Top 10 Films of 2018

Toni Collette in "Hereditary"
Photo Credit: Imdb.com

10) Hereditary - I’ve seen countless horror movies, but I can’t remember any of them having the anxiety-producing impact on me that I felt while watching writer-director Ari Aster’s “Hereditary.”  The story follows a family that devolves into madness when long-kept secrets are revealed after the death of a grandmother.  Toni Collette, who plays the mother of the family, gives a heated performance that drags you down into the grief and fear that falls upon her household, resulting in something that's as petrifying as it is unforgettable.  Astor shows himself to be a filmmaker of immense promise, taking horror elements that we've seen before and giving them an invigorated and terrifying power.  The movie is scary as a whole, but the final 15 minutes placed me in a state of immobility.  If this is what Astor can accomplish with his feature directorial debut, I can't imagine what we'll see from him in the future.

Joaquin Phoenix in "You Were Never Really Here"
Photo Credit: Imdb.com

9) You Were Never Really Here - In this crime drama, writer-director Lynne Ramsay brings us into some of New York City's darkest corners to tell a story about a veteran, Joe (Joaquin Phoenix), working as a hired hitman, whose next job is to rescue a senator’s abducted daughter.  Phoenix creates a character that intimidates you with his viciousness, but disheartens you over the loneliness that he experiences on a day-to-day basis.  While the story has some likenesses to that of Martin Scorsese’s "Taxi Driver," the visual styles and some of the narrative beats are different enough to make Ramsay's film a different cinematic experience.  What's admirable about the movie is that it doesn't focus on much of the violence that Joe inflicts, but instead cuts away most of the time, just as he's about to strike.  This restraint allows us to focus on the inner trauma that Joe's feeling, instead of thinking about the brutal acts that he has to commit in order to save people, making Joe’s story one with a psychological depth that offers a lot to ponder once the film's over.

Adam Driver (left) and John David
Washington in "BlacKkKlansman"
Photo Credit: Imdb.com

8) BlacKkKlansman - Movies can be at their most effective when they're timely, and director Spike Lee's latest film is a strong jolt of relevancy, telling the true story of a newly recruited African-American police officer (John David Washington) and his partner (Adam Driver) who infiltrate a chapter of the Ku Klux Klan in 1970s Colorado.  Washington gives a blistering performance as the ambitious cop who works to expose the local KKK, as does Driver, whose character has as much of a personal stake in the matter as Washington's.  The screenplay delivers an incendiary look at the racism that plagued America back then and how it can still be seen in today's society, all of which leads to an ending that both saddens and infuriates.  Lee goes all in with the themes that he wants to convey, and you experience the full impact of his intentions in every scene.

Thomasin McKenzie and Ben Foster
in "Leave No Trace"
Photo Credit: Imdb.com

7) Leave No Trace - Just as director Debra Granik explored an isolated population of America within the Ozarks in "Winter's Bone," she does so once again when focusing on the physical and emotional isolation of veterans. The story follows a PTSD-stricken veteran (Ben Foster) and his 13-year-old daughter (Thomasin McKenzie) who, after living in the deep forest of a public park for some time, are discovered and brought to live in society, where they must learn to adapt.  Foster gives one of the best performances of the year as a man who keeps trying to outrun the darkness that his illness places on him, providing a character who says as much through facial expressions as he does through words.  McKenzie is just as stunning in her breakout role as a teenager who has an easier time than her father in adjusting to her new way of life.  This is a loving and poignant examination into the quiet, yet turbulent lives of these two characters, resulting in a movie that leaves a deep impression on your mind and soul.

Viola Davis in "Widows"
Photo Credit: Imdb.com

6) Widows - Director Steve McQueen isn't one to shy away from heavy subject matter, and although his latest film might not seem deep on the surface, that’s not the case.  The narrative follows a group of women who, after their criminal husbands are killed during a heist, prepare to do their spouses' next job.  Viola Davis, who plays the group’s leader, delivers a ferocious performance as someone who's not looking to make friends with her partners, but is instead just determined to get the job done, and the supporting players all have enough of a chance to showcase their abilities, with two standouts being Elizabeth Debicki as one of Davis' accomplices, and Daniel Kaluuya as a ruthless mob enforcer.  While the heist scenes that bookend the film get your blood pumping, there's so much more within the story, as it focuses on topical themes that deepen the characters' journey, giving us a film that isn't just about the thrills.

