I’m Thinking of Ending Things (2020)
Charlie Kaufman’s newest film is a psychological drama with elements of “magical realism”. In the story, one young woman (Jessie Buckley) travels in a snowstorm with her boyfriend Jake (Jesse Plemons) to meet his parents in their farmhouse. She is one eccentric and “artsy” person who is unsure of her future with her boyfriend and who often receives mysterious messages on her mobile phone. That is all we can be sure of because, the rest, including all the details, is soon called into question as Jake’s parents start behaving oddly and the characters are forced down the memory lane. Unfortunately, all the philosophy, psychology, good acting and the sumptuous cinematography by no other than Łukasz Żal, cinematographer behind Cold War (2018), cannot rescue this latest cinematic riddle by Kaufman. Wrapped in layers upon layers of tedious and predictable poetic and philosophical musings (or rather outbursts), the film becomes bland very early on and no pretty decorative “wrapping” (including all the wonderful design and wallpaper in the film) can hide the fact that, inside, our cinematic “enigma” is one weird mix of different, well-trodden on, pretentious and almost meaningless ideas.
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This is my list of five favourite films of 2018, and most of those below I also consider to be the best films of 2018. Please note that I have not yet seen Alfonso Cuarón’s “Roma”, Nadine Labaki’s “Capernaum” or Peter Farrelly’s “Green Book”. There is a big chance I would have equally enjoyed either or all of them.
I. The Favourite (2018)
Yorgos Lanthimos (“The Lobster” (2015), “The Killing of A Sacred Deer” (2017)) is one director who does not shy away from shocking film displays or enigmatic and displeasing film content. This time he is not a screenwriter and is rendering a period drama in his own style. “The Favourite“, which was nominated for 10 Academy Awards, subverts one’s expectations about what a period drama should be, while it also makes one think deeply about the kind of characters that could exist in the world governed through ruthless power and self-interest. The unbelievably powerful performances from three leading ladies (Colman, Weisz and Stone) ensure the film’s high quality, while its unusual, curious camerawork has all the trademarks of its experimentally-minded director. Everything revolves around Queen Anne (Colman) here, and the story just loves to ridicule the excesses and extravagance of the royal court, as well as the fierce competition for one kind of “power” among the ladies closest to the Queen. The film works brilliantly as this exaggerated satire, which sometimes slides into deliciously-morbid and fascinatingly-obsessive character portrayals. I would have preferred the ending to be clearer in its message, but otherwise this film was just great as it is. My score: 9/10
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Ari Aster’s debut feature horror/drama film has caused quite a stir so far. With such quality horror films that have come out in recent months/years as “A Quiet Place” (2018), “Get Out” (2017) and “The Witch” (2015), to name just a few, it may be safe to say that the calibre revival of the genre is in full swing. It also seems like a long time has passed since we had to rely solely on James Wan (“Insidious” (2010), “The Conjuring” (2013)), horror sequels or classic movies for some kind of decent horror entertainment. “Hereditary” is an impressive and scary film, but not in the way most will assume. Its tricks, twists and general horror content may have been recycled from previous movies, and its inner intelligence and coherence will no longer awe discerning horror/thriller fans that have followed recent movies. Nevertheless, where “Hereditary” really impresses is in the setting-construction, in the unhurried building of the right, creepy atmosphere, in its attention to detail and characterisation, and, of course, it impresses with its top-notch acting, the kind that we probably have not seen in a horror film, maybe even since “The Silence of the Lambs” (1991).
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