2018 offered plenty of pleasures, ranging from the enjoyably silly Rampage to the grimly po-faced Mile 22. It proved an especially fruitful year for horror cinema – I missed out on Hereditary, which attracted a lot of discussion, but did catch Jeremy Dyson and Andy Nyman’s adaptation of their stage show Ghost Stories, which demonstrated (after)life in the anthology drama. I wasn’t as impressed by Ghost Stories as some have been, finding it a bit too neat when what I wanted was a devastating collapse of reason and rationality (which is hardly unreasonable). More effective was A Quiet Place, which proved a brilliant thrill. It’s a weird film that, if you think about it, rapidly develops major holes but, while you watch it, is absorbing and genuinely terrifying, especially if you have an aversion to bare feet.
Other horror offerings included the underwhelming The Little Stranger and the disappointing Suspiria (on which more later). Far more impressive was the surprisingly engrossing Overlord, that delivered gruesome horror in a World War II setting. But standing masked head and shoulders in the horror genre was David Gordon Green’s Halloween, a triumphant return of this classic series that provided genuine old school tension combined with modern sensibilities and awareness.
Halloween was far from the only familiar name for, as has become standard, the box office was ruled by sequels and franchise instalments. These were of varying quality, as Deadpool 2 provided more of the same to diminished returns on the laugh front, although extra characters did swell the interest. Ant-Man and the Wasp was the third MCU entry after Black Panther and Avengers: Infinity War (on which more later), and proved to be a suitably light-hearted caper, although it did suffer from an overuse of the word ‘quantum’ that failed to make the techno-babble any more comprehensible.
During the summer, Star Wars provided us with Solo: A Star Wars Story. This was perhaps not a story we needed, but it managed to be one that the fans of Han Solo deserved, breathing new life into this stalwart from a long time ago in a galaxy far, far away. Similar rejuvenation occurred with Ocean’s 8. Rather than being a gimmicky cash-in, this gender-inverted caper offered a shine all of its own.
Perhaps the year’s most pleasant surprise was Jurassic World: Fallen Kingdom. When Jurassic World opened in 2015, I thought the franchise should go extinct, but this latest instalment went to strange and encouraging new places, and I look forward to where the dinosaurs will go next. Therefore, while there was varying quality, all of these films did provide some enjoyment.
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