The Best Films Of 2018… So Far

“RBG”
Supreme Court Justice Ruth Bader Ginsburg has a life and legacy worthy of dozens of films. Documentarians Betsy West and Julie Cohen had the unenviable task of trying to condense it down into one tightly-knitted 90-minute film, while still ultimately respecting the subject’s triumphs, values, hardships and fine character which brought her so much adversity and acclaim at 85 years young. The resulting film, “RBG,” however, does just that, while also providing a rousing, entertaining and inspiring look at one incredible woman’s long-winded journey for equal equality in America. It doesn’t necessarily break the mold in terms of its narrative presentation, nor does it fully encompass everything this woman achieved in such an extensive career in politics, but “RBG” is, nevertheless, a triumphant, empowering piece of cinematic journalism, one that’ll prove that not everything is necessarily terrible in politics in 2018. Hooray! “RBG” is one of the few documentaries in U.S. history to work its way into the box office top 10 (in the summer season, no less!) and watching the film, it’s not hard to see why it’s striking such a chord. Above all else, beyond politics and anyone’s specific guiding beliefs, West and Cohen’s new film excels at capturing the heart of perseverance, and it demonstrates the power of achieving your best self even among the incredible odds placed against you. In today’s depressing media landscape, filled with distress and dour at a nearly minute-by-minute moment, it’s good to see something that’ll provide lasting hope and genuine inspiration for audiences everywhere. (Also, props to “RBG” for having a behind-the-crew of nearly all women!) – WA

“The Death of Stalin”
Writer/director Armando Iannucci ruthlessly twisted dark comedy “The Death of Stalin” was both a wickedly entertaining return-to-theaters for the “Veep” creator and the fearless, frequently funny political satire we’ve come to expect from the genius behind “In the Loop.” Stacked with quite easily one of his best ensembles to date, including Steve Buscemi, Michael Palin, Jason Isaacs, Rupert Friend, Andrea Risebourgh, Simon Russell Beale and, err, Jeffrey Tambor, the latest film from the acidic high wit is not only as consistently clever and bitterly biting as anything made by Iannucci before (it’s also delightful that the movie makes no effort to have its mix of British and American actors speak in dreaded Russian accents), but it’s also perhaps the most timely and cultural relevant of his works to date, even though it’s his first period piece. In Kevin Jagernauth’s glowing review from the Toronto International Film Festival, he praised the film by claiming it was “a grim reminder that we are never too far away from history turning back on progress. It’s not an easy lesson to reconcile, but Iannucci at least has us laughing for a good while before delivering his devastating blow.” Indeed, even when it hits a little too close to home in its Russian setting, “The Death of Stalin” is so persistently funny that you can’t help from howling.– WA

“A Quiet Place”
John Krasinski’s “A Quiet Place” is a fantastic example of a darn good sleeper hit. A modestly-budgeted concept horror film from a director who hadn’t previously proven himself behind the lens, the actor’s first horror movie was a wonderfully tense, exceptionally skillful and surprisingly meaningful little surprise. It was a personal and adeptly profound meditation on parenthood and the risks and sacrifices that come with welcoming children into your life, one told precisely and attentively from a well-liked actor finally proving himself as an writer/director. Bringing his wife, the immensely talented Emily Blunt, into the fold only brightened the themes brought onto display here. It was a gamble in every imaginable sense, and it’s one of those rare times where it paid off handsomely. There are few rushes you’ll receive at the movie theater in 2018 that are quite as exhilarating as Krasinski’s third feature as a filmmaker. Our own Jordan Ruimy praised the film when saw it at SXSW, proclaiming it to be “a thrilling, near-silent film that brilliantly toys with the audience’s nerves while deftly avoiding familiar cliches, Krasinski shows a surprisingly assured and suspenseful touch within the horror genre.” He also called it “impressively cinematic and a brilliantly constructed blend of sight and sound” in his write-up. Thankfully, audiences were also taken by it, making it one of the year’s biggest hits in addition to being one of 2018’s most widely-beloved theatergoing experiences.– WA

“Paddington 2″
“If we are kind and polite, the world will be right” is the title character’s constantly-uttered mantra in “Paddington 2.” It’s a simple little rhetoric that unfortunately isn’t often expressed in our current day-to-day lives. While “Paddington” and his first trip to theaters in 2015 was warmly received, in 2018, the talking brown bear’s presence is practically a necessity. His sunny disposition was a stark-yet-warm contrast from our everyday doom and gloom. His simple plea was one worth hearing and very much worth celebrating. Thankfully, the newest movie surrounding the popular optimistic bear was not only a worthy sequel but perhaps even better and more satisfying than the original. Filled to the brim with wit, sincerity and good cheer, “Paddington 2” was rousing a delight for all. In my review, I praised Paul King’s marvelous cinematic return for Michael Bond’s adored literary creation by saying, “[‘Paddington 2’] is not only another warm, friendly, massively good-natured family-friendly film, but it’s deeply caring too, here to give everyone a light and entertaining diversion during these taxing times.” We could all afford to be more like Paddington. – WA

“Tully”
Who would have thought that the crowd-pleasing, quip-a-minute, Oscar-winning “Juno” would be one of the more divisive movies in the film community? Regardless of your feelings (positive or negative) on that film, there’s no question that director Jason Reitman and screenwriter Diablo Cody have grown in the years since. Audiences cooled on their excellent, albeit mean-spirited “Young Adult,” with an incendiary Charlize Theron performance that wouldn’t have felt out-of-place in a Paul Schrader “lonely man” (“lonely woman,” in this case) film. Then, audiences barely showed up for this year’s “Tully,” which is such a shame, because it’s a funny and seemingly brutally honest look at motherhood, with another exceptional Theron performance and a terrific Mackenzie Davis as the night nanny hired by Theron’s wealthy brother (Mark Duplass). Every single line, and every microaggression exchanged between characters feel painfully real. As Gregory Ellwood points out in his “B+” review out of Sundance, “Cody knows her screenplay had to be innovative enough to make the familiar subject matter compelling.” It’s safe to say that her mission was accomplished. – Ryan Oliver