#youwereneverreallyhere

Only a few years into my tenure as a film blogger, and I’ve been tasked with a monumental undertaking : ranking the top films of the last decade.  Reflecting year by year is a journey in its own right, and with things like recency bias to take into account, plus the dice roll of blessing and curse that perspective and time bring to older films, I knew that this would be memorable at best, and stressful at worst.

That being said, I don’t claim to have seen every movie, so I know that there are some ‘glaring’ omissions.  I am always open to recommendations for films I should watch (for the purpose of blogging on them or otherwise), but DOOMonFILM has always been about my personal experience as a film fan, first and foremost.  Discussion is welcome, and constructive criticism will always be considered, but this is one man’s opinion.

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THOUGHTS ON THE DECADE

The 2010s, despite moments of controversy in terms of diversity, turned out to be surprisingly forward-thinking in hindsight.  On more than one occasion in the decade, the film of the year (in terms of awards or in terms of critical/public reception), as well as highlight films of each year, were made by foreign directors.  Women and minorities also managed to be recognized in front of and behind the camera at what seemed like a higher rate.  Newer technologies were embraced, such as pushes forward in new cameras or directors opting to shoot on devices as small as iPhones, leaps forward in special effects, and a multitude of movies given the iMax treatment.  A handful of directors happened to put out multiple movies throughout the decade, and a few of those in that handful managed to make multiple award-winning and widely accepted films.  Marvel left such an impact on Hollywood, and the worldwide movie industry, that DC was forced to try and follow suit, and mergers with Sony and Disney were top tier news for months on end.  Actors like Scarlett Johanson, Ryan Gosling, Emma Stone and Leonardo DiCaprio, among others, solidified themselves as box-office legends, while actors on both sides of their career (first-timers and those in the twilight of their career) found success throughout the decade.  All in all, it was a decade that continued to make me happy to be a movie fan, and as hard as it was to do, I managed to find 100 films throughout the decade to rank. 

