The Fifth Annual Bamboo Awards: The Panda’s Favorites of 2018

[The Panda]

 

It's time for me to present the Fifth Annual Bamboo Awards!  I've seen quite a few movies this year and am excited to share what I found to be the best.  It wasn't easy, there were a lot of movies that I found relatively close in quality, so arranging the order war hard, and I had to snub a few movies I may not have in other years.  Also, this year I am playing around with making some of my own graphics for the movies I countdown, don't expect professional quality as of now though (as you can see, totally didn't center the word best in the image above that well, and am to lazy to go and change it now).  Like last year, I'll be choosing a top 6 for various categories and present my top 25 films.  For awards sake, the winner gets the Bamboo Stick, 2nd place is runner up, 3rd is co-runner up and the others are honorable mention (and for Picture, I'd consider my official "Best Picture" nominees to be my top 10).

 

Here are the categories this year

 

BEST PICTURE

DIRECTOR

ENSEMBLE

ACTRESS

ACTOR

SUPPORTING ACTRESS

SUPPORTING ACTOR

ORIGINAL SCREENPLAY

ADAPTED SCREENPLAY

CINEMATOGRAPHY

EDITING

ORIGINAL SCORE

SOUNDTRACK

PRODUCTION DESIGN

COSTUME, HAIR AND MAKEUP DESIGN

SOUND DESIGN

VISUAL AND STUNT EFFECTS

HONORARY GOLDEN BAMBOO STICK FOR ART THAT IS NOT CINEMA

 

For reference of what won in years past

 

2017

Spoiler

BEST PICTURE

WINNER: Star Wars: The Last Jedi

RUNNER UP: Blade Runner 2049

Co-RUNNER UP: Get Out

4th: Three Billboards Outside Ebbing, Missouri

5th: Lady Bird

6th: Dunkirk

7th: The Big Sick

8th: Logan

9th: Wind River

10th: Wonder Woman

11th: A Ghost Story

12th: Coco

13th: IT

14th: Okja

15th: War for the Planet of the Apes

16th: The Shape of Water

17th: Baby Driver

18th: The Disaster Artist

19th: Darkest Hour

20th: Mudbound

21st: All the Money in the World

22nd: Wonder

23rd: Detroit

24th: Thor: Ragnarok

25th: Raw

 

BEST DIRECTOR

Winner: Rian Johnson, Star Wars: The Last Jedi
Runner Up: Greta Gerwig, Lady Bird
Co-Runner Up: Denis Villeneuve, Blade Runner 2049
HM1: Christopher Nolan, Dunkirk
HM2: Jordan Peele, Get Out
HM3: Martin McDonagh, Three Billboards Outside of Ebbings, Missouri
HM4: Patty Jenkins, Wonder Woman

 

BEST ENSEMBLE

Winner: Three Billboards Outside of Ebbings, Missouri
Runner Up: Star Wars: The Last Jedi
Co-Runner Up: Lady Bird
HM1: The Big Sick
HM2: Mudbound
HM3: Get Out
HM4: The Shape of Water

 

BEST ACTRESS

Winner: Frances McDormand, Three Billboards Outside of Ebbings, Missouri
Runner Up: Saoirse Ronan, Lady Bird
Co-Runner Up: Sally Hawkins, The Shape of Water
HM1: Daisey Ridley, Star Wars: The Last Jedi
HM2: Michelle Williams, All the Money in the World
HM3: Gal Gadot, Wonder Woman
HM4: Seo-Hyeon Ahn, Okja

 

BEST ACTOR

Winner: Mark Hamill, Star Wars: The Last Jedi
Runner Up: Gary Oldman, Darkest Hour
Co-Runner Up: James Franco, The Disaster Artist
HM1: Hugh Jackman, Logan
HM2: Daniel Kaluuya, Get Out
HM3: Jeremy Renner, Wind River
HM4: Andy Serkis, War for the Planet of the Apes

 