Emma Stone (left) and Olivia Colman
in "The Favourite"
Photo Credit: Imdb.com

5) The Favourite - Director Yorgos Lanthimos' last few movies thrived on taking different genres, such as sci-fi and horror, and injecting them with a great deal of intriguing weirdness.  He now tackles costume-dramas with a dark comedy that tells the true story of the friendship between Great Britain's Queen Anne (Olivia Colman) and Duchess Sarah Churchill (Rachel Weisz).  When a young woman named Abigail Hill (Emma Stone) shows up to the queen's castle looking for employment, Sarah feels her friendship with Anne facing a threat when Abigail begins to work her way into Anne's social circle.  The trio of leads brings some of the most well-matched performances of the year, with all three of them having enough screen time during which to intensify their interactions, bringing us in several directions as Abigail and Sarah concoct various schemes to get what they want, with both fortune and misfortune befalling them.  This is regal entertainment that you can't miss.

Tessa Thompson and Lakeith Stanfield
in "Sorry to Bother You"
Photo Credit: Imdb.com

4) Sorry to Bother You - In his filmmaking debut, writer-director Boots Riley’s doesn’t give us a movie that’s one thing, but several, and it succeeds at all of them.  Riley tells the story of Cassius Green (Lakeith Stanfield), a young man who’s given a job as a telemarketer.  When Cassius meets unprecedented success, he ascends within the company's ranks and is gifted with riches, but at some personal costs.  Stanfield provides a humorous performance that shows his character's intense conflict in reaching for prosperity and staying true to the workers’-rights ideals to which his friends are committed.  And, backing up Stanfield is a terrific supporting cast, including Armie Hammer as a coked-up, hard-partying CEO.  This is the kind of movie where you can never guess where it's heading, as the strangeness increases little by little, and then goes at a breakneck speed when the bonkers third act begins.  I won't say anything more because "Sorry to Bother You" is a movie that you have to see to believe.

Ryan Gosling in "First Man"
Photo Credit: Imdb.com

3) First Man - It seems as though director Damien Chazelle's career has been a series of steps that become bigger with each one that he takes, and that trend continues with his biographical drama about Neil Armstrong (Ryan Gosling) and the first moon landing.  Gosling provides some of the finest work of his career as the idealistic astronaut who doesn't have his eyes geared towards anywhere but the sky.  And, Claire Foy is captivating in the role of Armstrong's wife, Janet, a performance that helps create one of the film's best scenes, in which she tells Neil to let their sons know that he might not return home from his mission.  “First Man” doesn't set out to be your typical, inspirational biopic, but is instead a character study of Armstrong and the tolls that preparing for such a historic undertaking has on him.  Despite that, Chazelle doesn't let the tension of the moon landing go unacknowledged, having that sequence capture the thrill of NASA’s towering achievement.  This is a movie that's not only about accomplishing great things, but also the sacrifices that we have to make as we strive for that greatness.

From left: Jennifer Jason Leigh, Natalie Portman,
Tuva Novatny, Tessa Thompson,
and Gina Rodriguez in "Annihilation"
Photo Credit: Imdb.com

2) Annihilation - After making his directorial debut with the sci-fi thriller "Ex Machina," Alex Garland gives us another chilling and thought-provoking entry in the genre.  The story follows five scientists who enter a quarantined zone called "The Shimmer," which causes mutations in any animal and plant life that's caught within its borders.  Natalie Portman, who plays Lena, the team's biologist, gives a performance that elicits her character's expertise in her field and displays Lena’s understated, emotional strain as she tries to find out the effects that this scientific anomaly has had on her husband, who returns from "The Shimmer" earlier in the film and seems to be a different person.  Garland provides plenty of visuals that are equal parts strange, haunting, and beautiful, all of which immerse you in the weirdness of "The Shimmer."  In the end, the story will have your mind racing to try to figure out the bigger meaning behind the film's events, making you want to dive into the movie once again to further decipher the story's mysteriousness.

Ethan Hawke in "First Reformed"
Photo Credit: Imdb.com

1) First Reformed - Here’s another movie that’s similar to “Taxi Driver” in its themes, but has huge differences to the story.  Just as Paul Schrader did for that film’s screenplay, he has written another film (which he has also directed) where the main character bears us his soul.  The movie follows a military champlain-turned-reverend (Ethan Hawke), who starts experiencing a crisis of faith after a young woman in his parish asks him to counsel her husband, a radical environmentalist, who she believes is a danger to himself and others.  Hawke provides what may be the best performance of his career, portraying someone who's faith crumbles bit by bit as he begins to feel disillusioned about his beliefs.  The movie delivers plenty of hard-hitting drama that gives us insight into the reverend's state of mind, such as occasional narrations as the reverend writes melancholic entries in his journal.  But, once the third act hits, the story brings an intensity that will put you on the razor's edge of suspense.  This film is nerve-racking and shocking, and you won't be able to stop thinking about it once you see it.

