“Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this.” — Martin Scorsese
I include this quote from Martin Scorsese to introduce this year’s A Filmgoer’s Guide to the Best Films of 2018 for a couple of reasons. First, the stories and themes each year reflect the times in which we live and address the issues we face as we look back at history, confront the present, or escape into a future, real or fantastical. Second, filmmaking and filmgoing bridges artist with audience, storyteller and viewer.
As in other years, first, before I share A Filmgoer’s Guide to the Best Films of 2018, this is a reminder that I’m a cinephile and not a critic. I offer my thoughts and opinions on the films I saw this past year and comment on what worked, what didn’t, and what transported me. Movie-going is for the most part a solitary experience. Like other forms of art immersion, we respond emotionally, viscerally, and intellectually and share our impressions with others afterwards.
Sometimes when watching a film in a theater, the audience becomes an interactive participant, communicating in a call and response to humor or horror, surprise, or turn-your-head-away violence. I see a lot of films on my own and with filmgoing friends and family. Post-film discussions, whether in-person or on social media, enhance the experience by sharing differing points of view and insights. I often post mini-reviews on social media to spur a dialogue. This is a shout-out to my filmgoing friends and family who join me at the movies and follow my reviews. Note: Some of the content that follows is from mini-reviews I’ve written and posted previously.
Again, this year, I bring a new perspective to filmgoing. I’m the creator and executive producer of an independently-produced web series, Hotel Bar. Full disclosure, I’m in essence a cinephile who became a student of filmmaking, learning from both experienced and emerging artists in front of and behind the camera as we collaborate on this project. It’s given me a new perspective on how films are made, how I might do something differently, or what I might emulate. It’s exciting and has enhanced my love of movies.
Film content continues to be delivered in a number of ways and this year a couple of films nominated for awards have premiered digitally online and in limited release in theaters. Roma is an example. Netflix content yielded 15 Oscar nominations this year. Growing options affected where and how we viewed content, from new film platforms, downloads, and subscription streaming services, expanding the choices and the venues, from theaters, to home, to the backseat of a car, or at work during lunch breaks on Smartphones.
As a person who is semi-retired whose entertainment budget has in the past been limited to cable, OnDemand services, and senior-priced movie matinees forgoing refreshments, I finally signed up for a Netflix account. In between drafting this essay during a subzero Midwestern arctic cold spell, I binged on films including the nominated Roma.
I also want to give a hat tip to the Wisconsin Film Festival and the film societies sponsored by the University of Wisconsin including Cinematheque and the WUD (Wisconsin Union Directorate), films presented at the Museum of Contemporary Art in Madison, Wisconsin, plus films curated and presented at Mills Folly Microcinema, and independently-produced new works by Madison Independent Filmmakers.
This year, as in the past, there were controversies regarding race, the #MeToo movement, and the lack of women directors who were nominated. Word of mouth by filmgoers raised the profile of some films. This year Black Panther was the first action-hero, comic book-based film nominated for a Best Picture Oscar. Animated films continue to increase in popularity, appealing to both adults and children, while the cutting-edge technology transports us to places we could never encounter in life.
A note about the criteria for my list: I choose films drawn from my favorite genres. I like biographies, LGBT-themed movies, crime and suspense dramas, coming-of-age stories, dystopian future fantasies, well-done romantic comedies, relationship and dysfunctional family dramedies, and documentaries. On the flip side, genres that typically don’t appeal to me are action-hero/comic book films, horror, or ultra-violent or exploitation films, especially when women and children are victims. Films that pass the Bechdel Test earn extra credit, especially stories from a woman’s point of view, even more so when produced or directed by women, or feature a strong female lead. I seek out movies made by a short list of favorite directors and writers who often work with a familiar repertoire of actors, and finally, independent films often make my annual list of best films.
Now for the movies…
A Filmgoer’s Guide to the Best Films of 2018
(Not ranked, except as noted. All official movie posters courtesy of the film production studios.)