BEST SUPPORTING ACTRESS

Winner: Carrie Fisher, Star Wars: The Last Jedi

Runner Up: Laurie Metcalf, Lady Bird

Co-Runner Up: Mary J Blige, Mubound

HM1: Holly Hunter, The Big Sick

HM2: Octavia Spencer, The Shape of Water

HM3: Sophia Lillis, IT

HM4: Dafne Keen, Logan

 

BEST SUPPORTING ACTOR

Winner: Sam Rockwell, Three Billboards

Runner Up: Christopher Plummer, All the Money in the World

Co-Runner Up: Adam Driver, Star Wars: The Last Jedi

HM1: Patrick Stewart, Logan

HM2: Michael Shannon, The Shape of Water

HM3: Jason Mitchell, Mudbound

HM4: Gil Birmingham, Wind River

 

BEST SCREENPLAY

Winner: Get Out

Runner Up: Lady Bird

Co-Runner Up: Three Billboards Outside Ebbing, Missouri

HM1: The Big Sick

HM2: Star Wars: The Last Jedi

HM3: Wind River

HM4: Logan

 

BEST CINEMATOGRAPHY

Winner: Blade Runner: 2049

Runner Up: Dunkirk

Co-Runner Up: The Shape of Water

HM1: Three Billboards Outside Ebbing, Missouri

HM2: Star Wars: The Last Jedi

HM3: A Ghost Story

HN4: Logan

 

BEST EDITING

Winner: Dunkirk

Runner Up: Baby Driver

Co-Runner Up: Blade Runner 2049

HM1: Get Out

HM2: A Ghost Story

HM3: Darkest Hour

 

BEST USE OF MUSIC (Includes Original Scores, Original Songs and Soundtracks)

Winner: Star Wars: The Last Jedi

Runner Up: Baby Driver

Co-Runner Up: A Ghost Story

HM1: All the Money in the World

HM2: The Shape of Water

HM3: Coco

 

BEST DESIGN (Includes Production Design, Hair and Makeup design and Costume Design)

Winner: Blade Runner 2049

Runner Up: Beauty and the Beast

Co-Runner Up: The Shape of Water

HM1: Star Wars: The Last Jedi

HM2: Dunkirk

HM3: Wonder Woman

 

BEST IMMERSIVE DESIGN (Includes Visual Effects, Sound Design and Stuntwork)

Winner: Star Wars: The Last Jedi

Runner Up: Blade Runner 2049

Co-Runner Up: Dunkirk

HM1: War for the Planet of the Apes

HM2: Baby Driver

HM3: Wonder Woman

 

THE HONORARY GOLDEN BAMBOO STICK OF EXEMPLARY WORK IN AN ART FORM THAT IS NOT CINEMA

Winner: Legend of Zelda: Breath of the Wild

Runner Up: Master of None Season 2

Co-Runner Up: Game of Thrones Season 7

HM1: Ola Gjeilo's Winter Songs

HM2: The Handmaid's Tale Season 1

HM3: Stranger Things Season 2

HM4: Super Mario Odyssey

 

2016

Spoiler

BEST PICTURE

Golden Bamboo Stick Winner: La La Land

Silver Bamboo Stick Winner: Arrival

Bronze Bamboo Stick Winner: Deadpool

4th: Hunt for the Wilderpeople

5th: Hell or High Water

6th: Zootopia

7th: Moonlight

8th: Kubo and the Two Strings

9th: The Witch

10th: Rogue One: A Star Wars Story

11th: Fences

12th: The Edge of Seventeen

13th: Moana

14th: Hacksaw Ridge

15th: Eye in the Sky

16th: The Nice Guys

17th: Finding Dory

18th: 10 Cloverfield Lane

19th: Manchester by the Sea

20th: The Little Prince

 

BEST DIRECTOR

Golden Bamboo Stick Winner: Denis Villeneuve, Arrival

Silver Bamboo Stick Winner: Damien Chazelle, La La Land

Bronze Bamboo Stick Winner: David Mackenzie, Hell or High Water

4th: Barry Jenkins, Moonlight

5th: Taika Waititi, Hunt for the Wilderpeople

6th: Robert Eggers, The Witch

 

