Happy New Year, everyone! With 2018 coming to a close, it is time to take a quick look at some movies I never had the chance to cover on Break the Fourth. I have listed each movie review in chronological order of their theatrical release in 2018. Enjoy!

American Animals

⭑⭑⭑

Written and directed by Bart Layton, American Animals is a film based on the true story of the library heist at Transylvania University in 2004. Spencer Reinhard (Barry Keoghan), Warren Lipka (Evan Peters), Eric Borsuk (Jared Abrahamson), and Chas Allen (Blake Jenner) plot to steal some of the most valuable books in the world. On display at the university library, these books, among others, include four double-sized folios of John James Audubon’s The Birds of America as well as the first edition of Charles Darwin’s On the Origin of Species. Living according to a value system dominated by profit and fear, these four young men wish to become something more than average nobodies.

Interviews from the real perpetrators are intercut with specific moments in the film. This documentary-drama style had echoes of I, Tonya but to a different, comedic effect. American Animals presents the story from their young, distorted perspective. They see themselves as the underdogs rebelling against manufactured destinies. Rather than delinquents, they are the slick movie criminals like Daniel Ocean. In fact, some of the film’s editing and dialogue parody famous heist films such as Steven Soderbergh’s Ocean’s Eleven (2001) (“Either you’re in or you’re out. Right now.”) and Quentin Tarantino’s Reservoir Dogs (“Why am I, Mr. Pink!”). The testimonies from the real men juxtaposed with their younger selves’ perception and gravitas emphasized just how disconnected these boys were from reality. American Animals’ inventive editing in tangent with its cinematography and tense soundtrack created ironic twists that made the movie unexpectedly funny and endlessly captivating.

Annihilation

⭑⭑⭑ ½

Although not reaching the heights of Ex-Machina, Annihilation is a sci-fi film that proves once again that writer and director, Alex Garland, is one of the best writer/director working in Hollywood today. Based on the first book of Jeff Vandermeer’s trilogy, Annihilation is a film that does not underestimate its audience with typical sci-fi tropes. Well, except for the first minute of the film.

The film begins with the typical sci-fi trope: an object, not of this Earth, unleashing a strange entity with mysterious powers. The area of impact is quickly quarantined, codenamed Area X. This is where the clichés begin and end. The strange anomaly unleashed, nicknamed “The Shimmer,” is an iridescent electromagnetic field — resembling an expanding soap-bubble. As it grows, the environment it consumes begins to…change. Neither its horror nor beauty cannot be understood without venturing closer to it.

Following several failed military operations inside the Shimmer, a new team is assembled. It includes a biologist, psychologist, physicist, anthropologist, and a paramedic. Our main character, Lena (Natalie Portman), is the biologist. Led by Dr. Ventress (Jennifer Jason Leigh) (the psychologist), the team’s mission is simple: continue the government investigation of Area X and gather more data about its presence and effects. Dr. Ventress, along with Lena, Josie Radek (Tessa Thompson) (the physicist), Cassie Sheppard (Tuva Novotny) (the anthropologist), and Anya Thorensen (Gina Rodriguez) (the paramedic) carefully enter the Shimmer. As they travel farther into the Shimmer, communication to and from the outside world is lost, their sense of time and direction becomes distorted, and worse yet, they begin to witness (and gradually experience) the biological and psychological effects of this truly alien entity.

Annihilation is not a literal movie. There is more to the story than sci-fi thrills and visual effects. It is just as much of a tragic drama as it is a horror movie. The adversary of the film is not just the alien forces but also the internal forces in each character. We slowly see these two forces become one as it slowly destroys our characters in horrifying ways.

Thought-provoking and disturbing, Annihilation is one of the few sci-fi films I have seen that presents an alien phenomenon that is truly “alien.” When faced with a strange phenomenon we could never fully comprehend, whether it be a strange creature, disease, or trauma, it becomes very easy to lose ourselves. Like the Shimmer, Annihilation’s atmosphere slowly gets under your skin. Its striking visuals and ambient soundtrack added to a creepy, yet, sublime experience.

The Death of Stalin

⭑⭑⭑ ½

The Death of Stalin absolutely excelled in portraying the chaos of politics. Its particular use of dialogue and staging created comedic moments that left me laughing more times than I have ever laughed in a theater in a long time. No one could have accomplished this better than the creator, writer, and director of the brilliant HBO comedy series, Veep, Armando Iannucci. In fact, the film is very much like a feature-length episode of Veep, but set in Soviet Russia. I loved it all!

After the brutal, “infallible” leader of the Soviet Union, Josef Stalin (Adrian McLoughlin), suffers a paralyzing cerebral hemorrhage, a whirlwind of chaos and paranoia (more than usual) begins to dissolve Stalin’s inner circle. The paranoia that Stalin instilled in his comrades was, ironically, the reason for his demise. As his allies spend days trying to find trusted doctors to treat him, Stalin croaks.