Looking to Recover, a Young Man Returns Home

Julia Roberts and Lucas Hedges in "Ben Is Back"
Photo Credit: Imdb.com

A couple of months ago, director Felix Van Groeningen gave movie audiences a view into drug addiction with his biographical drama, “Beautiful Boy.”  While the film had terrific performances from its two leads, it sometimes fell under the weight of its melodrama.

Now, writer-director Peter Hedges brings us “Ben Is Back,” a story about drug addiction that thrives on a stronger authenticity and whose performances and story will rattle you.

On Christmas Eve, Ben Burns (Lucas Hedges, son of Peter), a recovering drug addict, takes some time out of rehab for a surprise visit to his family.  Despite working towards a better life, he becomes caught up with troublesome acquaintances, and his mother, Holly (Julia Roberts), will do whatever she can to make sure Ben doesn’t relapse.

Hedges delivers phenomenal work as a young man who’s trying to dispel the addictions that have harmed him, his family, and others.  As Ben attempts to readjust to his home life, Hedges shows the difficulty that his character faces when trying to resist going back to his substance abuse.  At times, it’s painful to watch because we want Ben to remain on his path of rehabilitation, but there’s always that risk of him slipping back into his life-threatening habit, and Hedges couldn’t be better when showing the tug-of-war that seems to consume his mind every minute.

Roberts provides a shattering performance that exhibits her tough love for Ben.  It’s powerful work in that Roberts’ character exhibits a boundless parental caring for her son.  Roberts goes the deepest that one could go with such a role, having he character show a determination to stay at Ben’s side as he tries to fix his problems, while also displaying heartbreaking bouts of emotion when hope of Ben’s recovery seems to be slipping away from her.  It’s a role that’s a searing example of a parent wanting to keep their child out of harm, and Roberts puts everything that she can into her performance in order to make us feel her urgency.

The mother-son connection between Hedges and Roberts’ characters has such an intense believability that your emotions remain tethered to the movie from beginning to end.  Hedges and Roberts are together for a great deal of the film, and when they share the screen, the genuineness that they display in their relationship creates something devastating, but not without a glimmer of hope here and there. 

Kathryn Newton has a memorable supporting performance as Ben’s sister, Ivy.  While Newton’s character doesn’t have much trust in the notion that Ben is getting better, we see how much she cares for him when he gets himself into trouble, and Newton has us feel Ivy’s helplessness when events arise where it seems like her mom is the only one who can get through to Ben.

The screenplay by Peter Hedges has dialogue once in a while that’s a little heavy-handed, but the narrative is nevertheless an effective portrayal of the toll that drug addiction can have on a family.  What’s intriguing about this story is how, instead of focusing on Ben’s life in the early stages of his addiction, it instead sheds light on the aftermath of it all, not just showing how his family views him, but also how some members of the community view him.

I won’t give anything away, but this movie isn’t your typical story about an addict trying to get better, as there’s much more that happens besides Ben returning home.  But, even though this movie isn’t just Ben trying to reconnect with his family, the narrative still gives us enough scenes with Ben and his home life within the first half of the movie.  Then, when it becomes more focused on him and his mom, we’re provided with some information about Ben’s past as he comes face to face with people whom he’s been hoping to forget.

As a director, Hedges is able to take a raw approach to the subject matter without it becoming over-the-top.  Through Stuart Dryburgh’s cinematography, which uses an abundance of closeups for his cast, Hedges has us experience the intensity between the characters as they try to get their family back to normal.  With the faultless realism that’s exhibited in the performances and story, this movie earns every emotion that you feel during its events.

Similar to “Beautiful Boy,” “Ben Is Back” has come out during the time of a national opioid crisis, giving Hedges’ film an impactful relevancy.  You’re brought along on a family’s attempt to heal, and although you might feel apprehensive about taking such a heartrending journey, it’s one that you should.