BEST ENSEMBLE

Golden Bamboo Stick Winner: Moonlight

Silver Bamboo Stick Winner: Fences

Bronze Bamboo Stick Winner: Hell or High Water

4th: Hunt for the Wilderpeople

5th: Manchester by the Sea

6th: The Edge of Seventeen

 

BEST ACTOR

Golden Bamboo Stick Winner: Denzel Washington, Fences

Silver Bamboo Stick Winner: Casey Affleck, Manchester by the Sea

Bronze Bamboo Stick Winner: Ryan Gosling, La La Land and the Nice Guys

4th: Chris Pine, Hell or High Water

5th: Ryan Reynolds, Deadpool

6th: Sam Neill, Hunt for the Wilderpeople

 

BEST ACTRESS

Golden Bamboo Stick Winner: Emma Stone, La La Land

Silver Bamboo Stick Winner: Anya Taylor-Joy, The Witch

Bronze Bamboo Stick Winner: Amy Adams, Arrival

4th: Hailee Steinfeld, The Edge of Seventeen

5th: Helen Mirren, Eye in the Sky

6th: Mary Elizabeth Winstead, 10 Cloverfield Lane

 

BEST SUPPORTING PERFORMER

Golden Bamboo Stick Winner: Viola Davis, Fences

Silver Bamboo Stick Winner: Mahershala Ali, Moonlight

Bronze Bamboo Stick Winner: Jeff Bridges, Hell or High Water

4th: Naomie Harris, Moonlight

5th: Ben Foster, Hell or High Water

6th: Angourie Rice, The Nice Guys

 

BEST SCREENPLAY

Golden Bamboo Stick Winner: Arrival

Silver Bamboo Stick Winner: Fences

Bronze Bamboo Stick Winner: Hunt for the Wilderpeople

4th: Hell or High Water

5th: La La Land

6th: Zootopia

 

BEST USE OF MUSIC (Includes Best Score, Soundtrack and Original Songs)

Golden Bamboo Stick Winner: La La Land

Silver Bamboo Stick Winner: Moana

Bronze Bamboo Stick Winner: The Witch

4th: Moonlight

5th: Kubo and the Two Strings

6th: Hell or High Water

 

BEST TECHNICAL WORK (Includes Best Cinematography, Editing, Sound Editing, Sound Mixing and Visual Effects)

Golden Bamboo Stick Winner: La La Land

Silver Bamboo Stick Winner: Arrival

Bronze Bamboo Stick Winner: Moonlight

4th Place: Hacksaw Ridge

5th Place: Rogue One: A Star Wars Story

6th Place: Kubo and the Two Strings

 

BEST PRODUCTION WORK (Includes Best Production Design, Best Makeup/Hairstyling and Best Costume Design)

Golden Bamboo Stick Winner: La La Land

Silver Bamboo Stick Winner: The Witch

Bronze Bamboo Stick Winner: Rogue One: A Star Wars Story

4th Place: Hacksaw Ridge

5th Place: Deadpool

6th Place: Fantastic Beasts and Where to Find Them

 

THE HONORARY GOLDEN BAMBOO STICK OF EXEMPLARY WORK IN AN ART FORM THAT IS NOT CINEMA

Game of Thrones Season 6

 

2015

Spoiler

GOLDEN BAMBOO STICK: Inside Out
RUNNER UP: Star Wars: The Force Awakens
CO-RUNNER UP: Mad Max: Fury Road
4. The Big Short
5. Spotlight
6. Ex Machina
7. Bridge of Spies
8. Creed
9. Sicario
10. Jurassic World
11. The Peanuts Movie
12. Beasts of No Nation
13. What We Do in the Shadows
14. The Martian
15. Kingsman: The Secret Service
16. The Hateful Eight
17. Going Clear: Scientology and the Prison of Belief
18. Brooklyn
19. The Last 5 Years
20. Spy
21. Slow West
22. The Good Dinosaur
23. Furious 7
24. Everest
25. Mission Impossible: Rogue Nation

 

2014

Spoiler

WINNER: Boyhood

RUNNER UP: Birdman: Or the Unexpected Virtue of Ignorance

CO-RUNNER UP: Guardians of the Galaxy

4. The Grand Budapest Hotel

5. The Immigrant

6. Interstellar

7. Snowpiercer

8. The LEGO Movie

9. The Theory of Everything

10. Dawn of the Planet of the Apes

11. Gone Girl

12. The Fault in Our Stars

13. Fury

14. Blue Ruin

15. X-Men: Days of Future Past

16. Into the Woods

17. Only Lovers Left Alive

18. The Imitation Game

19. How to Train Your Dragon 2

20. The Interview

 

Edited December 28, 2018 by PANDA

[SLAM!]

