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After my last post’s batch of bad turkey, which certainly gave me indigestion, let’s celebrate what was great in 2018. There are only twelve slots in my (totally arbitrary and subjective) best of the year list; however, there are plenty of good entries as well as honourable mentions. Among these were some unexpected pleasures, including the grim but in places touching social realist drama Obey, and the charming comedy about family and race relations Eaten by Lions.
I caught some other British efforts at the Norwich Film Festival, including some great shorts as well as the features Waiting For You and The Isle. These films were striking in their use of evocative locations, including the south of France and the Scottish islands, as well as offering intriguing stories.
2018 was a good year for black filmmaking. Critical darling Steve McQueen returned with his fourth feature Widows, a heist thriller with sociological smarts to match its stylistic sheen, that dared to have women of colour standing up to patriarchy. Idris Elba’s directorial debut Yardie used music and location as an intricate and organic part of its story. A great surprise was Blindspotting, that offered thrills and laughs in equal measure, interweaving its politics with its narrative beautifully.
Even better was Spike Lee’s BlacKkKlansman, a brilliant piece of work that combined a true story with period setting and gripping set pieces. BlacKkKlansman subverted genre expectations and performed a reclamation of cinema through its formal properties, delivering a powerful and contemporary message. The highest profile ‘black film’ was Black Panther. While its racial politics received criticism and there is still a long way to go in terms of equal representation, Marvel demonstrated that a mainstream blockbuster can have a serious engagement with racial politics and isolationism, and also be a huge financial success.
Marvel Studios followed Black Panther with Avengers: Infinity War, a staggeringly ambitious super-powered epic. With ten years and eighteen films behind it, Infinity War balanced its multiple storylines and characters with verve and aplomb. Amidst the colourful fun, Infinity War also performed a sober exploration of power, making it exceptional in the superhero genre and a highlight of the year.
Other superhero exploits came in animated form, as Pixar delivered Incredibles 2. Fans of the original waited fourteen years to revisit the exploits of the Parr/Incredible family, and Brad Bird and his team did not disappoint with an explosive action adventure that engaged with ideas around gender and our relationship with technology. Sony Animation maintained their hold on web-slinging property as Spider-Man: Into The Spider-Verse combined dazzling displays of digital dexterity as well as just the right level of postmodern knowingness, proving that universes stretch just as much as spandex.
Perhaps the year’s biggest thrills came from a mega-star rather than a superhero. After twenty-two years, five previous films and with a star approaching sixty, Mission: Impossible – Fallout was a fabulous continuation of this enduring franchise. Bathroom fights, stolen plutonium, mountain climbing/falling, helicopter chases and a halo jump led to a breathless and exhilarating experience, with genuine emotion giving the film heart to go with its heft.
Other exhilarating experiences came from Ready Player One – the second Spielberg of the year that joyously embraced new technology – and First Man, which delivered a riveting journey into outer space that focused on the rivets themselves. While these films had very different subject matters – dystopian future and the tension between fantasy and reality, historical drama about journeys into grief as well as to the Moon – both featured exquisite levels of detail, every bit as immersive and compelling as each other.
By way of contrast, Cold War was a quintessential ‘art film’ that was involving and enthralling despite its rigid formalism. Stark black and white cinematography, interpersonal and geopolitical concerns, intimate performances and a heartbreaking story united in one of the most emotional yet carefully contained films of the year. Speaking of heartbreak, A Star is Born was an equally uplifting and devastating tale of music and romance, demonstrating that Lady Gaga is a fine actor and Bradley Cooper a fine director. And in one of the year’s strangest and most striking works, Lynne Ramsey delivered You Were Never Really Here, a brilliantly immersive revenge thriller, more about mood and experience than plot and narrative.
Finally, after this preamble, it is time to announce Vincent’s View on the Top Twelve Films of 2018. Therefore, and without further ado:
On the twelfth day of Christmas
The movies gave to me
Twelve lunar landings
Ten Lady Birds
Nine Stars a-birthing
Eight Ready Players
Seven Black Panthers
Six Watery Shapes
Five Phantom Threads
Three Ebbing Billboards
Two Were Never Really Here
And a Blac-K-k-K-lansman.
With awards season now upon us, I look forward to the many offerings that 2019 will bring.
‘As far back as I can remember, I always wanted to be a yardie’. No character in Yardie says this line, yet Idris Elba’s directorial debut echoes Martin Scorsese’s Goodfellas with its tale of the rites of passage through criminal syndicates. With its period detail and tactile sense of time and place, Elba’s adaptation of Victor Headley’s novel immerses the viewer in its milieu, its use of London also recalling David Cronenberg’s Eastern Promises, with an added Jamaican flavour. The narrative includes familiar genre tropes of revenge, redemption, how one defines identity and the tensions between men being men and women being sensible. The theme of immigration adds a distinctive element to the film, as Jamaican culture feeds both the yardie mentality and a non-criminal lifestyle. Elba handles the interpersonal drama effectively, allowing a very impressive cast to shine. Elba also displays confidence and flair as a director, especially with such devices as freeze frames and non-sequential editing. Various sequences begin, continue and end, but key moments from these sequences appear and reappear later, often with additional detail. This emphasises the film’s conceits of trauma and haunting, as our protagonist Dennis (Aml Ameen) is psychologically trapped in a formative moment, an experience that he cannot escape even when his location changes from Kingston to London. As the film follows Dennis’ progress, there is a constant sense of enclosure, demonstrated with claustrophobic framing and close quarters. The one avenue for escape comes from music, brilliantly realised with an atmospheric soundtrack, that takes centre stage at key points. These include an attempt at an armistice between warring gangs, and later as a possible road to redemption for Dennis. Yet the musical and the criminal pathways are intertwined, and Dennis’ status remains fluid and liminal. Come the end of the film, the viewer is likely to feel ambivalent, which is a sign of the film’s strength. Not only is it worth seeing in its own right, but Yardie raises expectations for what Elba may do next.