Grade: A-

A Rock Climber Prepares for a Mountain's Irresistible Challenge

Alex Honnold in "Free Solo"
Photo Credit: Imdb.com

In 2015, directors Elizabeth Chai Vasarhelyi and Jimmy Chin brought us the inspiring and thrilling documentary, "Meru," which followed Chin and two of his friends as they traveled to the Indian Himalayas to climb the treacherous terrain of the “Shark’s Fin” route on Meru Peak.  It’s a film that places you in a state of anxiousness the whole way through with the dangerous heights that the trio encounters.  Afterwards, seeing them reach the summit results in a sigh of relief and cheers for them overcoming the harsh elements and achieving their goal.

Now, Vasarhelyi and Chin return with “Free Solo,” a documentary that focuses on a similar subject.  It’s every bit as engaging as "Meru," and, just like that film, it's a reminder of what people can do when they're willing to push themselves physically and mentally.

The story follows professional rock climber Alex Honnold who, in June 2017, sets out to become the first person to scale the approximately 3,000-foot-high mountain, El Capitan, in California’s Yosemite National Park.  However, he attempts to do so by free soloing, meaning he won’t use any safety gear.  This task will soon have him come face-to-face with a danger and arduousness the likes of which he's never experienced.

Throughout the film, we’re given interviews with Honnold, his girlfriend, his mother, and his rock-climbing friends, as they provide us with an idea of what influences Honnold to be the thrill-seeker that he is, all of which provides a considerable amount of dramatic heft and gives a deeper meaning to his goal as we watch him climb.  We understand the determination that's going through his mind as he continues to look upward towards the summit, not thinking about anything else but reaching the top.  Honnold makes us feel the passion that he has for this climb, showing us that if he doesn't attempt this, he'll regret it.  It's an enthralling example of what it's like to test your limits as you pursue a life-threatening task.

The film also shows the intense preparation that goes into Honnold's climb, following him as he scales the mountain (with safety gear) in order to figure out the best way to get through the hardest obstacles.  In these scenes, we're given an idea of the amount of perfection that has to be achieved in order to have a safe climb, as just one small mistake could spell disaster, which is an aspect that makes the film all of the more nerve-racking. 

The cinematography by Chin, Clair Popkin, and Mikey Schaefer provides gorgeous and intimidating shots of El Capitan, exhibiting the beauty and danger of the mountain.  Right from the opening shot, Chin, Popkin, and Schaefer bring us into the peril of Honnold’s task, as we're invited into the film with an overhead shot of him in the middle of his ascent of El Capitan.  With this shot, my palms became sweaty and stayed that way for the duration of the film, and you'll almost be swaying in your seat from the dizziness that such heights create.

This is a movie of pure adrenaline, made even more so because this is real footage.  Seeing this on a big screen will be of great help in experiencing Honnold’s journey, and it will have you in awe of the stunning vistas that you can see from the mountain.  It'll encourage you to venture out and search for a new endeavor, making you realize the things of which you're capable of doing, but didn't know it.

Between "Meru" and "Free Solo," we can see that Vasarhelyi and Chin have a love for capturing the endurance that's within all of us when we go against the challenges that nature presents.  Even though we know that Honnold's task is successful, Vasarhelyi and Chin still offer enough tension to have us gripping our armrests for support as we ascend higher and higher with Honnold and the space between us and the ground grows bigger.  Similar to “Meru,” what we see in “Free Solo” provides us with an idea of the thrills that are awaiting us right outside our homes.

Once Honnold reaches the top of El Capitan, one of the members of his crew says that he can’t believe what he just witnessed.  At the end of this movie, you’ll feel the same way.

Grade: A

Needing Work, a Man Gets Behind the Wheel for a Cartel

Clint Eastwood in "The Mule"
Photo Credit: Imdb.com

Over the last several decades, Clint Eastwood has proven himself to be one of the hardest-working individuals in cinema.  Between directing and acting, he’s made a career for himself that has helped him become a legend.  As he’s grown older, it seems like his work ethic has reached new heights because in 2006, 2008, 2014, and this year, we saw him release two movies in each of those years.  While the quality of these movies has been a little inconsistent during that time, Eastwood still shows that he’s in a league of his own when it comes to filmmaking.

With his latest movie, “The Mule,” a true-story crime drama, Eastwood isn’t just the director, but he also returns in front of the camera for his first performance since his work in Robert Lorenz’s 2012 sports drama, “Trouble with the Curve.”  Despite the movie’s flaws, “The Mule” is nevertheless a testament to Eastwood’s enduring talents as an actor and filmmaker.