The first two films on the narrative film list are my favorites in this category, The Favourite and Roma. I’m hard-pressed to choose between them, much like a parent who loves all their children, but for different reasons. This is a baker’s dozen of Best Narrative Films. Add in the five Best Documentaries, my pick for the Best Foreign Film, and Best Animated Film and if my math is correct, yields a total of my Top 20 Films of 2018.
I reprise these special categories: Honorable Mention, Films I Didn’t See, Films That Disappointed, Guilty Pleasures, and Dream Double Features. Some films appear on more than one list, example, The Favourite which appears in both Best Narrative Films and Guilty Pleasures categories.
Narrative Films
- The Favourite – The first film to make my best film of 2018 list is the critically-acclaimed and generously nominated film, The Favourite. Let me go on record with two
things before I share my mini-review of the film. First, I’m typically NOT a fan of historical period costume dramas. Second, I AM a fan of the film’s director, Yorgos Lanthimos, who has been described as an acquired taste. From A.O. Scott’s NYT’s review, “For Shakespeare and the Classical Greek dramatists, the doings of real and imaginary rulers — affairs of state and of the flesh, both of which figure prominently here — were most often the stuff of tragedy. Lanthimos, a Greek director who has been based in London for the past few years, makes no real distinction between pathos and mirth. His first English-language film, The Lobster, was by turns ghastly and hilarious, a cruel dystopian allegory of discipline and desire. The next, The Killing of a Sacred Deer, was mostly just ghastly. The Favourite with a profane, erudite script by Deborah Davis and Tony McNamara, is a farce with teeth, a costume drama with sharp political instincts and an aggressive sense of the absurd.“ What makes me a fan of Lanthimos and The Favourite (including the film’s screenplay), plus his previous English-language films, is that they are filled with biting bon mots of social commentary, a bit twisted and cringe-inducing at times, but like the shooting that takes place in this film, they precisely hit their targets, whether aiming at politics, culture, or social mores. Refreshingly, this film meets and exceeds the Bechdel Test (see link in the criteria above). The three leads are women who have all received nominations for their performances, Olivia Colman as Queen Anne, Rachel Weisz as Lady Sarah and Emma Stone as Abigail. The competing affections, machinations, and deceptions, both in public and in the bedrooms, makes this a compelling story of palace intrigue and power-plays. There’s much to like about this film from the lush location, to the costumes, score, cinematography, playful duck races, the Queen’s obsession with rabbits, representing the children she lost in birth or afterwards, and the generous use of quotable dialogue. Examples, Lady Sarah to the Queen “You look like a badger.” The Queen to Lady Sarah, “I like when she puts her tongue in me.” Yes, for those of you who haven’t seen the film yet, you read that correctly. Lanthimos consistently features animals in his films. What and who they symbolize is worthy of further research in a film student’s dissertation. He also playfully uses camerawork (fish-eye lenses, discomforting close-ups, etc.) which some critics and filmgoers have found to be unnecessary or anachronistic. One technique, among many, that impressed me was his use of lighting the scenes, which perfectly emulated natural lighting and sometimes reminded me of Rembrandt paintings (yes, you read that correctly). Though I find some things about Lanthimos’s work disturbing (much of The Killing of a Sacred Deer) they are always thought-provoking. These are films I will revisit again. Lastly, these are films not everyone will enjoy. They share points of views outside the norm, equally refreshing, compelling, and disturbing. - Roma – This is the film that became a tipping point for me. As someone on a limited entertainment budget who already spends too much on cable and