Nice! Hopefully there's better nominations than some of the Globes nominations here!

[The Panda]

Edited the main topic for the first big post, going to start the countdown!

[The Panda]

First, here's my pick for worst movie of the year, no custom graphics or explanation needed

 

[The Panda]

Number 25

 

User Opinion

"Warm, fuzzy, and charming, Paddington was everything the first one was and more. Hugh Grant is amazing in this, and pretty hilarious at times too. There are some genuine laugh-out-loud moments (even if one of them steals from a classic Mr. Bean moment). The film pays a particular attention to detail, and everything that goes on happens for a reason at some point later on in the film. Not a single frame, character, or joke is wasted. 

 

Definitely a lot of Wes Andersen influence here. And the ''British humor'' is top notch. A few emotionally touching moments as well. All-around a spectacular film. GO SEE IT." - @DAJK

 

Critic Opinion

"It is a distinct delight to recommend "Paddington 2," a film for the whole family that, for a change, really is for the whole family. What’s more, there’s no hint of forced manipulation or condescension. I smiled all the way through it.

 

The Paddington Bear phenomenon began in 1958 with the first of Michael Bond’s many books about the diminutive Peruvian bear who is dispatched to London by his aunt Lucy and taken in by the solidly middle-class Brown family. Through endless iterations of books, television shows, and much else, the marmalade-loving teddy bear with the duffle coat, scrunched hat, and worn suitcase has over the years become a global folk figure to rival Winnie the Pooh, if not Mickey Mouse." - Peter Rainer

 

Personal Reasoning

Paddington 2 is a delightful family adventure that never manages to move to far into the sappy direction any other director would have taken it.  There's charm in all of the adorable comedy, and it reminds me of some of the original Winnie the Pooh movies, this is the better movie from 2018 about a silly old bear.  My personal favourite part of the movie was watching Paddington traverse through the pop-up book, and the film scattered with visually fun sequences such as that one.  It feels weird putting a movie this glowing only at 25, but there were just more movies I ended up enjoying more.

 

 

 

Edited December 28, 2018 by PANDA

[The Panda]

Here are my picks for Best Visual Effects, next up Best Sound Design

 

[The Panda]

Here are my picks for Sound Design, up next I'll reveal my picks for 24 and 23!

 

[The Panda]

Number 24

User Opinion

"Yeah, this is really funny. It doesn't hold back at all on how horrific this period in Russia was (lots of people die, brutally), and the laugh out loud dialogue combines to make it almost surreal. The 100 minutes flew by." - @Hatebox

 

"Clever and funny.  Really enjoyed it!" - @That One Guy

 

Critic Opinion

"The Death of Stalin plays like a Shakespeare history play crossbred with a particularly profane Marx Brothers comedy. As Stalin lies dying in his own urine, his comrades try not to step in it. They need to find a doctor, but all the good ones are in the gulag. Insults flow like the blood of Stalin's innumerable enemies. Nobody escapes with dignity intact, which is par for Iannucci's course. 

 

The filmmaker's most daring gambit here is matching the scabrous tone of his earlier work to a grisly chapter of historical terror. Iannucci knows that few things deflate unchecked power with the incisiveness of barbed ridicule. But he also knows his story won't work if he doesn't make his monsters human, and in some cases even sympathetic. His comedy is uncomfortable, but never lazy. It's designed to make you squirm through your laughter."

 

Personal Reasoning

The Death of Stalin was an early treat during the year, it's an Oscar style treat that came in March and has been pretty much forgotten now.  Steve Buscemi is a delight in the role of Krushchev, and seeing the ridiculous politicking going around from the entire cast leaves the film engaging the entire way through.  One of the wittiest comedies of the year, it's all around excellent satire.

