MCN Blogs

By MCN Editor

BYO Naked Top Ten Lists

Post your top movies you saw in 2018.

On first entries: NO TIES, NO COMMENTARY.


UPDATE: Okay… that’s a good start on lists, now start the back-and-forth!

20 Responses to “BYO Naked Top Ten Lists”

  1. Pete B. says:

    1.) Venom
    2.) Solo
    3.) Mandy
    4.) Peter Rabbit
    5.) Sorry to Bother You
    6.) Avengers: Infinity War
    7.) Hotel Artemis
    8.) Mission Impossible: Fallout
    9.) Overlord
    10.) Black Panther

  2. BO Sock Puppet says:

    1. You Were Never Really Here
    2. The King
    3. Roma
    4. Leave No Trace
    5. Isle of Dogs

    I still need to see quite a few of the festival darlings, year-end awards sensations, etc. Maybe then I could fill out the other five.

  3. movieman says:

    No ties?!

  4. YancySkancy says:

    Of what little I’ve seen:

    1. The Ballad of Buster Scruggs
    2. Support the Girls
    3. First Reformed
    4. Eighth Grade
    5. Can You Ever Forgive Me?
    6. BlacKkKlansman
    7. The Mule
    8. A Star Is Born
    9. Black Panther
    10. Action Point (so sue me)

  5. Dr Wally Rises says:

    1. First Man
    2. Roma
    3. Mission Impossible Fallout
    4. A Quiet Place
    5. Blackkklansman
    6. The Ballad of Buster Scruggs
    7. Solo A Star Wars Story
    8. Ready Player One
    9. Hereditary
    10. Black Panther

  6. Monco says:

    Abbreviated list so far. Haven’t seen nearly enough. Number one is definitive though.

    1. The Ballad of Buster Scruggs
    2. Free Solo
    3. Annihilation
    4. Upgrade
    5. Mandy

  7. lazarus says:

    1. On Body And Soul
    2. First Reformed
    3. The Other Side of the Wind
    4. Ismael’s Ghosts
    5. Cold War
    6. Happy As Lazzaro
    7. If Beale Street Could Talk
    8. Shoplifters
    9. Madeline’s Madeline
    10. Burning

  8. movieman says:

    1. Roma
    2. Vice
    3. Isle of Dugs
    4. The Rider
    5. BlacKkKlansman
    6. Can You Ever Forgive Me?
    7. First Man
    8. The Ballad of Buster Scruggs
    9. Burning
    10. Minding the Gap

    1. The Other Side of the Wind
    4. Lean on Pete
    5. If Beale Street Could Talk
    6. Private Life
    7. Wildlife
    8. The Favourite
    9. Cold War
    10. Eighth Grade

  9. Geoff says:

    1. Black Klansman
    2. Annihilation
    3. Can You Ever Forgive Me
    4. Widows
    5. Sorry to Bother You
    6. Love Simon
    7. Revenge
    8. Bad Times at the El Royale
    9. A Star is Born
    10. Spiderman: Into the Spider-Verse

    Mandy, Creed II, and The Night Comes for Us are just outside my Top Ten so far.

    Still need to see: Roma, Vice, Vox Lux, If Beale Street Could Talk, and probably Green Book.

  10. Sideshow Bill says:

    1. Annihilation
    2. Hereditary
    4. First Reformed
    5. Mandy
    6. Mission Impossible: Fallout
    7. You Were Never Really Here
    8. Hold The Dark
    9. Suspiria
    10.Spider-Man: Into The Spiderverse

    Runner Ups:

    The House That Jack Built
    The Night Comes for Us
    The Endless
    Isle Of Dogs
    Ready Player One
    The Ritual, mainly because the monster was cool as hell

    Franchise Jury Prize: Black Panther/Avengers/ Ant-Man 2/ Deadpool 2/Halloween for all delivering more or less.


    The Meg
    Revenge (I don’t get all the love. Thought it was fairly pedestrian. And I have to admit rape/revenge is one of my least favorite sub-genres)

  11. Sideshow Bill says:

    Re:My List

    I still have a lot I want/need to see:

    Sorry To Bother You
    Buster Scruggs
    First Man
    The Favourite
    Aquaman (got tickets for the day after Christmas)

    and many others I’m forgetting.

    Love the variety in all these lists. I disagree with some but I love the rainbow of opinions. I love this blog and I love this group.

    Hope you all have a great Christmas!!