OnDemand, I finally relented and signed up for Netflix. I’m glad I did. In addition to Roma, which so far has not played in a theater in Madison, I’ve seen a number of films and other content I would have missed. The options are abundant and varied. Now for the film. I’m a fan of director Alfonso Cuarón’s body of work, especially Children of Men and Gravity. In fact, there was a moment in Roma, which is set in the 1970’s, when Cuarón features a filmgoing scene when the family goes out to the movie theater to see, Marooned, and highlights a scene he replicated in Gravity. The story, to some degree, is autobiographical. Roma is the upscale district of Mexico City and focuses on an upper middle-class family, a philandering husband, the mother who is a writer, and their children. The heart of the family is Cleo, the domestic servant and nanny who cares for the home, the family, the birds and the dogs and is forced by circumstances to finally care for herself with the help of the family she loves and who loves her. The backdrop of the black and white film in Spanish is the social unrest of 1970’s Mexico in contrast to the day-to-day domestic life of this family. I must admit, the first hour was a challenge. The slow unfolding of the family’s story. I’m glad I stuck with it. The cinematography of the Roma home and of Mexico, including the upscale family retreats and holiday celebrations, the student protests, and impoverished shantytowns, was breathtaking and mesmerizing. The film, especially Cuarón and the lead actors, deserve all the accolades awarded to them. It’s simply a cinematic masterpiece. - Green Book – Green Book reviewers have been critical of its handling and “whitewashing” of race. I agree with much of the criticism, including to a
degree “The white savior…cinematic trope in which a white character rescues people of color from their plight,” (as defined in Wikipedia). Though the characters, especially Tony Lip, played by Viggo Mortensen is a stereotype of an Italian-American from the Bronx, and Dr. Don Shirley, portrayed by Mahershala Ali, embodies his counterpart, an educated and refined concert pianist, their road trip adventure in the south and the friendship that develops, was certainly worthy of my time traveling with them. The film was a crowd-pleaser and both the lead actors’ portrayals of their characters deserve the credit. I was disappointed when the film ended. I wanted to spend more time with them. - BlacKkKlansman – I’ve been a fan of Spike Lee since his first films, She’s Gotta Have It, and one of my favorite movies of all time, Do the Right Thing. Lee is a
prolific and experimental filmmaker whether addressing African-American culture, jazz, American society, politics, and racism, or depicting historical events and biographies of people who made history. Having said that, I’ve not been a fan of all of his work, and I would assume he doesn’t expect audiences to embrace all of his films because he takes risks, and is willing to document and confront ideologies that are often controversial and not mainstream. To quote a review by Peter Travers in Rolling Stone, “The filmmaker turns the true story of an African-American cop who infiltrated the white supremacy group in 1970s into an incendiary indictment of our current moment.” Travers further notes, “Based on the true story of Ron Stallworth (John David Washington), the first African-American cop on the Colorado Springs police force, the film shows how Ron managed to infiltrate the Ku Klux Klan and righteously screw with it from the inside. The time is the 1970s, but the filmmaker is not content with dusting off the past. His incendiary movie uses the alt-right cry of ‘America first!” to rocket his film into the festering, rancid race hatred of the Trump era.” - Can You Ever Forgive Me? – This is a film that surprised me; it featured storytelling and acting at its best. I saw the trailer for this film numerous times
and believed that I had seen and heard the whole story, and as I made fimgoing decisions, I thought I could wait until this film made it to OnDemand. I’m glad I didn’t and saw it in a theater (because of its recent nominations it’s returning to theaters). The film is based on the true story of alcoholic, lesbian, cat-loving curmudgeon, crime-committing writer and biographer, Lee Israel. Talented and versatile Melissa McCarthy portrays Israel, supported by her co-conspirator and loyal friend, Jack, played by Richard E. Grant, the film and the performances surprised and delighted. McCarthy as Israel is not a likable character, not even an anti-hero. There’s not much redeeming to her character until we follow her plight and get to learn more about her life and fall from fame as a writer. This story and character arc would not have worked without the award-worthy acting by the leads, the screenplay by Nicole Holofcener and Jeff Whitty, and the confident and unforced direction by Marielle Heller. If you haven’t seen this film, go now! - The Wife – The film stars Glenn Close and Jonathan Pryce, who portray a married couple. The husband, Joe Castleman wins a Nobel Prize for literature,