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100. It Comes at Night (dir. Trey Edward Shults, 2017) 99. Kick-Ass (dir. Matthew Vaughn, 2010) 98. The Peanuts Movie (dir. Steve Martino, Andy Beall and Frank Molieri, 2015) 97. Everybody Wants Some!! (dir. Richard Linklater, 2016)  96. Upstream Color (dir. Shane Carruth, 2013) 95. Avengers : Age of Ultron (dir. Joss Whedon, 2015) 94. John Dies at the End (dir. Don Coscarelli, 2013) 93. Doctor Strange (dir. Scott Derrickson, 2016) 92. Keanu (dir. Peter Atencio, 2016) 91. Free Fire (dir. Ben Wheatley, 2017) 90. Upgrade (dir. Leigh Whannell, 2018) 89. Chappie (dir. Neill Blomkamp, 2015) 88. American Ultra (dir. Nima Nourizadeh, 2015) 87. I, Tonya (dir. Craig Gillespie, 2017) 86. Boyhood (dir. Richard Linklater, 2014) 85. The Grand Budapest Hotel (dir. Wes Anderson, 2014) 84. La La Land (dir. Damien Chazelle, 2016) 83. Ex Machina (dir. Alex Garland, 2015) 82. Nightcrawler (dir. Dan Gilroy, 2014) 81. Sicario (dir. Denis Villeneuve, 2015) 80. Looper (dir. Rian Johnson, 2012) 79. The Killer Inside Me (dir. Michal Winterbottom, 2010) 78. Hell or High Water (dir. David Mackenzie, 2016) 77. End of Watch (dir. David Ayer, 2012) 76. Django Unchained (dir. Quentin Tarantino, 2012) 75. Thoroughbreds (dir. Cory Finley, 2018) 74. Chronicle (dir. Josh Trank, 2012) 73. Melancholia (dir. Lars von Trier, 2011) 72. Black Mirror : Bandersnatch (dir. David Slade, 2018) 71. Detroit (dir. Kathryn Bigelow, 2017) 70. BlacKkKlansman (dir. Spike Lee, 2018) 69. Black Panther (dir. Ryan Coogler, 2018) 68. I Am Not Your Negro (dir. Raoul Peck, 2017) 67. Straight Outta Compton (dir. F. Gary Gray, 2015) 66. Kubo and the Two Strings (dir. Travis Knight, 2016) 65. It Follows (dir. David Robert Mitchell, 2014) 64. Logan Lucky (dir. Steven Soderbergh, 2017) 63. Get Out (dir. Jordan Peele, 2017) 62. Booksmart (dir. Olivia Wilde, 2019) 61. Beats, Rhymes & Life : The Travels of A Tribe Called Quest (dir. Michael Rapaport, 2011) 60. Lady Bird (dir. Greta Gerwig, 2017) 59. Moonrise Kingdom (dir. Wes Anderson, 2012) 58. The Cabin in the Woods (dir. Drew Goddard, 2012) 57. Black Swan (dir. Darren Aronofsky, 2010) 56. Captain America : The Winter Soldier (dir. Joe Russo, 2014) 55. If Beale Street Could Talk (dir. Barry Jenkins, 2018) 54. Avengers : Infinity War (dir. Anthony Russo, 2018) 53. True Grit (dir. Ethan and Joel Cohen, 2010) 52. Three Billboards Outside Ebbing, Missouri (dir. Martin McDonagh, 2017) 51. Whiplash (dir. Damien Chazelle, 2014) 50. Midsommar (dir. Ari Aster, 2019) 49. Journey to the West : Conquering the Demons (dir. Stephen Chow and Derek Kwok, 2013) 48. Sorry To Bother You (dir. Boots Riley, 2018) 47. Mid90s (dir. Jonah Hill, 2018) 46. Logan (dir. James Mangold, 2017) 45. The Killing of a Sacred Deer (dir. Yorgos Lanthimos, 2017) 44. Phantom Thread (dir. Paul Thomas Anderson, 2017) 43. The Hateful Eight (dir. Quentin Tarantino, 2015) 42. Exit Through the Gift Shop (dir. Banksy, 2010) 41. The Irishman (dir. Martin Scorsese, 2019) 40. Suspiria (dir. Luca Guadagnino, 2018) 39. The VVitch (dir. Robert Eggers, 2016) 38. Dogtooth (dir. Yorgos Lanthimos, 2010) 37. The Lighthouse (dir. Robert Eggers, 2019) 36. Annihilation (dir. Alex Garland, 2018) 35. Drive (dir. Nicolas Winding Refn, 2011) 34. Beyond the Black Rainbow (dir. Panos Cosmatos, 2012) 33. The Favourite (dir. Yorgos Lanthimos, 2018) 32. Searching (dir. Aneesh Chaganty, 2018) 31. Tangerine (dir. Sean Baker, 2015) 30. Snowpiercer (dir. Bong Joon-ho, 2014) 29. Under the Skin (dir. Jonathan Glazer, 2013) 28. Dunkirk (dir. Christopher Nolan, 2017) 27. Blade Runner 2049 (dir. Denis Villeneuve, 2017) 26. Baby Driver (dir. Edgar Wright, 2017) 25. Joker (dir. Todd Phillips, 2019) 24. The Neon Demon (dir. Nicolas Winding Refn, 2016) 23. Spider-Man : Into the Spider-Verse (dir. Peter Ramsey, Bob Persichetti and Rodney Rothman, 2018) 22. The Shape of Water (dir. Guillermo del Toro, 2017) 21. The Social Network (dir. David Fincher, 2010) 20. Frances Ha (dir. Noah Baumbach, 2013) 19. Under the Silver Lake (dir. David Robert Mitchell, 2019) 18. Mad Max : Fury Road (dir. George Miller, 2015) 17. Good Time (dir. Josh and Benny Safdie, 2017) 16. Mandy (dir. Panos Cosmatos, 2018) 15. Once Upon a Time in Hollywood (dir. Quentin Tarantino, 2019) 14. Her (dir. Spike Jonze, 2013) 13. The Lobster (dir. Yorgos Lanthimos, 2015) 12. Inherent Vice (dir. Paul Thomas Anderson, 2014) 11. The Master (dir. Paul Thomas Anderson, 2012)

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10. The Last Black Man in San Francisco (dir. Joe Talbot, 2019)

I saw this film as the decade was winding to a close, but it made easily one of the starkest impressions on me of any film-going experience I can recall.  The movie looks amazing, the score and soundtrack are powerful, the acting is rich and dynamic, San Francisco is as beautiful on film as it is in real life, and the thoughts that arise from the narrative presented are the kind that hang around and result in personal changes that matter.  A shining achievement from a stellar year of film.