 

 

 

[The Panda]

Number 23

 

User Opinion

 

@Spagspiria and @Ethan Hunt liked it, but can't find any quotes.

 

Critic Opinion

 

"It speaks to the complexity of Tamara Jenkins's Private Life, which recently became available for streaming on Netflix, that even its title can be read multiple ways. On the one hand, the film is indeed about private life: the plot centers on a middle-aged couple (Paul Giamatti and Kathryn Hahn) as they try to have a child, exploring the options of in vitro fertilization, adoption, and egg donation. On the other, the title is deeply ironic; the film is also about a crisis in American public life, namely our culture's suppression of intellectualism and the arts. Jenkins weaves her social concerns so gracefully into her storytelling that the title's second meaning barely registers until after the movie ends. As in her previous directorial efforts, Slums of Beverly Hills (1998) and The Savages (2007), Jenkins displays such a gift for creating three-dimensional personages that the film succeeds smashingly as a character study. Yet her interest in character isn't limited to psychology; she also wants to consider how her subjects fit into a larger social system, and it's this aspect of her talent that makes Private Life such an affecting—and ultimately devastating—work." - Ben Sachs

 

Personal Reasoning

 

Private Life details the trials of an aging couple and their quest for fertility.  Soon their niece with no blood relation comes along, and they see a perfect opportunity for an egg donor in an attempt to increase their chances.  The three main performances are intimate and real works, with the highlight really being Kayli Carter as a young adult trying to find her footing, and earnestly wanting to put something good into the world.  It's an ultimately effective and personal work by Tamara Jenkins.

 

 

 

[The Panda]

Number 22

 

User Opinion

"Widows is, more than anything else, ambitious. McQueen’s latest strives to appeal to the mainstream while continuing to engage with the tough topics his films always tackle. It succeeds at both, but keep in mind, this is more a Steve McQueen movie than anything else. This makes me think it may misfire with mainstream audiences, but I loved it. Tense sequences are punctuated with marvelously wry humor and the film has its eyes on many hot-button topics that weave together to make a sprawling epic of the Windy City. If anything, the film tackles too much; there’s quite a bit here that feels glossed over or not given the time to breath to fit in the two-hour runtime. One can easily tell this is adapted from a miniseries, and indeed, it may have been better staying in that format for an American adaptation. Still, there’s enough going here emotionally and character-wise that the overly complex story works nevertheless." - @Blankments

 

Critic Opinion

"In a cinematic climate where women led films are growing in not only popularity, but importance, there’s a refreshing realism to Widows’ narrative. The women at the center of the story are allowed to be human beings. The emphasis here is the construction of the characters, not crafting a glitzy and glamorous facade meant simply to appeal to the male gaze. Instead, audiences are allowed to see who these women are, what makes them tick and just how they’re changed by the events going on around them. McQueen and Flynn’s voices combine well with their ultra-talented cast to tell this story, truly bringing these women to life. 

 

Please get out there and support original cinema. We all find ourself whining about the abundance of remakes, reboots and sequels constantly hitting the movie theaters, and Widows is a clever, adult, non-tentpole film. Steve McQueen is one of the most innovative and talented story-tellers in the film industry and with Widows he’s crated an interesting, pulpy and above all, real story." - Kimberly Pierce

 

Personal Reasoning

There is a constant barrage of sequels, remakes, spin-offs and franchises taking up most of the business now.  It's a little sad there wasn't room for a social thriller like Widows among the financial successes.  It's a well-acted ensemble piece that keeps you on the edge of your seat, and packed with twists, turns and emotional punches.  Viola Davis leads the movie with vigor, and it's the movie that Ocean's 8 should have been.  Steve McQueen knocks it away with this one.

 

 

 

 

[The Panda]

Here are two more categories!

 

 

[The Panda]

Number 21

 

User Opinions

"Lin-Manuel Miranda, while doing press for this, kept saying that it was always his dream to be cast in someone else’s musical. Cause for him it was basically A Chorus Line and West Side Story for roles who “looked like me”.