his wife Joan, his lifelong and faithful supporter, suffers in silence in his shadow as she accompanies him to Stockholm to receive his award. Their son, David, a struggling young writer joins them on their journey as he seeks his father’s approval. His sister remains stateside, delivers the Castleman’s first grandchild, fulfilling her role as a young wife. The dynamics of the couple’s history is revealed in flashbacks, beginning with Joe, a married professor, and Joan, his student. Filling in the gaps is an aggressive journalist played by Christian Slater interested in writing Castleman’s tell-all biography. He’s also on their flight to Stockholm, stays at their hotel, and seeks to gather salacious background on Joe’s infidelities, Joan’s unrecognized role in her husband’s success, and finally, their son’s bruised ego inflicted by his critical father. “A writer has to write” is one theme of the film, whether the artist is recognized or not. Another is a feminist view of marriage, and what happens when women find their voice. Glenn Close’s performance, and the screenwriter and director’s choice to “show not tell” hopefully garners the awards it deserves, especially Glenn Close, who has been nominated six times, but never won a Best Actress Oscar. This performance may change that. - If Beale Street Could Talk – This atmospheric and emotive film lingered long after I left the theater. The story,
adapted from the James Baldwin novel by the same name and directed by Barry Jenkins, last year’s Best Picture Oscar-winner, Moonlight, unfolds slowly and deliberately, creating a specific time and place for the characters story. The backstories of the two families and their friends are revealed in the series of events that impact the two young lovers at the center of the film, Tish and Fonny, friends since childhood during Harlem in the 1970s. Life, racism, and the challenges of the working poor befall them and we follow their journey. Jenkins is a master of mood and visual narrative. Like Moonlight we embrace the characters at the center of the story and we root for them while we are aware that social institutions and prejudice may be working against them. - First Reformed – First Reformed was written and directed by Paul Schrader who among other achievements wrote the screenplay for Taxi Driver. This dark,
brooding story begins as a sympathetic portrayal of a man of the cloth at the crossroads of his life after the death of his son, dissolution of his marriage, as his physical and spiritual health deteriorates, and is played convincingly by Ethan Hawke in an award-worthy performance. Amanda Seyfried and Cedric Antonio Kyles (Cedric the Entertainer) round out the cast. Hawke’s minister veers off the path into Travis Bickle (Taxi Driver) territory as he supports a young married couple, the husband, a radical environmental activist in upstate New York. He questions the church, his faith, the purpose of his life, and the legacy he’ll leave. - Black Panther – Full disclosure: I’m not a fan of the super-hero, comic book, action film genre. Wonder Woman was a recent exception and so was Black
Panther, primarily for introducing me to imaginary cultures and communities outside my experience to tell an empowering, classic story of good versus evil against all odds. In both films I was able to suspend my disbelief and be transported to new worlds. The production values of every detail of Black Panther, from makeup and costuming, to soundtrack and cinematography, coupled with a pitch perfect cast, made for great story-telling and visual and aural immersion. - A Star Is Born – I saw a sneak preview of A Star Is Born at The Marquee Theater in Union South at The University of Wisconsin – Madison. I can’t say it
