but not because of the usual computer-generated bangs and whistles. Filmed over 12 years, with a cast and director utterly committed to the project, the audience literally witness a coming of age. A compelling, touching film.

Frank
An odd-ball comedy/tragedy very, very loosely based on the singer Frank Sidebottom. Quirky, laugh-out-loud as well as 'scratch your head in bemusement' funny. An absolutely wonderful Michael Fassbender is my pick for performance of the year.

Gone Girl
Wowzers. I was highly skeptical going in, having loved the book on which this film is based. I needn't have worried - in the hands of David Fincher this is one of the most thrilling, sadistic, slick films you'll see.

The Hunger Games: Mockingjay - Part 1
I'm as surprised as anyone to see the first part of the final instalment of this trilogy in my top ten. But, you know what - it was really very good. Less action-packed than the first two, without a 'games' on display. But grittier, darker, moodier, smarter, more mature, with a stellar performance by Jennifer Lawrence.

In Order of Disappearance
The blackest of black comedies, set in a landscape of snow and ice, this Norwegian film was simply brilliant. Starring the ever-watchable Stellan Skarsgard, as a father avenging his son’s accidental murder.

The Lego Movie
Everything is awesome. Enough said.

Nightcrawler
Loved this compelling story of a sociopathic crime scene photographer, which is so tense you will spend the entire film on the edge of your seat. Splendidly creepy performance by Jake Gyllenhaal.

Pride
The feelgood movie of the year. I laughed, I cried, and then I laughed some more. It sits easily alongside the likes of Billy Elliot and Brassed Off; the type of genuinely moving stories that the Brits tell so well.

The Skeleton Twins
A wonderfully funny, tragic, touching story of the 'black dog' that afflicts two estranged siblings. Kristen Wiig and Bill Hader are both brilliant, their familiarity through years of working together plain to see. And they perform the best lip-sync you'll see all year.

Interstellar

Matthew McConaughey, Anne Hathaway, Jessica Chastain, John Lithgow, Michael Caine, Mackenzie Foy

Dir. Christopher Nolan
Scr. Christopher Nolan and Jonathan Nolan

The one thing I would certainly urge for those interested in seeing Nolan’s latest outing, Interstellar, is: see it on the biggest screen you can find. And if you don’t like your movies LOUD, maybe give it a miss. Interstellar is certainly an experience. It’s not without some pretty major flaws, including some saturating doses of schmaltz. But there are enough ‘wow’ moments to make this film well worth a viewing.

Set in the not too distant future, on a dustbowl Earth ravaged by drought, famine and extreme climate, Interstellar tells the story of former astronaut Cooper (McConaughey). With the human race facing extinction, Cooper and a group of other space travellers (including Hathaway) are humanity’s last hope of finding a planet that can sustain life.

But first Cooper must leave his family behind, not knowing when or if he will return. In a heart-wrenching scene unlikely to leave anyone with a dry eye, Cooper says goodbye to his daughter Murph (Mackenzie Foy).

I suppose this is where the overwrought sentimentalism begins. And unfortunately it’s not where it ends. I’m not at all opposed to some well executed schmaltz, but if I had to listen to Caine’s character recite the Dylan Thomas poem ‘Do Not Go Gentle Into That Good Night’ one more time, I was going to strangle someone (preferably Michael Caine himself). For my taste, there was simply too much espousing of how so very important their interstellar journey was, what dire straits humanity was in, and love, the universe and everything. We didn’t need to be hit over the head with the gravitas. It was abundantly clear from the set up and the visual, which was spectacular.

Having said that, there are moments in Interstellar that blew my tiny little mind. And because this is a spoiler-free zone, you’ll just have to trust my word on that. But if you know Nolan, you know this is an epic visual feast. He had a challenge living up to last year’s Gravity, which changed the space genre forever. But he does, in spades.