 

So watching him up on screen, getting to play the Romantic lead, getting the best songs, leading the big musical numbers, and using that beautifully terrible accent was just SOO CUTE AND EXCITING. 

 

I just :wub::wub::wub: him so much." - @captainwondyful

 

Critic Opinion

"“Mary Poppins Returns” is 50 percent sequel, 50 percent reboot and 100 percent charming. This film offers a new story about the supercalifragilisticexpialidocious nanny, but the telling of it is heavily seasoned with nods to the 1964 original.

 

That tone is set right away when Emily Blunt — stepping into the title role that made Julie Andrews a star — makes her entrance, majestically drifting down out of the sky, not via her trademark parasol but hanging onto a kite. If the significance of that is lost on you, leave the movie immediately and go find one where stuff is being blown up every 90 seconds." - Jeff Strickler

 

Personal Reasoning

While, Mary Poppins Returns doesn't do much to truly prove its necessity, it is still a joyous delight in the songs and musical sequences, as well as killer performances from Emily Blunt and Lin-Manuel Miranda.  The entire animated sequence is truly the highlight of the movie, however there's plenty to love outside of that as well.  It's a movie that's gorgeous to watch, even if the plot has a few dry spots here and there.  It leaves you entertained and happy the entire way through, which is exactly what a Holiday film like this should so.

 

 

 

[The Panda]

Number 20

 

User Opinions

"A ton of fun and very much a sequel to the classic original movie despite the passage of almost 14 years, even though this is missing some of the spark (plus the emotional heft found in Pixar's best works). But it's often very funny (that episode between Jack Jack and the racoon had me howling), the animation is great, and the family dynamics (especially the change-up here by making Mr. Incredible a stay-at-home dad while Elastigirl goes out to save the day) allow these movies to be more relatable than most animated movies are." - @filmlover

 

"That was incredible. " - @ElastiRoc

 

Critic Opinions

"It may be 14 years later, but the Parr family, a.k.a. The Incredibles, doesn’t seem to have aged a bit.  Pixar’s technology has taken things up a few notches, though. This sequel to the 2004 movie is an impressive feat of animation, particularly in its action sequences... I’m holding out hope for an “Incredibles 3” where Violet and Elastigirl team up against a baddie who goes by The Patriarchy." - Sara Stewart

 

"Once Michael Giacchino’s score—his best and most excitable—was up and running, I was happy and hooked. (Make sure you stick around for the whole of the final credits, in the course of which he spoils us with riff after riff, including one that gets deep, and deeper still, into the Frozone groove.) And, once Helen was called upon to halt a runaway monorail, I was able to relax, in the confidence that “Incredibles 2,” like all the best Pixar projects, had been constructed with the customary flair and care. Let’s face it: life without a monorail, in movies like these, would be frankly unendurable. The vision that they project, bright with kinetic wit, is also shaded, here and there, with historical regret. They show us what the past hoped the future might be."  - Anthony Lane

 

Personal Reasonings

Incredibles 2 was easily one of the most enjoyable movies of the Summer, I actually went to see it two days in a row because of how much of a blast it was to watch.  While the movie is loads of fun, it does have a few issues that stop it from truly being as great as the original, but in the end those complaints are rather minor compared to the gorgeous action sequences and riveting momentum the film gains.  Jack Jack is definitely the highlight of the movie, having some pretty major laughs.  In fact, while this movie may not have as much heart as Pixar's best, it might just be Pixar at their funniest, great comedic work.

 

 

[The Panda]

Number 19

 

User Opinions

"I cried the entire time and am still crying hours later just thinking about it." - @That One Guy

 

"This is a wonderful and timely documentary that I feel the world needs in a time like this. Mr. Rogers' messages of peace, love, acceptance, etc. remain as poignant and important today as they did during his time on television. I never grew up with the show, partly because it ended when I was only a small infant, but as a young adult, I find the messages this man tried to teach young children to be very thoughtful and inspiring even at my age. There has never been a show quite like his, not before or even after. Learning about this man's life in this film was truly an experience within itself.