was a sold-out performance because the tickets were free yet every seat in the theater was filled after three lines snaked through the hallways and Marquee lobby/lounge. People were turned away. There’s something magical about watching a film in a full-to-capacity theater. You’re sharing the experience with a community of fans, much like attending a live concert. I don’t want to reveal too much of the plot points, other than this is the fourth version and the third remake of the classic story of a male star whose career is faltering as he meets a young woman, falls in love, and helps her star rise. Bradley Cooper and Lady Gaga star in the film produced, co-written, and passionately directed by Cooper. Live Nation Productions is one of the film’s producers along with Warner Brothers and MGM. One of many things that makes this film work is that in essence it’s both a concert film and fictional biopic of a music industry couple who struggle with their pasts, their insecurities, and the arcs of their success. Cooper’s “Jack”, and Gaga’s “Ally” meet cute in a drag bar when he’s in search of a drink and diversion after a performance when she steps on stage and sings La Vie En Rose. The story and the chemistry between the leads immediately engage the viewer and it’s easy to embrace their journey. The supporting cast is pitch perfect, featuring surprising performances by Andrew Dice Clay, Dave Chappelle, and Sam Elliott as Jack’s brother and manager, Bobby. Cooper dropped his voice an octave for this role following a year’s worth of voice-coaching to create his character’s gravelly voice which mimics Elliott’s. It’s one of the artistic decisions that helps drive the narrative of the story. Like the movie, which is a must-see, the soundtrack is a must-listen, many of the songs written and performed by Cooper and Gaga - Vice – Vice is the Adam McKay dramedy satire about Dick (and Lynne) Cheney’s political journey to the White House and its impact on history. First, I find the polarization by critics surprising of whether this is a candidate
for the best or worst film of the year. However, I believe John Travolta’s Gotti may have a lock on the latter distinction. I highly recommend this film. I’m a huge fan of Adam McKay, whose previous film, The Big Short was his take on the financial crisis of 2008. I like his sardonic storytelling, the ensemble casts he employs, and his almost Mad Magazine take on history, sometimes so unbelievably funny it couldn’t be true, but it is, and alternately as scary as a George Romero movie, the Godfather of the Zombie Apocalypse. The cast features another chameleon and award-worthy performance by Christian Bale as Dick Cheney and Amy Adams who fiercely portrays wife, Lynne Cheney. A stellar ensemble casts drawing from McKay’s repertoire includes, Sam Rockwell as George W. Bush, and Steve Carell as Donald Rumsfeld. One of my favorite young actors who can play comedy or drama, Jesse Plemons is the narrator whose connection to Cheney is one of the films surprises. The film is probably 20 minutes too long, the storytelling wanders a little too much in how it employs flash backs and fast forwards, yet for this filmgoer it provided moments of laughter and some insight into how Trump became our current President. This is not just a Cheney biopic, it’s an opinion piece on how we currently govern, and how the motives of those who hold power should always be suspect. This film is a Fractured Fairy Tale about special interests, Trump, and how sometimes the country is not led by the people we elect, but by the people who are appointed by, or married to those who lead. I’ll watch whatever film is next for Adam McKay that’s loosely based on historical events and real and imagined characters. - Disobedience – The film is a slow-paced, claustrophobic story which depicts a shunned outsider, Rachel Weisz as Ronit, who returns to a cloistered Orthodox
Jewish community in London to attend the funeral of her rabbi father. As the film opens, her father is delivering a sermon on how God created angels, beasts, and finally humans, man and woman. Following his description of each, he dies. This triptych is the foundation of the story. By the conclusion of the film one can identify the angels, beasts and humans. It’s a story which is timely for me as the writers and producers of Hotel Bar research and develop our own interpretation of these themes. Ronit (Weisz) is the guest in the home of the heir apparent of the synagogue, Dovid (played convincingly by Alessandro Nivola). She is surprised to learn that his wife is Etsi (Rachel McAdams), with whom she shares an intimate history. The three characters, like the sermon which opens the film, is the triangle that powers the story. Ronit has lived in NYC as a photographer after escaping the Orthodox community. Her return to the community is for the most part unwelcome. This reunion upsets the traditions and order of the tightly-knit community. Passion reignites between Ronit and Etsi and threatens the futures of Dovid, and the two women. The passion between the two women that has been hidden and dormant simmers below the surface before boiling over. The film is based on the novel of the same title by Naomi Alderman. The screenplay, which absolutely impressed this viewer, was adapted by the director, Sebastián Lelio and co-writer, Rebecca Lenkiewicz. This is a woman-centric film which depicts and confronts the patriarchy of a religious community. We are angels, beasts and humans. The latter empowered by free will. - First Man – Director Damien Chazelle’s (Whiplash & La La Land) powerful story of Neil Armstrong, played by Ryan Gosling and Armstrong’s and mankind’s