Now, it is up to his men to pick up the pieces. Stalin’s inner circle include figures like Nikita Khrushchev (Steve Buscemi), Georgy Malenkov (Jeffrey Tambor), Vyacheslav Molotov (Michael Palin), and Lavrenti Beria (Simon Russell Beale). They, along with other statesmen, begin to vie for control while also trying to keep the “peace,” plan Stalin’s state funeral, and, of course, avoid being killed or exiled themselves. This chaos is felt not just behind closed doors but also among the people as “enemies of the state” are exiled or executed. Iannucci finds a balance between accurately depicting these serious subject matters and creating circumstances that breed satire.

I can confidently say that The Death of Stalin is the funniest movie of the year (Sorry Eighth Grade)! The caveat is that you need to really pay attention to the names of the many historical figures introduced. There are a lot of players in this intricate chess game, and if you don’t know much of the history it may be less engaging. Regardless if remember their names, motivations always remained clear and the jokes always killed. Making a comedy movie about a topic this complex is incredibly difficult. Iannucci did a magnificent job. It just goes to show that anything can make you laugh with the right context and craft.

Isle of Dogs

⭑⭑ ½

Without even telling you the director, anyone who has even heard of Wes Anderson will know that Isle of Dogs was directed by him. The classic hallmarks include lateral tracking, quirky characters, symmetrical framing, eye-popping color palettes, detailed sets, and, of course, several recurring actors (e.g., Bill Murray, Edward Norton, Jeff Goldblum). Let’s not forget his recurring use of the Futura font too. These hallmarks in and of themselves are not bad. On the contrary, I wish more filmmakers had such an attention to detail. His craft is pleasing to the eye and differentiates himself from other filmmakers. The problem is that his reliance on these practices has made his later films like Isle of Dogs fairly predictable. It has come to the point where Anderson is recognized more by his visual trademarks rather than his storytelling. No doubt, Isle of Dogs’ production quality is remarkable. Each individual hair on the dogs flapped with the wind and swayed with each movement. Unfortunately, this is the only aspect of the film that grabbed my attention. It is a film with the looks but little substance to keep me invested.

If you are a fan of Wes Anderson, I would recommend Isle of Dogs. For those interested in seeing a light-hearted animated movie, I would also recommend it. However, if you are looking for a film with a plot with greater tension and depth, I would say take a pass on it.

You Were Never Really Here

⭑⭑⭑⭑

Based on the novella by Jonathan Ames, You Were Never Really Here is art cinema that is just as blunt as it is stunning. This neo-noir crime thriller brings the audience into the mind of a character lost within himself. Falling in and out of haunting hallucinations of his past, Joe (Joaquin Phoenix) cannot seem to escape his distorted perception of this unforgiving world. You Were Never Really Here is about a broken man’s struggle in finding personal salvation in a lawless world before self-destruction takes him first.

Joe, a traumatized veteran, embraces his primitive brutality to find justice for the innocent. Since leaving the military and law enforcement, he earns money tracking down trafficked girls. Even if there is no innocence left in himself, Joe is determined to save those who still have a future ahead of them.

Based on this description, you may have expectations for a non-stop bloodbath; but that is not the case for You Were Never Really Here. There are bursts of violence but it is presented with incredible restraint and patience. Just enough is shown that shocks us and leaves the rest to our imagination. I could feel the disorientation and disillusionment in Joe, sinking further into despair and anger. Director, Lynne Ramsay, delivers You Were Never Really in a way that made for a psychologically gripping experience.

Avengers: Infinity War

⭑⭑⭑ ½

After ten years of build-up, character introductions, and after-credit teasers, we finally get to see what Thanos is all about. In contrast to the simplistic mustache-twirling villains, Thanos is a complex character that, in many ways, becomes the protagonist in Marvel’s latest cinematic extravaganza. Avengers: Infinity War is a roller coaster ride of a film filled with fantastic set pieces and momentum that made its long runtime fly by. A film with this many characters, locations, and storylines has no business being this cohesive, gripping, and successful. And yet, here we are.

Every character has a moment to shine. Because these characters were established in past films, the filmmakers have the flexibility to make room for action, banter, and necessary development for Thano’s character — one of Marvel’s best villains to date.

The Mad Titan: Thanos (Josh Brolin), is the last of his species from the now desolate planet of Titan — ravaged by overpopulation and depleted resources. Thanos is determined not to let this happen again for other planets. He invades planets, murders, and takes what he wants until his “good deed” is done. Sacrifices must be made to keep balance in a Universe with finite resources. From his perspective, he is not good nor evil. He is a necessary equalizer. Wielding the Infinity Gauntlet with all six Infinity Stones, he can change reality at his whim. Each stone possesses a specific element: power, soul, reality, space, time, and mind. Together, with one snap of the fingers, Thanos can murder trillions instantly. As Thanos initiates his plan, it is up to our large band of remarkable heroes to stop him.