 

I feel that now, more than ever, the world needs someone like Mr. Rogers to help inspire others and be a voice of reason in this time of divide. It seems selfish to want someone just like him to do so but that's just how I feel about the matter. We're never gonna get someone just like him ever again, and that's okay. His words, his messages, and the characters he portrayed to showcase these messages in his show will continue to inspire others to help the world in their own way.

 

It bears repeating but this documentary is just so wonderful and touching. I've never sat through a film before and have felt as inspired the way I felt after viewing this film. It gave me a renewed sense of hope and kindness that I've never gotten out of a film before. This is the best film I've seen so far this year and I can't recommend it enough. I think it'll be herculean task for anyone not to be moved by this film." - @Rorschach

 

Critic Opinions

"Through interviews with family members and cast members, along with rare behind-the-scenes footage and lesser-seen clips, Neville (the Oscar-winning director behind the rock doc “20 Feet from Stardom”) fills this film with little details and insights that add up to a moving portrait of Rogers. Some of the most revealing testimony comes from Francois Clemmons, the actor who played Officer Clemmons and recalls the episode where he and Rogers put their feet together in a kiddie pool — a semi-coded response to the segregationist sentiment still thriving at the time. Clemmons is also gay, but both men understood that the actor could not then come out publicly. It’s a rare example of Rogers being unable to mesh his make-believe world with the real one.

 

At a time when the entire world seems to be angry, hateful and generally in a bad mood, “Won’t You Be My Neighbor?” sometimes feels like an admonishment as much as a tribute. When the film ends, it’s hard not to conclude that we’ve momentary forgotten everything Rogers taught us."  - Rafer Guzman

 

 

"One of the bittersweet joys of "Won't You Be My Neighbor?" is how Neville portrays Rogers not as some squishy Teletubby but as a loving, curious, concerned and often fed up human being. Fred Rogers did not suffer fools. He based his career on his horror of what he saw going on in television and in the world around him, and he was outspoken his whole life about it. That's radical. His show was, too.

 

In his review of the film, Vulture's David Edelstein called it "a wonderful breather from reality," but I'd argue that Mister Rogers was more deeply entrenched in reality than any other children's television host ever. The documentary proudly showcases that. It shows how, when Robert Kennedy was murdered just four months after the series debuted, Daniel Striped Tiger was soon asking Lady Aberlin, "What does assassination mean?" so the two could discuss the distressing news. It contrasts footage of a white motel owner pouring muriatic acid into a swimming pool full of black guests with the very pointed episode in which Mister Rogers invited his African-American neighbor Officer Clemmons to share a cool foot soak with him in a kiddie pool." - Mary Elizabeth Williams

 

Personal Reasoning

The one movie this year that really got me to actually tear up.  Won't You Be My Neighbor is a poignant reflection on Mr. Rogers and the impact his television show had on the world.  It also offers insight into how the world could be improved if we still had people with attitudes like Mr. Rogers today.  I normally don't rank Documentaries with Narrative movies because I find them an entirely different medium, and thus it's a disservice to try and compare them.  However, Won't You Be My Neighbor was so effective and absorbing I had to find the time to mention it here.  It should be a required viewing just so people can learn to think a little bit about empathy, and how they can make a difference by the way they treat others.

 

 

 

 

[The Panda]

Two more categories before I get some sleep!

 

 

[The Stingray]

Mandy was my favorite score of the year. Runners up: First Man, Suspiria, U Were Never Really Here, and Hereditary.

 

 

[The Panda]

Number 18

 

User Opinions

"Enjoyed this a lot. It's a very emotional film with two excellent performances from the leads. I wasn't expecting the second half to be what it was, but that's not necessarily a bad thing, especially as the movie sits in my mind. Probably my favorite movie of the year so far." - @WrathOfHan

 

"this might be my movie of the year so far. surprised me because ben foster annoys me usually and i didn't do backflips for winter's bone like everyone else but this shit is beautiful." - @CoolioD1

 

Critic Opinions

"There’s something special about director Debra Granik, a woman who can tell a story like the one in “Leave No Trace” with a certain type of understanding and grace. Her style is perfect for this material, a film that’s reminiscent of “The Florida Project” in that it gives a voice to folks whom society would rather ignore. This film is the textbook definition of intimate storytelling with its complex characters, hypnotic cinematography, and an overwhelming feeling of both despair and hope. This film affected me on a deeply emotional level, and it’s one of the very best of the year.