journey and first step on the moon. This film joins two other remarkable, suspenseful, and yes, patriotic films, The Right Stuff and Apollo 13 which depict our space program of the 1960s and 70s. I often talk about pairing films for Dream Double Features, for those who like to binge watch movies, First Man added to its predecessors would make a Triptych of Trips to Space. First, our astronauts and all the engineers, contractors, scientists, medical support, and astrophysicists were not Gods. The astronauts of the 1960s were husbands, fathers, sons, neighbors, friends, and coworkers. Chazelle’s First Man shows how those worlds sometimes collide and how distance and detachment was sometimes required for them to their job. Claire Foy plays Armstrong’s wife, Janet. Like Gosling, she’s convincing from the very first moment she’s on screen, and we can’t take our eyes off her face. She’s a wife and mother, and most of all a woman who had her own ideas of how her life would unfold. She chose Neil for her husband because he was someone who knew where he was going in life, and she sought stability. Little did she know his destination and how the trajectory of her life would change. Foy must communicate her emotions through her expressions with Armstrong, her role as mother, and friend to her astronaut family neighbors. With a minimum of dialogue she conveys her internal struggles and fears, Ryan Gosling, for this filmgoer, never looks like the stereotypical hero, yet from the opening test pilot scene, we’re rooting for him and invited into his internal life. At the opening of the film we learn how the death of his young daughter, Karen, is ever present with him and we witness how she joins him on his trip to the moon. Armstrong, as depicted in Josh Singer’s screenplay, is a no-nonsense man, there to do his job, seemingly detached from his own ego. He doesn’t suffer fools, even when it’s a colleague who can’t resist running off at the mouth at every opportunity. The film is a thrill ride, a rollercoaster of shaky cameras, alarms going off and on, high-pressure air releasing from vents, vapor, condensation, and heat waves, disorienting loss of the horizon, and the frightening uncertainty of what’s going to happen next. And then there’s space, the moon, the stars, and earth. Like the film Gravity there’s also silence and scenes capturing its magnificent and breathtaking beauty, eliciting moments of introspection about the meaning of life itself and our place in it. This award season nominations will recognize the filmmakers of First Man, the director, screenwriter, cinematographers, sound design, art direction, special effects, and the cast from the leads to the supporting actors. We watch the astronauts and their families work together, recreate, grieve, and support each other. There’s not a misstep, or miscast character. Even Armstrong’s children with minimal dialogue, convey age-appropriate behaviors and emotions, including their anxiety and their fears. One of the most moving scenes is between Armstrong and his eldest son as they say goodbye before his trip to the moon. Take this trip to the moon.
Documentaries
- RBG – This was my favorite documentary in 2018. It was a rousing pleasure to watch RGB in the UW Memorial Union’s Shannon Hall with a sold-out audience during the Wisconsin Film Festival. The film biopic of Supreme Court Justice, Ruth Bader Ginsburg, aka “The Notorious R.G.B.” opened with quotes from her critics and detractors. Co-directors Julie Cohen and Betsy West then proceeded to tell her story: Bader’s career-long impact on equal protection under the law for all people, especially women and people of color, the love story with her husband who supported her career throughout their lives, and the often funny, affectionate family memories shared by her two children. Bader has been rediscovered by a whole new generation who revere her as the incarnation of both a Wonder Woman and The Notorious R.B.G. a book about her life which has inspired t-shirts, posters, and even Valentine cards.