In 2017, Earl Stone (Eastwood, whose character is based on Leo Sharp) is an out-of-work horticulturist and veteran.  Broke and estranged from his family, Earl’s at a loss at what to do.  Desperate for money, he decides to become a mule for a Mexican drug cartel, transporting cocaine throughout Illinois.  While he’s successful at first, the DEA begins to catch onto his activity.

While Eastwood’s character is pretty much the same as his Walt Kowalski character in “Gran Torino,” it’s still an endearing performance of a man driven to do something dangerous as a way to get by, a role that has a little more dramatic depth than Eastwood’s role as Walt.  While his role in “The Mule” is the typical man-puts-work-in-front-of-his-family individual, he brings both a ruggedness and a grace to the part that draws you into Earl’s dilemmas and shows the regret and emotional strain with which Earl is burdened after having his family shun him.  Despite all of this, Eastwood also has several comical moments with his character’s no-filter persona.  And, although a lot of his humorous moments of Earl being cantankerous is something that we’ve seen before, the delivery of his dialogue makes for a wittily unapologetic figure.

While the supporting cast is stacked with talented actors and actresses, such as Bradley Cooper, Michael Peña, and Laurence Fishburne as DEA agents, Dianne Wiest as Earl’s ex-wife, Andy García as a cartel boss, and Taissa Farmiga as Earl’s granddaughter, they’re not given much material with which to work, but they do their best with what they have.  However, Wiest is given a chance to exemplify her established talents in a pivotal scene in the film's last half hour.

The screenplay by Nick Schenk (who wrote “Gran Torino”), which is based on Sam Dolnick’s “The New York Times” article, “The Sinaloa Cartel’s 90-Year-Old Drug Mule,” takes a bit of time to pick up, as the first half of the movie is a little repetitive with Earl going on his runs and the DEA agents having frequent meetings with an informer, and it doesn’t as much apprehension as a scenario like this should offer.  But, the story picks up in the second half once the DEA gets closer to catching Earl and some shifts occur within the cartel.  Between Earl’s numerous drug runs and the issues with his family, Schenk dedicates enough time to both aspects, and this keeps us gripped in Earl’s journey and the tough decisions that he has to make.

Similar to some of Eastwood’s other movies, the direction doesn’t have much that’s memorable in terms of a visual style.  But, at the same time, this seems to harmonize with Eastwood’s rough-and-tough personality, as he takes an approach that’s more grounded and to-the-point, a method in which he seems to be focused on just telling the story in a straightforward way, knowing that the events of the narrative themselves are enough to create tension.  All of this shows a confidence in his directing abilities that has grown out of decades of working in film.

While "The Mule" doesn't rank among Eastwood's better movies, it's still a worthy entry in his filmography and shows that, even at 88 years old, he still has a lot to offer.

Grade: B

A Lady-In-Waiting and a Duchess Fight for a Queen's Friendship

Emma Stone (left) and Olivia Colman in
"The Favourite"
Photo Credit: Imdb.com

Director Yorgos Lanthimos is a filmmaker who has made some of the strangest and most intriguing films of the last 10 years.  There's his 2009 family-drama, "Dogtooth"; his 2016 sci-fi film, "The Lobster"; and his 2017 psychological-thriller, "The Killing of a Sacred Deer."  Each of these films is an enigmatic entry into their genres, and they're perfect remedies for people who are looking for a film that will leave them as puzzled as much as fascinated.

He now tries his hand at a costume-film with his dark comedy, "The Favourite," an examination of a royal friendship triangle, and at each of its points is a wonderful performance, all of which help in making this film one of the year’s best.

In the early eighteenth century, Great Britain’s Queen Anne (Olivia Colman) has lived a life of luxury, but one that's also been burdened by hardships.  Throughout her life, she has had the aid of her righthand woman and best friend, Sarah Churchill (Rachel Weisz).  However, tensions begin to brew when a young woman named Abigail Hill (Emma Stone) arrives at the queen's estate to seek employment.  As she begins to rise among the ranks of the castle and becomes friends with the queen, jealousy soon gets a hold of Sarah, leading to her and Abigail competing for the monarch's attention.

Colman delivers a performance that's as funny as it is tragic.  Her comical regality, with how she screams in frustration and makes demands of her subjects, add up to work that has huge entertainment value.  While she can draw out many laughs from her work, her portrayal of a crazed ruler doesn't go too over-the-top with her lunacy, as it's just enough to be funny, but doesn't dilute how some of these comical moments have subtle, emotional connections to how her character feels inside.