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9. Inception (dir. Christopher Nolan, 2010)

If Christopher Nolan wasn’t already considered top tier prior to Inception, any doubters were left floored at the close of this masterpiece.  For a story that could have easily been way too convoluted for standard audiences, the visuals, direction and pacing guide us through the madness perfectly.  For anyone interested in dream depictions on cinema, for fans of stellar action, and for the smart people who know the quality that comes with the Nolan name, this one was a no-brainer.

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8. mother! (dir. Darren Aronofsky, 2017)

After being a bit on the nose with Noah, in terms of a film on religion, most directors would take that as a sign to move on from the topic.  For a director like Darren Aronofsky, however, the next step was to seemingly go back to your mind-scrambling roots, dig deeper symbolically, narratively and metaphorically, and come back to the table with one of the most divisive and controversial films of the decade.  mother! will clearly be a film ripe for analysis for years to come, and for as subjective and deep an experience as the film is, this reflection is welcome, as it serves to enrich future viewing experiences.

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7. Uncut Gems (dir. Josh and Benny Safdie, 2019)

How long does a film have to be out to be considered one of the best of the decade?  In the case of Uncut Gems, I will allow recency bias, as it is clearly evident at the beginning of the closing credits that the film is special and will resonate for years to come.  The Safdie brothers already had a classic under their belt with Good Time, and throwing that Sandler magic into the mix only amplifies their heightened and immersive style.

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6. The Florida Project (dir. Sean Baker, 2017)

There are a small fraternity of directors that put out their first films and follow-up films in the 2010s, and while examples of possible award snubs can be found for these directors, there was one clear-cut case of oversight : the 2017 lack of recognition for Sean Baker’s immaculate, beautiful and moving The Florida Project.  While Tangerine was certainly the loudest of warning shots a first time director could provide, the amount of growth, nuance and confidence found in this follow-up deserved multiple awards, not just an acting nod for Willem Dafoe.  Perhaps Baker’s next film will bring him the recognition he deserves in terms of awards, but he’s already made a clear cut name for himself.

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5. Hereditary (dir. Ari Aster, 2018)

I rediscovered a love for horror films in the 2010s, and a key reason would be the emergence of director Ari Aster.  Upon seeing trailers for Hereditary, I knew that it would probably scare the life out of me, but the taste of the story given was so gripping I had to see it.  The fact that the trailer was so powerful, only for the movie to unfold in ways that I never would have imagined or discerned from the trailer, was one of the most rewarding film experiences of the decade.  Toni Collette also gave a performance for the ages.

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4. You Were Never Really Here (dir. Lynne Ramsay, 2018)

It’s arguable that Joaquin Phoenix may have had the strongest decade of any actor, and for my money’s worth, he was at his best in You Were Never Really Here.  Much of the angst presented was previously explored in The Master, and as great as Joker is, it’s essentially the DCEU version of You Were Never Really Here, tonally and in terms of specific elements.  Nobody short of the Safdie brothers are making movies that look, sound and feel like this one, and the unfortunate practice of human trafficking hitting the news forefront makes this film as timely as it is sad.

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3. Scott Pilgrim vs. the World (dir. Edgar Wright, 2010)

Hands down the coolest film of the decade.  Not since Who Framed Roger Rabbit? had so many elements that I loved from other properties managed to find their way into the same movie, and the way that the gumbo was prepared and served was pitch perfect.  As my friend Erin stated after we viewed the film, ‘If you watch this movie and don’t like it, I don’t think we can be friends’.  Some of my favorite sequences of any film are in Scott Pilgrim vs. the World, and this is the EXACT kind of film I look forward to one day sharing with my children. 

