Conor and Eric detail their most anticipated movies of 2018.
Apostle – (Dir. Gareth Evans, Star. Dan Stevens, Michael Sheen and Lucy Boynton (Sing Street) – A man attempts to rescue his sister after she’s been kidnapped by a religious cult.
Hold the Dark – (Dir. Jeremy Saulnier, Star. Alexander Skarsgård, Jeffrey Wright, Riley Keough) – After three children are killed by wolves, a writer is hired by the parents of a missing six-year-old boy to track down and locate their son in the Alaskan wilderness.
Release: June 1 on Netflix
Parasite – (Dir. Joon-ho Bong, Star. Kang-ho Song) A man is infected with a parasite that changes his world in unforeseen ways.
Pros: Joon-ho Bong and Kang-ho Song reunite for the first time since Snowpiercer
Release: 2018 (If I’m being honest, I highly doubt it will be out this year)
The Predator – (Dir. Shane Black, has one of the strangest casts: Tom Jane, Keegan Michael Key, the little kid from the room (Jacob Tremblay) (Trevante Rhodes (grown up Chiron in Moonlight) Alfie Allen (aka Theon Greyjoy) Yvonne Stahovski, Edward James Olmos and Jake Busey) – A sequel of the 1987 sci-fi film “Predator”
Pros: Tom Jane.
Cons: There might be some non Tom Jane scenes.
Release: September 14
The Meg (Dir. Jon Turtletaub (famed director of National Treasure), Star. Jason Statham, Rainn Wilson, going hard after the Chinese market with BingBing Li, Ruby Rose and Cliff Curtis) – After escaping an attack by what he claims was by a 70-foot shark, Jonas Taylor must confront his fears to save those trapped in a sunken submersible.
Cons: None. I can’t foresee a single thing that could be wrong with a giant shark movie directed by the director of National Treasure starring Jason Statham and Dwight from the Office.
Release: Aug 10
Farenheit 451 – (Dir. Ramin Baharani, Star. Michael b. Jordan, Michael Shannon) HBO’s adaption of Ray Bradbury’s famous novel about fireman who burn books in the future. My favorite book. The cast is great, but nothing about the
Pros: Great source material
Cons: Hard to translate to screen.
Release: May 2018
Creed II – (Dir. Steven Caple Jr., Star. Michael B. Jordan, Tessa Thompson) – Under the tutelage of Rocky Balboa, newly crowned light-heavyweight champion Adonis Creed faces off against Viktor Drago, the son of Ivan Drago.
Pros: Great momentum from the first film
Cons: No Ryan Coogler (Caple is supposed to be a Coogler protégé though)
Release: Nov 21
Under the Silver Lake (Dir. David Robert Mitchell (It Follows) Stars Andrew Garfield) – A man becomes obsessed with a kidnapped girl and must rush to save her before it’s too late.
Pros: David Robert Mitchell’s first movie since It Follows
Cons: Looks like one of those movies that could unravel effortlessly
Release: June 22
Solo: A Star Wars Story (5/25) – They haven’t made a bad star wars film, so this could be good, but I don’t have high hopes. Still, it’s a Star Wars movie so I’ll see it.
Avengers: Infinity War (April 27)- Gonna be a huge film with a lot of surprises
Incredibles 2 (June 15) – Sequel to one of Eric’s favorite Pixar films
A Quiet Place (Apr 6) – Well reviewed horror, reminiscent of M. Night’s ‘Signs’.
MI-6 (7/27)- The sixth movie of that Tom Cruise franchise where he runs a lot.
The Death of Stalin (releasing now)- From the creator of Veep.
Our movie review podcast has finally taken shape as ‘Mandatory Reshoots’. For our first official episode we review the trash fire that is Netflix’s new secret Cloverfield movie, ‘The Cloverfield Paradox’.
Movie Grades for the Cloverfield Paradox:
Sam – D
Eric – D-
Conor – C-
Lightning Trivia Round begins at the [54:09] mark in the podcast.
