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 ~ Mortal Engines

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The Facts
:

Synopsis: In a post-apocalyptic world where cities ride on wheels and consume each other to survive, two people meet in London and try to stop a conspiracy.

Stars: Hugo Weaving, Hera Hilmar, Robert Sheehan, Frankie Adams, Colin Salmon, Stephen Lang

Director: Christian Rivers

Rated: PG-13

Running Length: 128 minutes

TMMM Score: (5.5/10)

Review:  In my review of the recently released Spider-Man: Into the Spider-Verse I bemoaned the turgid same-ness that is starting to torpedo genre films.  With most superhero movies following the same mold, it takes an outside of the box approach to make the film truly memorable and one that will keep it in your memory long after you leave theater.  The same rule applies to adaptations of YA novels.  While the Harry Potter films kicked off the current generation of lucrative franchise pictures based on popular novels for young adults, the genre really took off with the success (and superiority) of movies that were made out of The Hunger Games series.  With many imitators along the way (Divergent, The Maze Runner, Mortal Instruments: City of Bones), nothing has met the success or longevity of the Harry Potter or Hunger Games films and sadly the latest entry Mortal Engines joins that list of non-starters.

After a devastating event that caused much of the world to become unstable and uninhabitable, mankind has taken to living in cities on wheels that routinely swallow up smaller communities and use their resources for fuel.  The opening of Mortal Engines plunges us right into such a hunt, when the mobile city of London goes after a tiny salt mining town that’s no match for the former UK’s massive (and massively impressive) super metropolis.  It’s a jarring start to the movie and, without much context, leaves audiences to find their own bearing in a sea of character names and made-up terms.  It actually feels like the opening of a second or third film in an already established series, which has the effect of keeping the viewer at an outsider’s arm’s length from the outset.

On the confiscated town is Hester Shaw (Hera Hilmar, Anna Karenina, an Icelandic actress playing American not totally succeeding in losing her Nordic accent), a scarred young woman that has hoped for exactly this outcome.  She wants to gain access to London because that’s where Thaddeus Valentine is.  Valentine (Hugo Weaving, The Dressmaker) and Hester’s mother had a complicated history and Hester has come to settle a longstanding score.  When ambitious Londoner and historian Tom (Robert Sheehan) intercepts her attempt to assassinate Valentine only to then find himself on the run with Hester, the two are soon at the center of a plot that threatens any city in Valentine’s path.  At the same time, a resurrected creature (voiced by Stephen Lang, Don’t Breathe) relentlessly pursues Hester with his own agenda that Valentine uses to his larger advantage.

Based on the first of four novels in author Phillip Reeve’s bleak version of the future, Mortal Engines has been adapted for the screen and produced by Peter Jackson (The Hobbit: The Battle of the Five Armies).  It’s interesting to note that while Jackson wrote the script, produced the film, and had his Oscar-winning special effects WETA workshop design the impressive visuals, he left the directing duties to first-timer Christian Rivers, his long-time story boarder and protégé.  Rivers is no Jackson, though, and while his work assembling a visually appealing movie is impressive there is little in the way of emotional heft to make the film more than just an excuse for special effects and rousing soundtrack cues.

The movie also has a strong sense of post-production tinkering.  Why else would characters that seem to be of greater importance vanish for long stretches of time only to return when necessary or not at all?  Valentine has a spunky daughter (Leila George) that feels like she’s getting her own B-storyline but aside from a few quick intercuts of her in London while Hester and Tom are dodging steampunk kidnappers (in a nicely bizarre nod to a New Zealand-y Mad Max: Fury Road) she’s largely absent from the proceedings.  Then there’s a band of outlaws led by Anna Fang (Jihae, delivering her lines with dramatically committed sincerity) set to protect Hester who are barely-there sketches of your standard rouge gallery of grunts.

Though it boasts an impressive team behind the scenes, Mortal Engines doesn’t have enough gas to make much of a fire.