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2. Parasite (dir. Bong Joon-ho, 2019)

Another recent film that made an instant impact.  In terms of topics like honesty, entitlement, and family dynamics, nothing I can think of in recent memory is touching Parasite.  The parallels between the two families presented are perfect both visually and in the performances, and with each new bit of information presented, much of what you were previously presented is immediately recontextualized and put into question.  This film, from front to back, is one of the most gripping journeys a filmgoer can take. 

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1. Birdman or (The Unexpected Virtue of Ignorance) (dir. Alejandro González Iñárritu, 2014)

I once had a rock music history professor who told us he had figured out the key to the Beatles’ success. Their songs were tight, economical. No wasted words, notes or effort.

It’s not a song, but the same could be said for director/writer Lynne Ramsay’s film “You Were Never Really Here.”

A movie that wowed them at the 2017 Cannes Film Festival, got an April 2018 release in the U.S. and came out on Blu-ray/DVD last week is fat-free. It packs more intensity, beauty and unsettling violence and content into 90 minutes than many other films combined.

Wouldn’t it be great if all films accomplished so much in so little time?

This is the fourth feature film for the Scottish director Ramsay, who wrote the screenplay based on the novella of the same name by Jonathan Ames. But the story here takes a backseat to how the story is told, mostly through visuals and sound more than dialogue, which is sparse.

“You Were Never Really Here” is about Joe, played by a beefed-up, bearded and brooding Joaquin Phoenix. Joe has issues. He has seen terrible things, starting in early childhood. He suffers from post-traumatic stress disorder, made worse by a tour of duty in the Gulf War and his chosen profession, rescuing (sometimes) underage girls from the sex trade and inflicting terrible pain on the perpetrators.

Joe is hired by a New York state senator to retrieve his 13-year-old daughter (played by Ekaterina Samsonov) from a brothel. Sounds easy enough, but the situation is more involved and corrupt than Joe knows. And when your trade involves killing, you become the hunted as much as the hunter.

Phoenix’s Joe is a man teetering on the edge of insanity. He is scarred mentally and physically. He is being held together, barely, by prescription drugs and ice packs. He bounces back and forth between the present and flashbacks – to his tortured childhood, to the girlfriend he beat, to the Middle East, to a truckload of young girls who could not be saved.

This had to be a challenging role for Phoenix, who is up to the task. Joe is both caring (he lives with his elderly and perhaps senile mother) and relentless. And he’s good at what he does. His weapon of choice: a $17 hammer. When Joe is told he has a reputation for being brutal, he responds, “I can be,” and he proves it by cracking open skulls with a tool most of us use to hit nails.

“You Were Never Really Here” is not all about the violence. In fact, some of it is implied. And in the most graphic scene, we see only the aftermath. And it’s not even Joe who has inflicted the violence.

Instead, this film is about the evils of men in power and the victimization of young girls. It’s disturbing content, to be sure, but one handled by Ramsay with care and unique perspective.

This is very much an art house film. Imagine “Walking Tall” if it had been made by an indie film director. Shots linger. The images are rarely standard movie shots. We see close-ups of hands. Or someone’s legs and feet. Or action taking place as seen through broken mirrors. And, in the film’s most intense scene, through security cameras. And in its most beautiful scene, under water. Thomas Townend’s cinematography produces so many gorgeous images that it feels like the filmmakers are showing off.

Punctuating that beauty and, somehow at the same time, Joe’s seemingly inevitable mental collapse is the score by Radiohead’s Jonny Greenwood. It bounces around between beat-driven short pieces, slightly off-tune strings and synthesized techno. The film also makes great use of ironic song choices, including the prominently featured 1961 tune “Angel Baby” by Rosie & the Originals. And Greenwood’s music and the infrequent dialogue give the picture plenty of room for the sounds of New York cityscape, cicadas chirping, Joe’s footsteps in a mansion and overlapping conversations in a diner.