In addition to written best of lists and movie mashups, this year I recorded an absurdly long podcast with Sam Alcarez and Eric Sweeney where we discuss our favorite movies of the year. At two and a half hours long, it’s just under the runtime of Blade Runner 2049. No podcast should be this long, and yet, here we are.
1. Lady Bird – I’m sure many can say that Lady Bird reflected some part of their teenage life, but I’m also pretty sure it reflected MY teenage life so closely I tried not to tear up, especially during every scene betweenSaoirse Ronan and Laurie Metcalf. The misunderstanding between daughter and mother but constant need for love and approval? Check. The desire to move far away for college and apply to schools I couldn’t afford? Check. Falling in love with a cute boy who ended up not feeling the same? Yep. The crying in the car while listening to Dave Matthews Band? Several times check. The film is brimming with emotion and beautifully depicted both tempered and quiet relationships Lady Bird had with everyone in her life. Bonus points for getting to watch little Briony not be a punk while coming of age and completely smash this role.
2. Step – Come for the stepping, stay for the feels. The documentary follows a group of seniors from an all-female high school in Baltimore. These young ladies all find refuge in the step team while battling to make it through school just to graduate. They have a lot standing in their way—from poverty to inner city social injustice—but their families, teachers and friends all stand together to get these women into college. The documentary might be missing a few steps (pun not intended) in the overall story, but it managed to keep me sitting up straight and paying attention to what it takes to get an education when resources are scarce and spent the whole time rooting for them as they found out their futures.
3. Okja – All of the personalities in this movie were as colorful as the costumes they were in, but Okja was the one who really stole the show. I wanted to cry and hug that animated hippo pig as much as I did with Bing Bong. The opening scene where we meet Okja, along with Mija is more heartbreaking to watch a second time through because of the pure innocence the scene encapsulates, knowing what lies ahead for the pair—corporate greed, deception, animal abuse—barely scratches the surface. The dark material may show a very real side to how humans are hungry for blissfully ignorant tasty meats at the expense of how animals and the planet itself are treated, but at the same time there are the little guys (or girls, rather) who fight with all of their heart to keep a little piece of it safe from harm. It gives me hope.
4. The Big Sick – I found myself relating to yet another movie about a strained child/parent relationship. It was even more relatable coming from an Asian background and having the same pressures of what parental expectations were and at the same time trying to find a voice. How many films can one watch as a minority and laugh cry at the exact same conversations I’ve had with my parents that are culturally relevant? Not many. If this movie had come out when I was younger, I would of stole all of Kumail’s comebacks in those conversations. But put that aside and there is the real story. WatchingKumail Nanjiani depict a version of his real life relationship with Emily Gordon—the distress he ends up in trying to figure out what she means to him, meeting her parents for the first time (the exchange between them in the hospital cafeteria is pure gold) and having to choose between a career and family/Emily—all while she is in a coma is well written, hilarious and shows a lot of heart.
5. Get Out – I don’t know what was more creepy. The poetic message of racism and ignorance, which is strongly relevant today in the form of a truly uncomfortable horror film, or watching the whitest white girl do the most white girl thing by eating Fruit Loops one at a time while slowly sipping a tall glass of white milk through a straw … while browsing the internet for her next victim. Not even with Google. Bing. BING. As I watched it was a slow unraveling of terror, as any brilliant horror film would do, but also a perfect blend of truth and comedy in true Jordan Peele fashion.
Apart from the extreme sadness and anger laced throughout the entire story, the moments I latched onto the most were the exchanges between Frances McDormand and Woody Harrelson. They showed that even in utter disappointment in another person whom one might even despise down to their very living matter, there was still room for compassion and understanding.
My top five is pretty heavy material so watching Ryan Gosling be really moody and running through a wall in a visually stunning world doesn’t hurt. This slides under the Top 5 because of Jared Leto and whatever performance that was.
Denis Villenueve continues to be on a roll. Arrival was my #1 last year, and he now has another one atop my list this year. I legit think this is better than the original (which I believe is a bit overloved) and they’ve expanded the universe even further. I want to see more films from this universe.
