Best of 2018 - Best Screenplay
What a year this has been for writing. I think we're all reeling from the last few years, and this lineup of films goes straight to the vulnerability and fear that pervades our social climate. These are all so fresh and emotional. And because this is my blog, I am not going to rank them or choose a winner, because I don't wanna. Take that, rules!
BlacKkKlansman
This is a searing, incisive, frightening movie, but it's also hilarious. It's very loosely based on the true story, although some of the conversations between Ron Stallworth and David Duke are taken straight from the real case back in the late 1970s. Lee wisely ratchets up the tension and the stakes, but the gamble works - the story is still believable, and its most unbelievable details are actually true. The film takes its time exploring its many themes - from black empowerment, white supremacy police brutality, anti-Semitism, to the power of storytelling in minority communities and representation in film. Lee's intellectual considerations bolster the drama instead of slowing it down. Despite being jam packed with characters and ideas, it crackles and burns and never slows down.
First Reformed
This is a gut punch for the ages. At the age of 72, writer and director Paul Schrader has pressed his thumb hard on the pulse of modern American anxiety. This is a bleak look at a world in which faith can barely bolster itself against an environmental apocalypse. No line has lingered longer for me this year than this one: "Will God forgive us, for what we've done to this world?" One man's struggle becomes almost mythical here, presented with methodical detail against a backdrop of rising global concerns. Forgiveness and redemption seem out of reach when the damage done is just too deep. But Schrader offers hope here, too. Maybe there's still a reason to strive for goodness.
Sorry to Bother You
This is a weird one. I think it's almost impossible not to get caught up in the infectious energy of the first hour or so, which is wildly funny and makes its cutting social commentary feel effortless. But then it takes a hard turn and a massive gamble. And I think it really works. Boots Riley knows exactly what he's trying to say here. His confidence takes the open-minded viewer through that door and right to the outrageous ending. He's going straight for the jugular and he doesn't let up to make it easier on you. If you meet him there, this film is as biting and thoughtful as it is clever.
Spider-man: Into the Spider-verse
Just when we thought everything you could say in a superhero film had been said, along comes this unexpected gem. It manages to take a character that has been done absolutely to death and make him feel fresh, relevant, and actually exciting again. Even more impressive is the deft introduction of the new Spider-man, Miles Morales. The character work that sets the stage for the exciting chaos to come is measured and impressive. In just a few short scenes, we get a complete feel for who Miles is as a person, entirely separate from the concept of a Superhero. Other franchises take half a dozen films to get us to understand their main character this deeply. When all the other colorful Spider-people (and Spider-pigs) jump in to muddle the mixture, we still know right where the heart of the story lies, and Miles' journey is as compelling as any modern hero has managed to be.
The Favourite
Boasting absolutely the best dialogue of the year ("Must the duck be here?"), this is a razor sharp period piece that completely avoids all the tropes of that genre. The basic plot outline could easily lend itself to shallow characterizations and story cliches, but Yorgos Lanthimos does not do either of those things. His three main actresses are given the meatiest bones to chew on, and they dig deep into the psyches of these complicated women. Despite all the cruelty and arch humor, there's still room for empathy and understanding. Although I feel the film is bit front-loaded, it has a distinctive voice and vision that make it unforgettable.
BlacKkKlansman
This is a searing, incisive, frightening movie, but it's also hilarious. It's very loosely based on the true story, although some of the conversations between Ron Stallworth and David Duke are taken straight from the real case back in the late 1970s. Lee wisely ratchets up the tension and the stakes, but the gamble works - the story is still believable, and its most unbelievable details are actually true. The film takes its time exploring its many themes - from black empowerment, white supremacy police brutality, anti-Semitism, to the power of storytelling in minority communities and representation in film. Lee's intellectual considerations bolster the drama instead of slowing it down. Despite being jam packed with characters and ideas, it crackles and burns and never slows down.
First Reformed
This is a gut punch for the ages. At the age of 72, writer and director Paul Schrader has pressed his thumb hard on the pulse of modern American anxiety. This is a bleak look at a world in which faith can barely bolster itself against an environmental apocalypse. No line has lingered longer for me this year than this one: "Will God forgive us, for what we've done to this world?" One man's struggle becomes almost mythical here, presented with methodical detail against a backdrop of rising global concerns. Forgiveness and redemption seem out of reach when the damage done is just too deep. But Schrader offers hope here, too. Maybe there's still a reason to strive for goodness.
Sorry to Bother You
This is a weird one. I think it's almost impossible not to get caught up in the infectious energy of the first hour or so, which is wildly funny and makes its cutting social commentary feel effortless. But then it takes a hard turn and a massive gamble. And I think it really works. Boots Riley knows exactly what he's trying to say here. His confidence takes the open-minded viewer through that door and right to the outrageous ending. He's going straight for the jugular and he doesn't let up to make it easier on you. If you meet him there, this film is as biting and thoughtful as it is clever.
Spider-man: Into the Spider-verse
Just when we thought everything you could say in a superhero film had been said, along comes this unexpected gem. It manages to take a character that has been done absolutely to death and make him feel fresh, relevant, and actually exciting again. Even more impressive is the deft introduction of the new Spider-man, Miles Morales. The character work that sets the stage for the exciting chaos to come is measured and impressive. In just a few short scenes, we get a complete feel for who Miles is as a person, entirely separate from the concept of a Superhero. Other franchises take half a dozen films to get us to understand their main character this deeply. When all the other colorful Spider-people (and Spider-pigs) jump in to muddle the mixture, we still know right where the heart of the story lies, and Miles' journey is as compelling as any modern hero has managed to be.
The Favourite
Boasting absolutely the best dialogue of the year ("Must the duck be here?"), this is a razor sharp period piece that completely avoids all the tropes of that genre. The basic plot outline could easily lend itself to shallow characterizations and story cliches, but Yorgos Lanthimos does not do either of those things. His three main actresses are given the meatiest bones to chew on, and they dig deep into the psyches of these complicated women. Despite all the cruelty and arch humor, there's still room for empathy and understanding. Although I feel the film is bit front-loaded, it has a distinctive voice and vision that make it unforgettable.
Comments
Post a Comment