Despite Colman's work being humorous during certain sequences, the way in which she brings to light the melancholic factors of her role offers an astounding view of her versatility as an actress.  There are moments when Colman brings out Anne's softer side that are hidden behind her bow-before-me exterior, with one such scene involving Anne opening up to Abigail as the former reveals the tragedies that have plagued her life.

However, one of the strongest examples of this is a scene that takes place during a party.  In this segment, Anne, who experiences pain in her legs and has trouble walking, sits in her wheelchair as she watches Sarah dancing with one of the guests.  As this occurs, the camera remains on Anne as it pans closer to her.  Her eyes begin to tear up as she watches the two dancers, and seeing people dance across the floor reminds her of what she's unable to do, which results in one of the film’s most emotional scenes.

Stone provides superb work as we watch her character go from a polite maid to friend of the queen.  She expresses her character's wit and intelligence in ways that makes her transformation believable when she becomes an individual who can be as conniving as Sarah.  The innocence that Stone brings to Abigail makes her an intriguing character in that, even though we know she’s going to fire back at Sarah, she doesn’t seem like the type of person who would scheme against others, but Stone brings this side of her character out in full force as Abigail begins to learn the ins and outs of the queen’s day-to-day routines and finds herself in a favorable light with Anne.

Weisz's performance is icy in the best possible way.  She imbues her role with a quiet viciousness that leaves us guessing what kind of plans her character has for keeping her place alongside the queen.  Weisz brings the sinister nature of Sarah's persona with just a simple glance, letting us know that she has an abundance of mischievous thoughts circulating in her head.  Although Sarah is antagonistic towards Abigail when the latter arrives at the castle, Weisz has us experience the vulnerability of her character because of Sarah feeling threatened by the possibility of a severed connection with the queen, and we know that there's a strong sense of concern under her hostility.

One of the best parts of the movie is how all three lead performances are given a near equal amount of screen time.  This allows us to see how they all interact with each other, whether it be all three of them or just two of them sharing a scene.  These three performances are some of the most well-matched of the year, bringing a chemistry to the screen that offers as much humor as it does drama.  2018 has been filled with top-tier film performances, and to finish the year watching this trio traverse the trickiest of friendships is a moviegoing experience that you won't forget anytime soon.

Aside from the three leads, there's also a terrific supporting performance from Nicholas Hoult, who makes a tremendous impression as Robert Harley, a member of Parliament.  He's the type of character who you'll love to hate, a snake-like individual who’s always ready to strike whenever he sets out to obtain something that he wants.

The screenplay by Deborah Davis and Tony McNamara does well in juggling the story arcs of its three leads, as we’re given enough of a background for each of their characters so we know who they are and what motivates their actions.  Despite the film having an abundance of humor, the things that we learn about these characters provides the film with a lot of its dramatic depth, so while it's fun to see these characters share the screen, we're reminded that Anne, Abigail, and Sarah have a lot more to their characters than the animosity between them.

Aside from the film's friendship triangle, the narrative also provides some views of the time period's political landscape.  We're given scenes within the Parliament as two opposing sides quarrel over how to handle a war with the French, as well as characters engaging in deception to achieve their political goals.  These are compelling scenes to watch, as they fit in with the larger picture of the story and manage to not bog down the rest of the movie.

The cinematography by Robbie Ryan offers gorgeous views of the castle grounds, absorbing us in the setting of the film and offering stunning details of the interior and exterior of the castle.  With Ryan's camerawork, the use of wide-angle lens and candle-lit scenes are some of the film's technical highlights.  With the wide-angle lens, their utilization emphasizes the off-kilter nature of this costume film, pretty much throwing us off balance as to what we should be expecting from this film.  For the candle-lit scenes, they evoke a sense of intrigue and unease whenever characters are walking through dark hallways or concealing themselves in the shadows.

Lanthimos didn't shy away from bringing unconventionality to different genres for his previous films, and "The Favourite" isn’t any exception, and to what we've become accustomed in costume-dramas is tossed away and replaced with something that brings the genre in an unexpected direction.  Although the story sets itself apart from all other costume films, the technical craft that goes into it emphasizes that this is still a movie within that genre, as it never loses the visual style and grandness to which we've become familiar in costume films. 