This is my favorite of the three new Star Wars films. This one looks the best, has the most meaningful character arcs and plots, and includes some of the best sequences ever filmed for Star Wars. It really shakes up what was an already-derivative story, meaning I have no idea what’s going to happen in the next installment and I find that exciting and refreshing.
This is my Favorite Movies of 2017 list (along with a second opinion from Liz and Eric Sweeney). As all lists are, this list is highly subjective and probably has a few dumb movies on it. What can I say? It’s a sickness. Even then, there are still quite a few movies that I haven’t gotten around to seeing yet (Baby Driver was in my top ten until Kevin Spacey was outed as a predator, so I’m bumping it off as a result). Also, all this year’s favorite movies are in movie montage mashup form if that’s your preferred manner of taking in best of lists.
1. Three Billboards Outside of Ebbing, Missouri – With as rough as 2017 was, you’d figure escapism would be the way to go, but why not go with a movie that steamrolls through all the year’s relevant issues. Racism? Check. Sexual Assault? Check. Police Brutality? Check. Homophobia? Check. Three Billboards confronts it all. There’s no denying this is a tough movie to watch at times, but it’s absolutely worth seeing. Even with its fairly deflating ending, this darkly comic take on tragedy, anger and empathy is my favorite movie of the year.
Penned and directed by Irish playwright Martin McDonagh (In Bruges), this story follows Mildred Hayes, a grieving mother who erects a series of billboards damming the local police for her daughter’s unsolved rape and murder. Like his previous efforts, McDonagh’s third film has razor sharp dialogue and a pitch black underbelly, but the real allure of this story is that it’s ultimately about forgiveness. That’s perhaps the great divide I feel with McDonagh’s kindred spirit, Quentin Tarantino, whose movies similarly feature extreme bloodshed and stylized banter, but often devolve into pastiches of nihilistic violence that leave me feeling empty by the time the credits roll. Tarantino is a skilled filmmaker, but I need a bit more heart. And for all their faults, McDonagh’s characters have heart to them. Especially the film’s hardened protagonist, Mildred, played to perfection by Francis McDormand. Everyone should stay home this year, because Francis McDormand deserves to win all the awards. All of them! (Trailer)
2. Wind River – Wind River is haunting. A stark, Cormac McCarthy inspired thriller set on the frozen plains of the Wind River Indian Reservation in Wyoming. I’ll be honest, Wind River may not be the best script Taylor Sheridan has written (Sicario and Hell or High Water being his other two) and its first hour may be a little on the slow and methodical side, but man, do the last forty minutes just sear themselves into your brain. What a great ending, especially the film’s final exchange, which, while heavy with sadness, has small slivers of hope present. Like Three Billboards, this film doesn’t shy away from grisly and relevant subject matter. The story feels timely and important. And while I’m not a huge Jeremy Renner fan, I think this may be his best role yet, playing a sort of cold weather Gary Cooper for the 21st century. Elizabeth Olsen, tasked with the Clarice Starling archetype, also performs admirably. I urge everyone to see Wind River and read more about the grim events it’s based on. This movie will sneak up on you. (Trailer)
Best Scene: Tie – Are You Flanking Me?/How Far Can You Run?/Death Face