- Three Identical Strangers – This story of three identical triplets separated in 1961 at six months old and adopted by three different New York families could be subtitled, Ripped from Tabloid Pages. The three brothers were placed in homes that represented different economic classes, an upper middle-class Scarsdale doctor and his family, a middle-class family, and finally a working-class family. The triplets were reunited in serendipitous circumstances in 1980 at the age of 19 and became instant celebrities, appearing on talk shows, magazine covers, and were the subjects of tabloid stories which followed their new public lives. There was an instant connection and familiarity between them as if they had known each other all their lives. Their story takes a darker turn when they became aware of their differences and the discovery that they were subjects of a social experiment. What surprised me most about this film was how a joyful reunion turned into a family tragedy.
- Won’t You be My Neighbor? – This is the film biopic of Fred Rogers, better known to millions of television viewers as Mr. Rogers. The film was an opportunity to spend some time with him in his neighborhood over the years and share his journey, values, words of comfort, and respect for children. He believed that children lived fully emotional lives and needed both the protection and engagement with adults to assuage their fears by addressing subjects that many adults shy away from. Mike King, Senior Programmer for the festival introduced the film by saying we would need Kleenex at hand. He was right. See it, and if you have children, see it with them.
- Hal – I saw this documentary, along with the preceding three films at the Wisconsin Film Festival this past year. When I ordered my tickets at the First Look at the Fest event (which I would recommend, and will attend again next year), I overlooked this documentary about Hal Ashby and purchased a ticket online when they went on sale the first day. I’m glad I did. Hal is a loving tribute to prolific film editor, director, letter-writer, rebel, and award-winning filmmaker notorious for his five wives, pot-smoking, marathon film-editing and ability to work non-stop on little sleep. His films from the 1970’s remain some of my favorites, Harold and Maude, Shampoo, Coming Home, and The Last Detail. Filmmakers, friends, actors, and ex-wives and lovers, share stories of his influence on movie-making, politics, and their lives.
- Jane Fonda in Five Acts – I watched this HBO documentary twice for a couple of reasons. First, it chronicled the life of one of my favorite actresses. Second, though Fonda is a couple of years older than me and our lives in most respects couldn’t be more different, we shared the same decades as feminists and as women in search of our identity and responsibility to community as citizens of the world. Fonda tells her story in five acts, each introduced by the influential man in her life beginning with her father, Henry, until the final act when she addresses her life as simply and significantly as Jane. I was impressed by her ability to look back at her past with perspective and honesty. There were years I personally questioned, “What was she thinking?” She asks herself the same questions without harsh judgment, but instead awareness, as she answered the questions why. Fonda is touring and I have tickets with a filmgoing friend for An Evening with Jane Fonda: A Celebration of a Storied Career in Madison in July.
Best Foreign Film
Roma
Best Animated Film
Isle of Dogs
Honorable Mention
- Bohemian Rhapsody
- Beautiful Boy
- The Rider
- On the Basis of Sex
- Lizzie
- Boy Erased
- Ben Is Back
- Wild Life
- American Animals
- Eight Grade
Films I Didn’t See
(This category includes a sampling of films nominated for awards that I chose not to see 1, missed in theaters 2, or haven’t premiered yet in Madison 3)
- Cold War 3 (Top of my list to see)
- At Eternity’s Gate 3
- Burning 2
- Minding the Gap 2
- Crazy Rich Asians 1
- Mary Poppins Returns 1
- The Hate You Give 1
- A Quiet Place 1
- Hereditary 1
Films that Disappointed
- Widows
- Welcome to Marwen
- The Mule
Guilty Pleasures
The Favourite
Dream Double Features
- RBG & On the Basis of Sex
- Marwencol & Welcome to Marwen
- Beautiful Boy & Ben Is Back (An Al-Anon meeting in between films is recommended).
Additional Reading from Mixed Metaphors, Oh My!
A Filmgoer’s Guide to the Best Films of 2017
A Filmgoer’s Guide to the Best Films of 2016
A Filmgoer’s Guide to the Best Films of 2015