"The Favourite" is a skillful blend of heartbreak and royal debauchery where every attempt to evade the familiar pays off, making Lanthimos’ latest film a crowning achievement in moviemaking.

Grade: A

As Two Countries Face Uncertainty, Unity is Needed

Saoirse Ronan in "Mary Queen of Scots"
Photo Credit: RottenTomatoes.com

With the countless centuries of global history, we have a yearning to learn all of the details of every major occurrence that has taken place.  While movies aren't the best way for us to be given insight into factual events, they can nevertheless do well in providing us with a glimpse into world-changing affairs.

Forty-seven years after Charles Jarrott brought “Mary, Queen of Scots” to screens, director Josie Rourke tackles this fascinating chapter in European history in her remake of the same name, a drama with an abundance of political intrigue and two regal performances from its two leads.

The story follows Mary Stuart (Saoirse Ronan) and her cousin, Queen Elizabeth I (Margot Robbie), during the Rising of the North, a failed endeavor by Catholic nobles from Northern England to take the English throne for Mary, which could be claimed by her unless Elizabeth produced an heir.

Ronan delivers a passionate, authoritative performance.  She shows the love and respect that Mary has for her subjects, while also digging deep into Mary's unwillingness to back down when several of her own people turn against her.  As she portrays someone who was so young when she became a queen, Ronan brings across Mary's bravery and ability to make painful decisions, allowing us to see the burden that comes with being royalty.

Although Robbie's screen time is somewhat limited, she's still given the opportunity to give a performance that’s as commanding as Ronan.  Robbie has an intensity within her character as she shows Elizabeth trying to hold onto her power, but she also evokes the vulnerability of Elizabeth as she continues to fear that power being taken away from her.  It’s a gripping performance that makes a lot out of a few scenes, such is the stateliness of Robbie’s portrayal of her character.       

Ronan and Robbie share just one scene, which occurs within the last 10 minutes of the film, but it's one of the most impactful.  In this sequence, we witness the reverence that both queens have for each other, while also seeing a clash between Mary’s want of her and Elizabeth to be allies, and Elizabeth’s refusal.  Despite this being a rather short scene, it’s an emotional segment of the movie that provides quite a bit of depth into how these two characters view each other.

The screenplay comes from John Guy’s 2005 biography, “Queen of Scots: The True Life of Mary Stuart,” and is written by Beau Willimon.  It’s appropriate that the screenplay comes from him, as he's had success when dealing with political stories over the years, like he did as the creator of the Netflix series "House of Cards," and as a co-writer for the 2011 film "The Ides of March."  Although the screenplay gets a little repetitive at times in regard to some of the issues that Mary and Elizabeth encounter, the narrative still provides an intriguing, detailed look at the conflict between the two queens, as well as the disputes between each of them and their subjects, where they have to keep proving themselves to those who have different ideas as to how they should rule.

While most of the story is focused on the in-depth look at the struggles that Mary must face in order to maintain Scotland and keep her throne, the scenes that focus on Elizabeth are just as memorable.  In these sequences, the narrative provides enough insight into Elizabeth's endeavors, and this helps flesh out her character, despite having much less screen time than Mary.

The film treats audiences to many breathtaking shots of the English and Scottish lands.  The cinematography by John Mathieson frames these landscapes in a way that presents them as being as majestic as the queens who preside over them.  Given how the geography is framed, there are many times where we feel like we can see miles away into the distance, and the expansiveness of these views emphasizes the immense responsibility that Mary and Elizabeth have in governing entire countries.

Rourke does well in immersing the audience within the film's time period, gifting the eyes with vivid artistry when it comes to the set design, costumes, and make-up.  There’s a grandness that Rourke brings to the movie, but she doesn’t let the film’s accomplishments in these aspects overpower the story.  We’re able to get caught up in the beauty of the filmmaking, while still being enthralled in the intricacies of this piece of history.

Rourke captivates us right from the beginning.  The film opens with Mary walking through Fotheringhay Castle to be executed, while Elizabeth walks throughout her own castle.  Here, both characters have the camera to their backs as they walk, and through Mathieson’s cinematography, Max Richter’s score, and Chris Dickens’ editing, we have chill-inducing transitions between Mary and Elizabeth that help prepare us for a significant historical story that’s about to be told.

Between its performances, direction, and technical accomplishments, “Mary, Queen of Scots” is a thrilling story of two monarchs who go against what’s believed possible of them.

Grade: A-