  12. palmtree says:

    Man, after Moviepass went kaput I haven’t seen hardly anything at all. But now I have a lot of great suggestions from you all. Thanks!

  13. Pete B. says:

    Between this thread and the “Criminally Overlooked” one, I’m gonna have to give Upgrade a 2nd chance. I walked out feeling ‘meh’, but maybe I was just having a bad day.

  14. Monco says:

    Upgrade was the best action movie I saw all year (yes I saw Fallout). It’s efficient and tight and does the best parts of venom (person not in control of their body kicking ass) a lot better. Loved the ending too.

    Mandy is the one I initially was like meh but now see as significant the more I think about it. I need to see it some more but it might be a major work.

  15. Christian says:

    10. The Old Man and the Gun
    9. A Quiet Place
    8. Annihilation
    7. The Ballad of Buster Scruggs
    6. Madeline’s Madeline
    5. Blindspotting
    4. The Favourite
    3. Mission: Impossible – Fallout
    2. The Death of Stalin
    1. The Rider

  16. Andy says:

    The Favourite

    Are my top three. Genre had an excellent year, as did Marvel specifically. I can’t believe how generally excellent those movies are becoming.

    Roma was solid but maybe for me it suffered too much from overhype?

    I don’t get the love for Buster Scruggs, I turned it off after skipping through the first four episodes. But I don’t get Barton Fink either :-)

  17. Geoff says:

    Buster Scruggs is an acquired taste for sure….but half of the segments are pretty strong.

  18. Christian says:

    On the main blog page we’ve been encouraged to start the back-and-forth in this thread, so let me mention a few movies I just didn’t get:

    You Were Never Really Here: I sensed what Ramsay was going for here, I think, but it just didn’t come together. The psychology behind the protagonist, suggested through flashbacks, seemed facile. Others find the film profound. I don’t know how to bridge the gap.

    BlacKkKlansman: I’m a fan of several Spike Lee films, but this one plays as such a one-note harangue/cartoon that I found it easy to dismiss early on. And I’m even a sometimes fan of “Bamboozled”! (Talk about a harangue!) There were a few moments that spark to life, and the ending is just horrifying/awful. But it didn’t justify the, dare I say, dull/boring story that preceded it. Hey, that guy’s a racist. And that OTHER guy? He’s a racist too! And the third guy is the most racist of all of ’em! OK. Got it.

    If Beale Street Could Talk: This was my second Jenkins film. I’m OK with “Moonlight” – didn’t love it, but appreciated its aesthetic and its performances. This film felt kind of one-note and boring to me. Interest waned early. I watched the whole thing, hoping it’d be rekindled. Nope. Now everyone has it in their Top 10 lists. Not me.

    A Star Is Born: I’d never seen the earlier versions of this story. It started strong, but it slipped away in the second half. Why? I’m not sure, but I’ve heard others claim that the second half is a big drop-off from the first. I definitely lost whatever interest I’d had in the film to that point.

    Really, though, I prefer to talk about the films I loved rather than the ones I didn’t. My reasons for not liking the above films are admittedly thin, but they’re honest. I won’t lie and say I liked, or even admired, a film that just didn’t work for me. Part of me wonders if “Beale Street” simply suffered from being seen late during screener-glut season, when patience wanes and I see too many movies too close together. But it was during that screening surge that I saw “Buster Scruggs” and other movies I loved, so it’s hard to blame the crunch for not liking a certain film.

  19. mark says:

    Ben is Back – Julia Roberts is a force of nature in this film and really transforms. Can she be nominated?
    Having delt with addicts in my life, the film was authentic (even though some had a problem with the second act). This film cracked me open. Kathryn Newton was also strong in a small role.

  20. John E says:

    Of what I’ve seen:
    1. BlacKkKlansman
    2. A Star Is Born
    3. Sorry to Bother You
    4. A Quiet Place
    5. Spider-Man into the Spiderverse
    6. Green Book
    7. The Ballad of Buster Scruggs
    8. Won’t You Be My Neighbor?
    9. Annihilation
    10. Hereditary
    Also really liked: Searching, Mission Impossible 6, The Favourite, Game Night, You Were Never Really Here, The Death of Stalin, Upgrade, Bumblebee, and the trio of Black Panther, Avengers 3, and Ant-Man & the Wasp.

    Didn’t enjoy as much as I’d hoped: First Man, Vice.

The Hot Blog

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin