2018 – Best of the Best, Worst of the Worst, Grand Totals

Hello!

Wow!  Here we go into our year EIGHT of The MN Movie Man.  I can’t believe it! 

Below I’ve compiled my list of the best and worst of 2018.  As is typically the case, by the time it came to make this list things became a bit of a jumble and I decided to choose the movies that I had the strongest reaction to when I saw them.  I don’t revisit movies often but anything in the Top 5 are films that I’d add to my collection.  I also cheated a little bit…but it’s my blog so I can do what I want 🙂

As always, I’ve appreciated your feedback, your patronage, and your general presence in my blog. Even if you read this everyday but have never commented or made contact I can still tell you’ve been here and that means a lot.  

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Best Wishes to you and yours for a most Happy New Year!

~Joe (The MN Movie Man)

5. A Quiet Place – John Krasinski always felt like he’d best be remembered for playing Jim on NBC’s The Office but after writing/directing this spine-chilling genre film I’d be willing to bet they’ll also mention A Quiet Place in a list of his major accomplishments.  Turning a horror film on its ear and making it a metaphor about parenting was a smart move in keeping things in unfamiliar territory to audiences.  With his wife in the leading role and two dynamite child actors as their children, Krasinksi assembled a perfect roster across the board.  It was scary, it was emotional, and it was fantastically well made with a high re-watchability factor.  Super.

4. A Star is Born (2018) – After three previous versions of A Star is Born the question everyone wanted to know was if the story of a fading rock star falling in love with a pop star as she rises to fame would work in a modern setting.  Coupled with a stellar soundtrack and the kind of movie star chemistry you rarely see in these days, Bradley Cooper’s directorial debut was a knockout.  The first hour is better than most entire films released in 2018 and even if the second half can’t quite reach those same heights the work done by Lady Gaga and Cooper (not to mention Sam Elliott) is remarkable.  It’s even better on repeat viewings.

3. If Beale Street Could Talk – when the screening of this one was over I wasn’t quite sure what I thought about it, it’s one that will stick to your bones for many days to come.  In the days and weeks that have followed since I saw this Barry Jenkins adaptation of James Baldwin’s short novel, I’ve found it hard to get it out of my mind or shake it’s unforgettable imagery.  The performances are phenomenal and haunting – the way Jenkins has many of the actors deliver their lines directly to camera has a chilling effect you won’t soon forget.  A lyrical and beautifully constructed work of art.

2. Love Simon / Crazy Rich Asians – hooray for the return of the romantic comedy!  2018 had two shining examples of excellent romantic comedies and I couldn’t be happier to have them on my best of the year list.  Though it may teeter on the side of comedic drama, Love Simon is a sweet tale of a high schooler coming to terms with his sexuality and learning to be OK with it.  Crazy Rich Asians is the mega hit that heralded the return of the outright rom-com to cinemas that wasn’t afraid to be big and bold.  Often with these movies the main characters get overshadowed by showier supporting characters and it’s true that both of these offerings have memorable supporting players – but the difference is that the lead characters are written well enough that they remain as interesting as everyone else on screen.  More of these movies, please and thank you!

1. The Favourite – To be honest, I’m surprised this one found its way to the top of my list, but in looking at the movies I saw last year none struck the same clarion chord of expertise in quite the way that The Favourite did.  It’s absolutely not going to be everyone’s cup of English Breakfast tea but for those that are willing to tilt their head slightly to the side and see things askew, they’ll get a kick of this bawdy trip to Queen Anne’s court.  Everything about the production is sublime, from the costumes to the set dressings all the way up to the leading performances of a trio of excellent ladies.  I still think Rachel Weisz gave one of my favorite performances of the year in a very tricky role that could have gone into high camp.

Honorable Mentions: Mary Queen of Scots, Paddington 2, A Simple Favor, Roma, Overlord, Widows, Mary Poppins Returns, Spider-Man: Into the Spider-Verse, Mission: Impossible – Fallout, Revenge

 

5. Book Club – a movie featuring talented actors Jane Fonda, Mary Steenburgen, Candice Bergen, and Diane Keaton should be smart, finely tuned, and relevant.  Book Club is none of these things.  A lame-brained comedy that feels like it came out 20 years too late puts the four women in numerous embarrassing situations and asks them to recite godawful dialogue.  I took my mom to see this on Mother’s Day and felt like I had to ask for a do over the next weekend.

4. The Happytime Murders – I’ll admit it: I laughed at this movie…because there are a few jokes so repulsively blunt that you can’t help but stammer out a guffaw at what you just heard a blue felt puppet say to similarly pilling creation from the son of Jim Henson.  Having seen the foul-mouthed musical Avenue Q on Broadway, which gleefully advertises “Full Puppet Nudity” I get that there are jokes to be made as a commentary but the difference between that Tony winning show and this future Razzie winner, is that this movie has no creative bone in its body.  It’s just a series of sex jokes that are only funny because a puppet is saying them.

3. Breaking In – I’ve been a fan of Gabrielle Union for a while now and she deserves better than bargain-basement projects like Breaking In.  A basic cable style movie that somehow was picked up by a major studio and released to unsuspecting audiences paying full price, this was a brainless effort from all that touted a poster image of Union looking ready to kick butt but instead featured her as a character that made a series of totally idiotic moves.  Worst of all was Breaking In’s arrival in the midst of the #TimesUp movement because it features horrific treatment of women and one totally unnecessary death that I’m guessing will be enough for some viewers to turn it off when watching.

2. Holmes & Watson / Tag – I’m including Holmes & Watson and Tag together on this list because both feature stupid guys doing stupid things.  Holmes & Watson is yet another opportunity for Will Ferrell to cash a check for doing the same old schtick while Tag is an exhausting exercise in toxic masculinity run amok.  Chuck both of these in the trash bin and call it a day.

1. Welcome to Marwen – It’s been a few weeks since I’ve seen Welcome to Marwen and I’m still seething mad at how bad it was.  Director Robert Zemeckis wastes a great cast in his misguided exercise bringing the documentary Marwencol to life as a feature film.  What made sense in a documentary setting completely fails to translate to a narrative feature and audiences are left to white-knuckle it through very disconcerting scenes of exploitation of women and those suffering from mental health issues.  Universal Pictures should be ashamed of themselves for distributing this one.  Total garbage.

Dis(Honorable) Mentions: Mortal Engines, Solo: A Star Wars Story, The Girl in the Spider’s Web, Christopher Robin, Fifty Shades Freed, Night School, Pacific Rim: Uprising, First Man, Red Sparrow, Tomb Raider (2018)

Most Misunderstood: Suspiria – Oh boy this was a divisive movie!  Fans of Dario Argento’s classic original were aghast at what director Luca Guadagnino did to the relatively simple outline of the original.  I, for one, was happy to see that Guadagnino dug a little deeper than Argento did and brought out even darker elements to an already pitch black tale of witchcraft running rampant at a Germany dance academy.  This was a long movie with several horrifying sequences but I found it a thrilling and exciting undertaking.  More risks like this need to be taken, even if they don’t fully succeed or, in this case, make any money.
Honorable Mention: The Meg

Joe’s Humble Pie Award of 2018 (movies that turned out differently than I expected going in): Game Night – I fully expected Game Night to be another one of Jason Bateman’s smug comedies with him rolling his eyes and having some snarky comment at every turn.  Actually, there’s a lot of that going on here but it works to Bateman’s advantage because it fits in perfectly with the tone of the film.  Buoyed by a strong supporting cast, including Rachel McAdams in a delightful turn and Jesse Plemons as a deadpan dud, and some genuine twists that keep the film from getting too far ahead of its audience, this was a more than pleasant surprise.  Several points off for spoiling one of the best jokes in the trailer, though.  Tsk Tsk.
Honorable Mention: Mamma Mia! Here We Go Again

Movies You Probably Haven’t Seen But Should

A Star is Born (1937)
A Star is Born (1954)
Alpha 
Apostle
BlacKkKlansman 
Can You Ever Forgive Me? 
Eighth Grade
Film Stars Don’t Die in Liverpool 
Ghost Stories
Grand Canyon
Lean on Pete
Pick of the Litter
Rocky
Rocky II
Rocky Balboa
Searching 
Strong Island
The Harvey Girls

Click HERE for a full listing of films seen in 2018
Total Movies Seen in the Theater: 128
Total Movies Seen at Home: 184
Grand Total for 2018 (not counting films seen multiple times): 309
Where I Saw the Most Movies – AMC Southdale (35!)

Movie Review ~ Mary Poppins Returns


The Facts
:

Synopsis: Decades after her original visit, the magical nanny returns to help the Banks siblings and Michael’s children through a difficult time in their lives.

Stars: Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Colin Firth, Meryl Streep, Dick Van Dyke, Pixie Davies, Nathanael Saleh, Joel Dawson

Director: Rob Marshall

Rated: PG

Running Length: 130 minutes

TMMM Score: (9/10)

Review: The journey to make Mary Poppins in 1964 was so fraught with tension and hard feelings that it’s no wonder it took 54 years for a sequel to make its way into theaters. If you don’t believe me, check out the entertaining Saving Mr. Banks for a little history lesson…however revisionist it may seem to be.  What child didn’t grow up seeing the titular magical nanny educate the Banks children and bring order to their family while teaching the biggest lesson of all to their workaholic father? I vividly remember seeing it not only in my house but at school on special occasions when they’d get out an old reel-to-reel projector and gigantic screen.

Over the years the popularity of P.L. Travers creation never really went away, even inspiring a long-running West End and Broadway musical that’s now making the rounds in a community theater near you. You can’t keep the old girl down and in 2018 she’s returned in an all new sequel that’s a surprisingly spry near-equal to its half-century old predecessor. The Walt Disney Company took a huge gamble in dusting off this treasured property and turning it over to director Rob Marshall and it has paid off handsomely; Mary Poppins Returns is a true movie event, a hard-working winning combination of fantasy, music, and heart-tugging emotion.

It’s been thirty years since Jane and Michael Banks spent a wondrous few weeks with Mary Poppins but life at #17 Cherry Tree Lane has moved on. Having recently lost his wife, Michael (Ben Whishaw, Skyfall) now lives in his family home with his three children and gets the occasional visit from Jane (Emily Mortimer, Hugo) who has followed in her mother’s footsteps and continued the fight for equality for all. When the bank threatens to foreclose on his house and gives them less than a week to come up with the money all hopes seems lost…until a familiar figure appears from the sky.

Making her grand entrance clutching a kite, Mary Poppins (the divine Emily Blunt, A Quiet Place) has lost none of her dry wit and charming aloofness. She soon sets up shop with the new generation of Banks children while keeping her eye on Jane and Michael as they scramble to find a lost set of bank bonds that could get them out of debt. While their father worries about their future, Mary Poppins helps his children adjust to the present through adventures in undersea realms, at the upside-down dwelling of Mary’s cousin Topsy (a wack-a-doodle Meryl Streep, Hope Springs), and in the painting on a porcelain pot.

Having directed the film versions of Chicago, Nine, and Into the Woods, Marshall knows his way around a movie musical but this is far and away his most accomplished and polished work to date. With the old-school appeal of a Hollywood song and dance spectacular, Mary Poppins Returns is the kind of throwback everything-including-the-kitchen-sink experience they just don’t bother to make anymore. Disney and Marshall had the good sense to give audiences exactly what they want in a sequel to a cherished classic…and then some. While not a remake of Mary Poppins per se, it does seem to hit the same beats as that earlier film even down to a splendid animated sequence and a visit to one of her zany relatives.

Even if Marc Shaiman’s songs don’t stay in the brain quite as well as the tunes created by the Sherman Brothers, they feel like they exist within the same universe and are performed with exuberance by Blunt and company. There’s no ‘Feed the Birds’ level accomplishment here but ‘The Place Where Lost Things Go’ stirs the right amount of feelings and ‘A Cover Is Not The Book’ is a clever bit of wordplay that the Sherman Brothers would get a kick out of. Streep’s oddball ‘Turning Turtle’ is something only she could pull off and Whishaw’s plaintive ‘A Conversation’ gives the actor a nice jumping off point early on in the film. Marshall and his co-choreographer John DeLuca also nicely avoid the trappings of filming huge musical numbers for the screen by letting the audience see the entire company dancing rather than always cutting into close-ups. ‘Trip a Little Light Fantastic’ arrives late in the game but is a true show-stopper.

If the film makes one miscalculation, it’s in the misappropriation of time given to Lin-Manuel Miranda (The Odd Life of Timothy Green) as Jack, a lamplighter friend of Mary’s that’s a stand-in for Bert the chimney sweep from the first film. Whereas Dick Van Dyke’s Bert was someone that occasionally popped up in the action, it feels like Jack is shoehorned into the plot at every turn and it begins to take away from the time we want to spend with Mary and the Banks family. At times, Jack becomes the driving force of play and that made the movie feel like it was veering too far in the wrong direction.

Still, it’s hard to argue that Blunt commands the movie in no uncertain terms whenever she’s even close to the screen. I personally think Blunt is the perfect choice for any part she turns up in but here there’s a real chemistry between actress and role that is rarely seen. No one is going to erase the performance of Julie Andrews from our memory and Blunt doesn’t even try to recreate that particular take on the role. Smartly choosing to give Mary an updated look that sets her apart from her 1964 appearance, Blunt’s Mary is just as staunch as Andrews but doesn’t soften quite as easily. She’s also riotously funny with her droll line readings and incredulity at the state of affairs she encounters upon her return. Andrews won an Oscar for her work and I expect Blunt will get a nomination as well.

Filling out the cast is Colin Firth (Mamma Mia! Here We Go Again) playing a rare villain role as a bank manager eager to claim the Banks house, Julie Walters (Paddington) as put-upon maid Ellen, David Warner (Waxwork) as Admiral Boom, and Angela Lansbury (Beauty and the Beast) as a wise Balloon Lady with a magical touch of her own. Then there’s Van Dyke (Alexander and the Terrible, Horrible, No Good, Very Bad Day) dancing up a storm and keep your eyes out for the original Jane Banks, Karen Dotrice, making a cameo outside of Cherry Tree Lane.

Bound to rake in some serious money this holiday season, Mary Poppins Returns is that rare sequel that feels like it wasn’t done for the money but for the greater good. I know it’s all about the bottom line but this is one film that feels like it could heal what ails you…even if just for two and a half hours.