Here we are... that moment that every critic simultaneously loves and dreads : the Year-End Top 10 List.  At worst, we are forced to scrape the creative dredges and cobble together something that resembles a best of list that will bring glory and honor to the year.  At best (like this year), we are forced to leave personal favorites in the dust and judge the larger quantity of offerings on a much tougher scale in order to truly represent the top quality work of the year.

As I’ve said in many pieces this year, 2018 was a joy in terms of being a film-lover.  This list was not an easy undertaking, and it more so resembles a snapshot of how I’ve felt over a judging period than it does a concrete group of selections in a fixed order.  Take this list as more of a jumping off point for discovery than you do the gospel of DOOMonFILM. 

Note : I am not sure when I will get a chance to see Vice or The Favourite, which I am sure will skew my results once I do see them... I will address those films in their respective reviews, however.  Forgive me in advance.

Honorable Mentions

Damsel Even if the Zellner Brothers weren’t representing Austin beautifully with this gem of a film, it’d still be on my radar simply for the fact that it is a unique twist on a genre that most figured had seen every presentation imaginable.  Add to that a strong female lead character, and you’ve got a winner on your hands.

The Endless A science-fiction modern day classic, and apparently part of a possibly bigger line of stories (with some of the best integration of aspects from another film I’ve ever seen).  This film is chilling in its approach to the concept of cults, as well as its use of the concept of ‘the danger that lurks just off-screen’.

Isle of Dogs Had this year not been full of stellar animated films, this one probably would have made the main list.  More groundbreaking animated films, combined with personal feelings about the films of Wes Anderson, however, regulated this one to Honorable Mention status.

Mid90s I was all set for Eighth Grade to be my bit of nostalgia, or my reflection on what it’s like to be a kid again, and for what it’s worth, it was a great film.  The thing is, Mid90s directly spoke to me in a way that Eighth Grade unfortunately could not, simply because Mid90s was like looking in a time-traveling mirror. 

Thoroughbreds I really wanted this to be on my top 10, but ultimately, it was too ‘quiet’ of a film to make it in a year full of big noise.  Thoroughbreds will certainly be a future favorite for public screenings and friend viewings, but a couple of films this year hit the same notes on a higher frequency.

Black Panther The cultural impact of this film is one that cannot be ignored.  It took February, a month that is generally a box office bust, and it put up unparalleled numbers that not only lasted throughout the year, but were topped from within rather than by another Hollywood studio.  The respect given to the characters and their African heritage did not go unnoticed, either, as several think-pieces and a number of curriculum were spawned from those researching elements of the production design.  The narrative is strong, and it righted the Marvel villain boat prior to the big MCU bombshell that was lying in wait. 

The Favourite I really wanted this to make the top 10 of the year... I thought long and hard about what film I should remove or replace.  What I came to realize, however, is that despite The Favourite being a world-class comedy and production, it simply falls short in the realm of the spectacular : it does not contain visual innovations, it is not a reflection of the times, and it didn’t completely break my brain.  That being said, on any given day, I’d happily name this one of the top 10 films of 2018... it’s essentially like having 11 cakes on the table and having to pick the 10 best.

Avengers : Infinity War This movie was the true film event of the year.  Marvel has been building up to this singular event for nearly two decades, and in my opinion, the payoff more than succeeded.  Thanos tiptoed the line between anti-hero and villain with purpose perfectly, and the rapport between characters worked both in terms of advancing narratives and being mined for humor.  I am definitely looking forward to Avengers : Endgame this April, and I know the masses are right there with me.

10. BlacKkKlansman

Not that I ever doubted Spike Lee had it, but after a few abstract offerings and documentaries, one wonders if their style can translate into an ever-expanding world of film language.  Luckily for Lee, it seems the world has grown into his cinematic vision, with an older true story serving as the perfect backbone for many of Lee’s trademark tricks to be implemented for maximum effect.  The ending will put you in tears if you have anything closely resembling a soul.

9. Blindspotting

This film really deserved a bigger run than it got, as it hit race relations of today on the nose without coming off as preachy or heavy-handed.  Daveed Diggs proved that his charisma translated on both stage and screen, and his integration of hip-hop into both realms will hopefully have positive long-lasting effects.  The chemistry between all members of this cast is kinetic, the story is told with perfect pacing, and the movie rides visual highs that match the narrative ones.  I would love to see this movie receive some high-degree nominations.