Infinity War is structured in a way that organizes our large group of heroes into comprehensible, interconnected storylines. Although possessing multiple storylines with different emotional arcs, they converge and complement one another that creates a cohesive overarching story.

Disney’s Marvel continues to prove they are the dominant force in the superhero genre. Their ability to craft content that is fresh while also paying respect to the material that millions of fans hold dear is a feat that they continue to perfect.

This is one of (if not) the best movie in the Marvel Cinematic Universe (MCU). Seeing the characters we have followed for ten years finally come together and interact in a movie with increased stakes, emotional arcs, and an interesting villain made Infinity War a hell of a ride.

First Reformed

⭑⭑⭑⭑

I will make the bold statement of saying First Reformed is the best movie of the year. It is a masterpiece of writing and minimalistic filmmaking that mixes the thriller genre with independent drama. Its complementing soundtrack, cinematography, and performances help sell a difficult, yet, a necessary story about spirituality, trauma, tragedy, and existence. The writer and director, Paul Schrader, practices a transcendental style of filmmaking that investigates the often contradictory nature of both humanity and faith.

Ernst Toller (Ethan Hawke), a former military chaplain, is the presiding pastor for the First Reformed church in the state of New York. Dating back to the 18th century, the church has seen a decline in presentation and quality. With much of today’s attendees going to megachurches, First Reformed relies mainly on tourism to stay afloat. It is more of a souvenir shop and historical site than a church. Its parent megachurch, Abundant Life, is run by Joel Jeffers (appropriately played by Cedric the Entertainer), who asserts a more corporate, charismatic style of running a place of worship.

The dramatic changes Toller witnesses in the world of religion and its growing disconnect with a chaotic, polluted world begin to grade on Toller’s perceived purpose as a minister. Crippled with past trauma and uncertainties, Toller turns to the bottle. In addition to his church tours, masses, and excessive drinking, he begins to write his unfiltered thoughts in a journal. His entries work as the driving force throughout the film. Having been the writer for Martin Scorsese’s Taxi Driver, it is not surprising that Schader would use this storytelling tool to bring the audience into the mind of our tortured protagonist.

This film confronts topics with a minimalistic style of storytelling. Utilizing silence, ambiance, and empty framing, Schrader is able to, paradoxically, create the intense emotional turmoil that our characters are experiencing. A simple character drama transforms into a surreal, emotional trip that needs to be experienced.

Incredibles 2

⭑⭑⭑

With the movie industry saturated with sequels, reboots, and adaptations, you would think that Pixar would have made an Incredibles 2 a long time ago. With that being said, it is refreshing to see Brad Bird and Pixar take their time to make a solid follow-up to one of Pixar’s best films.

Incredibles 2 carries on where it left off with its unique world of superheroes and its relationship with the skeptical public eye. The narrative remains true to the voice that made the first Incredibles so unique. After the Incredibles’ encounter with the Underminer, Elastigirl (Holly Hunter) is selected by Devtech to represent them in their quest to rehabilitate the public and legal status of Supers. As Elastigirl is out fighting crime, Mr. Incredible (Craig T. Nelson) is stuck at home taking care of the kids. Incredibles 2 creates a plot that emphasizes the challenges of being a superhero as well as being a parent — both of which require superhuman willpower.

Admittedly, Incredibles 2 does fall victim to a fairly typical villain with a typical scheme, but the characters, editing, animation, and action sequences keep the movie propelling forward. Animation has come a long way and Pixar proves, once again, that they are far ahead of the competition.

Mary Queen of Scots

⭑⭑

Mary Queen of Scots tells the story of Mary Stuart’s turbulent reign as the Queen of Scotland in the 16th century. Being the only heir to the throne after her father’s death, she must do her best to fill the power vacuum. In addition to being a movie about her reign, it is also about her relationship with Queen Elizabeth of England, which ultimately becomes involved in Mary’s death sentence.

Mary Queen of Scots was one of the bigger disappointments of 2018. Despite having impressive production design and fantastic performances from Saoirse Ronan and Margot Robbie, the film was missing important ingredients that help distinguish a movie from a book.

Rather than feeling like a historical drama, it felt like I was reading a long-winded history book. In fact, Mary Queen of Scots would have worked better as a documentary program on the History Channel with interviews from historians. There is a language of filmmaking that was grossly missing that kept me from becoming engaged in the stress Queen Mary Stuart was facing. Utilizing framing, editing, and cinematography is vital in creating a dimension of visual storytelling that informs the audience about the drama between (and within) characters. Instead of being shown this, we are told it through monotonous dialogue that drags for way too long for every scene. If you are not familiar with the history, you will become lost in its language and royal jargon.

Mary Queen of Scots will most definitely be a contender in being one of best films in the makeup, performances, and production department, but it falls flat in most other categories.