3. Dunkirk – Dunkirk is easily the most technically impressive film I saw this year, a somber WWII masterpiece that favors its stunning visuals above coddling any of its shellshocked characters. Presented as an oddly shaped narrative puzzle, this steely take on the evacuation of Dunkirk is an edge of your seat experience from the very first frame. Once again, Christopher Nolan cruelly muzzles Tom Hardy behind a mask, and Hardy still finds ways to make his performance compelling as the heroic, but slightly Bane-garbled Spitfire pilot Farrier. I know this film has been divisive amongst viewers, some calling it an empty, exhausting experience, but I think the assault on your senses is intentional. I don’t think war movies should leave you feeling comfortable, or even satisfied for that matter. They should leave you a bit dazed and unsettled. And Dunkirk does that. I especially love what the end of the film has to say about its characters, too. One character who displayed varying levels of cowardice (understandable cowardice, but cowardice all the same) throughout the film is given a hero’s welcome at home, while the closest thing the movie has to an actual hero is left stranded on a beach behind enemy lines. How fitting. (Trailer)
Best Scene: Convergence at Open Sea
Watch This If You Like: Thin Red Line, Bane Planes, Piece of Cake, One Direction, Aviation photography, deafeningly loud audio tracks
4. Logan – With Disney’s recent acquisition of Fox, Logan will more than likely stand as the best X-Men movie of all time. Mostly because I can’t see Disney putting out a misery seminar like this ever again. Logan is a movie about growing old and dementia and immigrants and swearing at children. You know, the cornerstones of the Disney empire. It’s subversive to the genre, a camouflaged road movie/western that parades itself around as summer blockbuster fare for the masses. And even though it can’t escape its comic trappings in the third act, I wouldn’t change anything about this movie. Especially the film’s closing image. I’m not crying, you’re crying! (Trailer)
Best Scene: So This is What it Feels Like (single tear)
5. Get Out – Despite being listed as a comedy for the upcoming Golden Globes, further proving that we can’t have nice things, this sociopolitical thriller cuts right to the bone on issues of race and prejudice. It’s cleverly scripted, thoughtfully constructed and perfectly executed. When asked how he would classify his own movie, writer/director Jordan Peele called it a “documentary”. All credit to him for producing something this smart and subtle, fresh off his broader and sillier sketch comedy days. (Trailer)
Best Scene: Getting Out
Watch This If You Like: Satirical horror, well written scripts, Social issues that need addressing, the Get Out challenge
6. Blade Runner 2049 – Blade Runner 2049 is a Jared Leto appearance away from being a masterpiece (I continue to fail my New Year’s resolution to be nicer to Jared Leto). Whereas Dunkirk was the most impressive “what can we strap a two hundred and forty pound IMAX camera to and still fly?” achievement, Blade Runner 2049 is the year’s best example of pure mood. Roger Deakins may be the greatest living cinematographer, Denis Villeneuve may be the most underrated genre director working and Harrison Ford actually tried in this movie. That’s a lethal combination. (Trailer)
Best Scene: Fuck You, Wall
Watch This If You Like: Phillip K. Dick, Sci-fi, Harrison Ford not phoning it in
7. It – The horror in the reboot of Stephen King’s clown terror classic may be a bit straightforward and even clunky at times, but the core of the movie, the kids that make up the Losers’ Club, are fantastic. Their strong and believable bond far outweighs any of the film’s underwhelming aspects. Cinematographer Chung-hoon Chung (The Handmaiden, Oldboy) once again produces some distinctly grim visuals, Bill Skarsgard’s take on Pennywise is effectively unsettling while avoiding any sort of imitation or mimicry and the script is legitimately funny at times (that placebo line killed in our theater). I mean, what more do you want? (Trailer)
Best Scene: Losers’ Club Unite/Rock Fight/”These are Gazebos!”