8. Annihilation

I came into 2018 with high expectations for this film, as I’d spent the previous 16 months or so completing the Southern Reach trilogy in its book form.  Then I started hearing things about the production and the release that gave me a bad feeling : a Netflix distribution deal that seemed to all but kill a true theatrical run, trepidation from the studio in regards to the director’s vision, and other whispers that attempt to sink a film.  Then I saw this movie, and was taken away to a completely different world.  We may not be getting a faithful, trilogy-length adaptation of the series anymore based on what happens in Annihilation, but if these are the moments I’m left with, I’d consider myself happy in the long run. 

7. First Reformed

It took me longer than I intended to get around to this one, but knowing that Paul Schrader wrote and directed it made it a must-see.  The film was drawing comparisons to Taxi Driver (not a surprise, based on the aforementioned Schrader involvement), and surprisingly, it more than lived up to that hype.  The tension is equal, but updated to reflect the times in a way that could impact any of us.

6. Suspiria   

This movie will make it extremely hard for me to blanket-debate against remakes simply because it does all of the right things in regards to updating a classic.  The film does not rely on existence as a new millenium version of an old film... rather, it boldly takes concepts only touched upon in the original and fully embraces them, presenting a true psychological horror gem in a year full of them.  The film also looks amazing on top of everything, which was a high bar to meet considering the original movie is basically driven by its visual style.  A 2018 must-see, film buff or not.

5. Spiderman : Into the Spider-Verse

Easily the most fun I’ve had in a theater all year.  I was blown away by the animation, and can’t wait to see further installments of the Spider-verse specifically to see how that enhances over the years.  There was such a high volume of homage and Easter Egg placement in this film that it warrants repeat viewings, and it was one of a handful of films that I wanted to instantly own as I was walking out of the theater.

4. Mandy

Like Spider-Man : Into the Spider-verse, I wanted to own this movie the second I walked out of the theater as well.  The trailers intrigued me, a recommendation of Beyond the Black Rainbow fully sold me, and the final product did not disappoint.  This film certainly is not for everyone, and funny enough, the two biggest aspects that would place it on that ‘not for everyone’ list sit in opposition of one another : the film is a bit indulgent on the style at the sake of what would be considered normal pacing, and it has some extremely violent moments.  That being said, Mandy is easily one of, if not THE, most beautiful films of the year.

3. Roma

This seems like the closest thing to a Fellini film that us modern day film lovers will ever get.  The story itself is intriguing, as it juxtaposes class issues, political issues and the barrier of trying to raise a family in a crazy world all in an intriguing tapestry.  The cinematography is calculated, observational, and the choice to film the movie in black and white adds an instant timeless quality to it.  Director Alfonso Cuaron even manages to get in a little cinematic and visual humor, albeit mostly subtly, but it definitely pays off if you’re in tune to what he’s doing.  Easily one of the best pictures of the year, worldwide, and a party that I was certainly late to.

2. You Were Never Really Here

If Mandy is a bit too over the top for your tastes, then You Were Never Really Here may be the jarring experience you need in 2018.  This film is almost as visually stunning, but the narrative is far more calculating, deceptive and intriguing, both on the surface and as you dig deeper.  The hectic camera setups, editing and score put you in such a disjointed state of mind that Joaquin Phoenix becomes the only thing you can hang on to, and your involvement in his journey is completely immersive.  In a year of performances that focus on the anti-hero, this film found a way to scrape to the top of the pile.

1. Hereditary

Something strange is happening here... who would have thought that a horror film would be my favorite film of the year?  Hereditary is no run of the mill horror film, however... it treats its audience as intelligent, and there is so much texture in the film that it’s impossible to see it all without multiple viewings.  The close of the first third of the film is horribly unsettling, but it propels the narrative forward so abruptly and intensely that you’re locked in from there out.  A genius film, and an instant classic.

(Editor’s notes)