The performances in this film were largely solid. McConaughey has risen exponentially in my estimation (thanks to the likes of True Detective and Dallas Buyers Club), and he is a brilliant choice for the gruff, can-do Cooper. Hathaway, as fellow space traveller Brand, is only mildly annoying and no more unlikely an astronaut than Sandra Bullock was in Gravity. Caine and Lithgow offer up predictably grizzly performances. The other real standouts both play Murph, but at different ages. Foy, as 10-year-old Murph, has maturity and magnetism beyond her years. And Chastain, as adult Murph, is equally engaging and compelling. And there is one more performance that is excellent and refreshingly against type … but you’re just going to have to see the film to discover that one.

I certainly enjoyed Interstellar. It is hugely ambitious – it reaches for the stars (excuse the pun) and in many ways, delivers. At nearly 170 minutes, it certainly felt a little heavy and could have lost half an hour without much trouble, and ended at least ten minutes before it did. And I did feel simply too emotionally manipulated – Nolan could have reeled himself in, without losing the emotion and sentiment he was clearly shooting for.

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Cooper: We used to look up at the sky and wonder at our place in the stars; now we just look down and worry about our place in the dirt.

Gone Girl

Ben Affleck, Rosamund Pike, Neil Patrick Harris, Carrie Coon, Kim Dickens, Tyler Perry

Dir. David Fincher
Scr. Gillian Flynn (based on her novel of the same name)

Director Fincher had quite a mountain to climb in his latest outing. Gone Girl – the book – was read and acclaimed by half the planet, which makes Gone Girl – the movie – a challenge. Fincher’s no stranger to the task however, directing The Girl With the Dragon Tattoo and Fight Club, both adapted from popular novels. What he’s managed to do here is satisfy both the reader and non-reader. Gone Girl is a genuinely thrilling, shocking ride, regardless of whether you know what’s up ahead or not, with some inspired casting and great performances.

On their fifth wedding anniversary, Nick Dunne (Affleck) arrives homes to find his wife, Amy (Pike), gone. Suspicious circumstances point to violent kidnapping and a manhunt is launched, attracting nationwide attention for the seemingly innocent, perfect, loving Amy. Soon Nick’s lies and strange behaviour have the police, Amy’s family, the town and the nation asking the same question: did Nick Dunne kill his wife?

The set-up is simple, but soon enough the audience is blind-sided by twist after turn. It quickly becomes clear that no one is quite what they seem. Fincher and screenwriter/novelist Flynn do a stellar job in both keeping us on our toes and not letting the narrative run away or twist in on itself. Though I do think the ending feels too rushed and meaningless; undoubtedly the biggest casualty of moving from the written page to the screen. Regardless, this is a sophisticated thriller, and while some might label it humourless, it’s definitely fun in its own way. And when I say fun, I of course mean twisted, nasty, shocking fun. The kind of fun that makes you laugh and recoil in equal measure. This creepiness is no doubt helped along by Nine Inch Nails’ Trent Reznor’s score and, as we have come to expect from Fincher, a grey, muted palette which manages to convey a seeping sense of foreboding.

The performances in Gone Girl are almost entirely spot-on. I’m not a huge fan of Affleck; what the last few years have made clear is that he’s better off behind the camera than in front of it (and I simply cannot comprehend an Affleck Batman). But it is precisely this unlikableness that makes him perfect to play the smug, disgruntled, soulless Nick Dunne. For those of us who know her work, Pike is simply her usual beautiful, stellar self. But I suspect she will be largely unknown to an American audience, at least in a lead role. And this unknown factor makes her a perfect choice for Amy, the true enigma of the story. Harris is absolutely inspired, perfect casting for the creepy ex-boyfriend Desi Collings. And Dickens gives a very fine performance as Detective Rhonda Boney. Nick’s twin sister, Margo, played by Coon is really the only weak link – her performance is a touch too overwrought and frenetic for my taste.

Gone Girl isn’t perfect, but it’s probably the most thrilling, sadistic, slick film you’ll see this year. And I promise you one thing – it’ll make you feel extremely smug (and relieved!) about your own relationship.


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Amy Dunne: I can practice believing my husband loves me. But I could be wrong.