Watch This If You Like: Stranger Things, Stephen King, Child actors being traumatized, On point New Kids on the Block references
8. Coco – Coco is Pixar’s gorgeous and culturally rich film about family, music and personal drive. The animation is breathtaking, the songs are impossibly catchy and the film floats with an emotional vibrancy in every scene. It’s a shame that tone deaf 22 minute Frozen short film about Olaf pulling a series of home invasions on Christmas played before Coco, but it did emphasize how great Coco is compared to schlock like that. Even ol’ Olaf couldn’t ruin this wonderful Pixar gem. And if you don’t find yourself misty-eyed in the last twenty minutes, then you’re a monster. Plain and simple. (Trailer)
Best Scene: Remember Me
Watch This If You Like: Crying in front of children, Pixar, Family, Celebrating life
9. Lady Bird– The strength of Lady Bird is that it feels like lived in material. Everything feels genuine and authentic. I don’t think there is a single misstep in the film. I know writer/director Greta Gerwig claimed this coming of age tale is semi-autobiographical, but I do wonder if this wasn’t her teenage years beat for beat, because I felt like I was watching someone’s life. It almost felt like an intrusion at times. I remember a similar effect while watching Richard Linklater’s Boyhood. Unlike Boyhood’s sprawl though, Lady Bird is presented in a series of choppy vignettes, effectively emulating the teenage attention span and gifting us a scattershot of Lady Bird’s formidable senior year. It’s sad, it’s bittersweet, it’s familiar, it’s elating. Laurie Metcalf and Saoirse Ronan are superb as the film’s bullheaded mother daughter combo, a pair that sees far too much of themselves in each other, echoed by the film’s opening image, a portrait of the two lying in bed together, a near reflection of one another. (Trailer)
Best Scene: Trip to the Airport
Watch This If You Like: Boyhood, Coming of age stories, Linklater vibes
10. Ingrid Goes West – Only Aubrey Plaza can make a character like Ingrid, a deranged social media stalker who moves west to insert herself into the life of her Instagram obsession, somewhat sympathetic (Plaza’s Ingrid is a sort of kindred spirit to Bryce Dallas Howard’s painfully insecure character in the Black Mirror episode ‘Nosedive‘). The movie is peppered with uncomfortable laughs akin to a millennial’s version of The Office, but I thought it was great. It’s a scathing examination of social media obsession (the influencers and the obsessors are both taken to task) and I’m bummed more people didn’t see it. On a side note, there is a scene where Aubrey Plaza and Elizabeth Olsen, who plays the object of Plaza’s obsession, are singing K-Ci and Jojo’s ‘All My Life’ (the best slow jam of all time) in the car. Unable to contain herself at the prospect of their budding friendship, Plaza drops her guard for just a few seconds when she’s singing the chorus and all the darkness comes pouring out. It’s a blink and you’ll miss it exchange, but it’s one of my favorite movie moments of the year. Aubrey Plaza is so good in this movie. (Trailer)
Best Scene: K-Ci and Jojo Karaoke
Watch This if You Like: Black Mirror, Single White Female for the 2010s, uncomfortable comedy, K-Ci and Jojo
11. War for the Planet of the Apes – Bad Ape is my favorite character of 2017. Yes, a goofy Steve Zahn voiced CG ape who wears a puffy vest is the pinnacle cinematic creation of 2017 for me. I dismissed him as pure comic relief at first, but there’s something deeply tragic about him. It’s a little devastating to watch him. I’m serious. Go back and watch Bad Ape’s introduction. It’s heartbreaking. Most of the people I’ve talked to implied Dawn of the Planet of the Apes is still the best of the trilogy, but I think I preferred War’s strange ‘The Great Escape‘ meets ‘The Bridge on the River Kwai‘ inspired story. I really feared this would be a retread of Dawn of the Planet of the Apes with more chaotic war scenes woven in, but it did an effective job distancing itself from its predecessor. This isn’t really a war movie at all. If anything, it’s an escape movie, with apes. It’s the Ape Escape movie you never thought you’d get (or want?). (Trailer)
12. Thor: Ragnorok – This year’s equally well made Thor, Spider-Man, Wonder Woman and Guardians of the Galaxy entries seemed almost interchangeable at times, despite each film stamping their product in discernible ways. Thor is the weakest of the four by dramatic standards, which would usually bump it down the list for me, but it’s also the funniest of the four, and in a year of bleak cinema and bleak everything, I suppose laughter wins out this time. Ragnorok also has Jeff Goldblum, a surprisingly funky soundtrack and more of director Taika Waititi‘s dry Kiwi humor that was so great in last year’s Hunt for the Wilderpeople. All that is missing in Ragorok is a Ricky Baker appearance (do not despair though, look for Ricky Baker and his skux life in 2018’s Deadpool 2). (Trailer)
Best Scene: Get Help!
