The Perfection” (Netflix) has one of those trailers that seems to give away the whole movie, so after making the mistake of watching the trailer, I let it fade from my mind a bit before watching the film. As it turns out, this horror thriller from director/co-writer Richard Shepard – who has a lot of credits but not many “wow” credits before this – is only partly like the trailer suggests. “The Perfection” so smoothly toys with and contradicts our narrative expectations that I wonder why more movies don’t use this tactic.
Crazy Ex-Girlfriend” recently wrapped an amazing four-season run with Rebecca Bunch (co-creator Rachel Bloom) deciding to pursue love – as in her love of writing songs, but now she’ll do it on paper instead of in her head. As fans know, not all of the 150 to 300 songs (depending on how you count them) from “CXG’s” run were in Rebecca’s head, meaning that Josh, Greg, Nathaniel, Paula, Heather, Darryl, etc. also did their share of internal songwriting.
Prior to seeing “Bohemian Rhapsody” (2018), I was hardly a Queen fan. The band’s popularity had faded before I was old enough to appreciate it, and growing up, their music was not something I was into. My knowledge of Queen was limited to knowing they had a handful of decent songs and a few overplayed stadium anthems, and were led by one of the most eccentric frontmen of all time. That said, I’m a huge music fan in general and had heard good things from friends about the film, so I was excited to learn about the legend of Queen.
I’m usually not a fan of remakes, but I make exceptions if the remake brings a fresh perspective to the material. I can also be won over if the remake is really f****** good. Such is the case with “A Star is Born” (2018), which was also made in 1937, 1954 and 1976, and which makes a solid case for its existence in dialog from Sam Elliott’s Bobby: “It’s the same story told over and over, forever. All any artist can offer the world is how they see those 12 notes. That’s it.”
The dominant genre of 2018 continued to be superheroes; even with the “X-Men” Universe and DC Extended Universe releasing only one film each, the three Marvel Cinematic Universe movies were impossible to overlook. Still, this was a less blockbustery year than 2017, and by year’s end I had seen at least one really good film in every genre. From a throwback thriller to an arthouse gem, here are my 10 favorite films of 2018.
Just as I was thinking that 2018 has been a down year for comedies, along comes “Juliet, Naked,” which got a limited release in theaters and is now on home video. It’s the sixth Nick Hornby book to be adapted for the screen, and my personal favorite. (And no, I’m not forgetting “High Fidelity” and “About a Boy.”) Featuring the pitch-perfect cast of Rose Byrne, Ethan Hawke and Chris O’Dowd, it left me misty-eyed with laughter and sadness – sometimes within the same scene – and features a funny yet sober examination of extreme music nerdery.
The Greatest Showman” (2017), now available for home viewing, takes us back to a time when anything is possible if you dream big and are persistent. Did such a time ever exist? That’s beside the point, as is what happened behind the scenes at Phineas Barnum’s circuses. (Don’t do an extensive internet search if you don’t want your illusions shattered.) Last year’s most-hyped musical is – within its own confines – a joyous celebration of dreams and achievements, with brief nods to hardships.
Pitch Perfect 3” (2017), now available for home viewing, is an unfortunately perfect example of a franchise that keeps going after it has run out of good ideas. Following the fun and catchy original (2013) and the ultimately winning sequel (2015), the third entry is a mishmash of a concept it doesn’t commit to, a jokey style that rarely results in laughs, characters who speak more about “family” than the “Fast and the Furious” crew yet don’t seem to like each other, and – most inexcusable – a soundtrack of forgettable tunes.
Iwas never involved in theater in school, but I learned to appreciate it during my years covering arts and entertainment for newspapers (even if my love of music, movies and TV was why I initially sought those jobs). Not to discount the pleasure of seeing a well-performed play or musical, but what I most remember is the theaters themselves and the groups of high school or college students or community members who performed in them.
Score: A Film Music Documentary” almost seems like it’s cheating. Its score – by the very definition of the subject matter – is the greatest music cues from the history of film. And inevitably, that is a percentage of the doc’s appeal. But this is also an accessible 90-minute history lesson that vastly increased my knowledge of the topic while keeping me glued to the screen. It proves learning can be fun.