Watch This If You Like: Guardians of the Galaxy, Hunt For the Wilderpeople, Dry Kiwi humor
13. The Red Turtle – I still don’t really know what to say about the Red Turtle, a nearly dialogue free film from Japanese animated powerhouse Studio Ghibli. I didn’t always understand it, but it nonetheless felt deeply profound to me. And when I finished it, I just sat there for a long time, went for a walk and ruminated on life. It sounds corny, but it happened. I suppose at the heart of the escapism and comfort film offers us, we secretly yearn for experiences like this. Something that shakes us from our stupors. The Red Turtle is a film I’m sure I’ll revisit more and more over the years and appreciate exponentially the I older become. It might be a little slow for most, but I would still encourage people to seek it out. I especially like Mike Figures’ comment about the film’s universal appeal, “Once sound and language was developed, film became culture specific and lost its universality, and what this film does is reclaim that universality as there is no spoken language.” (Trailer)
Best Scene: The Circle of Life
Watch This If You Like: Castaway, Tin Tin, Ghibli movies, contemplating life
14. The Villainess – The Villainess is an absurd, violent marriage of La Femme Nikita and Kill Bill on bath salts. Whereas this year’s Kingsman: The Golden Circle and Atomic Blonde had superb fight choreography and jarring blasts of stylized violence, there is something in this Korean action thriller that feels far superior in its raw and kinetic bloodshed. There’s no sheen to it. The film’s bursts of adrenaline leave you breathless and concerned for the stunt crew. This is the sort of madness I wanted from Atomic Blonde, and while there were admirable elements to that Charlize Theron vehicle, I think you have to get out of Hollywood to find something this batshit crazy these days. (Trailer)
15. Star Wars: The Last Jedi – It seems like a requirement these days that hyperbole be assigned to anything Star Wars related, but the truth is, I don’t have any brash things to say about this movie. It was a bit of a mixed bag for me. It subverted expectations in a way that was refreshing, but also signaled a clear lack of communication for the trilogy’s overall structure, something Rian Johnson himself confirmed. And while I like smart, subversive sci-fi, Star Wars is far too nostalgic for me, leaving me with a stubbornly strong attachment to traditional arcs and the hero’s journey in the Star Wars universe. Ultimately, Last Jedi felt more like an episode of Battlestar Galactica than a Star Wars film, which is perfectly fine, but it does take some getting used to. There is still quite a lot I liked about it though. Mark Hamill, Daisy Ridley and Adam Driver are all great. Anytime they’re onscreen, the film is at its best. The Star Destroyer ramming sequence is also a stunning piece of visual filmmaking and Porgs are okay in my book. (Trailer)
Best Scene: “See you around, kid.”
Worst Offense: Space Witch Leia/Misuse of Benicio Del Toro
I haven’t updated the site much in 2017. Truthfully, the entire year has been a bit of a sprint, but I’m going to try to be better about keeping up down the stretch. Seasonally, it’s easier to blog in fall and winter when things turn into a gray deluge in the Pacific Northwest.
So, what has happened in 2017 so far? I’m still working on a few projects this year, including a fantasy, thriller and YA sci-fi manuscript. In addition to those tasks I’ve been writing the script for a video game. It’s a Jaws inspired diving game, which if you know anything about me, is right up my alley. All and all, it’s been a scattershot of projects in 2017, but I’ve enjoyed working on them all. Hopefully I’ll have some material to show off in 2018.
I also switched agents this year. My previous agent Kaylee, who I was a huge fan of, decided to hang up her agenting badge this year. I was bummed to hear she was retiring, but I’m excited for her new career in the medical field. With Kaylee’s departure, I switched representation to Kimiko Nakamura, also at the Dee Mura agency. I’ve only spoken with Kimiko a few times, but she also seems to be a wonderful and sharp super agent, just like Kaylee.
Along with the annual end of the year best of movie lists and the movie montage mashup I’ve done in years past, I’m hoping to add an end of the year movie recap podcast with two friends and start producing some youtube movie content by the end of the year. So, be on the lookout for some or all of that come December 2017.
I hope if you’re working on anything creative in 2017, it is going well for you and that amongst the chaos, you are finding passion and inspiration.