 

This is a film that will frustrate some casual moviegoers as it is stingy with concrete answers and background on the characters and their motivations. Instead, you’re thrust directly into their world of living off the grid. You never learn the “why” of the story, but carefully placed hints are dropped along the way.  If you’re familiar with Granik’s previous work (“Winter’s Bone,” “Down to the Bone”), you’ll most likely admire her ability to establish a strong sense of place. Every last detail, from the peeling wallpaper of an abandoned trailer to the minutes-long stretches of silence to drops of icy rain, serve a purpose. Michael McDonough ‘s cinematography proficiently captures the harsh and dense Pacific Northwest forest where the pair reside.  The movie is quiet and contemplative in a way that’s so haunting, it sometimes feels as vulnerable as the characters. This is a powerful expression of what it must be like to live on the fringes of the American Dream." - Louisa Moore

 

 

"There are hints that Will suffers from PTSD–his military tattoos (one which clearly says “motherf*cker,” making this the only PG-rated film I can think of with the f-word prominently in it), a trip to the VA hospital, the quiet helicopter noises in the background of his nightmares, and the notable absence of his wife/Tom’s mother all suggest that Will has experienced a deep amount of pain and loss. In this, Leave No Trace is a parable about grief and suffering, carrying one another’s burdens even as we have to establish personal boundaries differentiating between us. As Tom tells Will in a conflict, “I don’t have the same problem as you have.” Yet her words aren’t bitter nor out of pity; she loves her dad immensely, but she is learning that her identity is autonomous from his. Tom is intelligent and observant, quietly demure and clearly capable. McKenzie’s portrayal of Tom is simply remarkable as she communicates a great deal with her bright eyes, open posture, and subtle facial expressions. Foster is also excellent, toning it down from the crazy Ben Foster we may expect, a quiet and caring man who clearly carries a lot of internal pain.

 

When Will and Tom choose to try to go back to living alone in the woods, their journey takes them into unexpected places and communities until an incident forces them to stay put for a season. In this location, there are two scenes with Tom and a beehive, where she experiences the warmth and comfort of community and trust even as she stands alone as an individual. I’m not entirely sure why, but Tom’s scenes with the bees are some of the most affecting and comforting I’ve seen in film this year, nature revealing its transcendent beauty in the smallness of a honey-making insect. In a world which can feel so overwhelming and angry at times, Leave No Trace is a reminder that there is still good in God’s creation, the extraordinary in the ordinary, if we would only have eyes to see and ears to hear. Ricoeur says that parables have the power to change us as we imagine the world anew through the parable-world’s vision. I believe it; Granik has done just that." - Joel Mayward

 

Personal Reasoning

Maybe a few people were going to expect this one higher up on the list, but I don't want that to detract that I think Debra Granik composed a subtle work of art on the effects of PTSD.  Leave No Trace is is a quiet film that doesn't really provide much exposition on why anything that's happening is happening, and it's better for it, as it simply shows a trans-formative moment in the main character, Tom's, life as she travels with her father who's living in the wilderness to battle his mental illness.  Both of the lead characters give effective performances, but it's Thomasin McKenzie who really shines, especially with a powerful ending that shows the journey the character had taken throughout the film.  Overall, this is a strong showing by Granik, with a lot for viewers to take in.

 

 

 

[The Panda]

Number 17

 

User Opinions

"the greatest and most beloved (Netflix) film of all time." - @aabattery

 

"Set It Up is marvelous. Brilliantly taking the 90s romcom formula to the modern day, it’s impossible to watch this without a smile on your face for the majority of its runtime. Deutch and Powell are some of their generation’s most underrated actors and their charisma and chemistry with each other could power ten more of these movies in the vein of Hanks and Ryan.

 

The script is witty and sweet, never sacrificing characters for a cheap joke. It might follow the tropes, but tropes exist for a reason, and when they’re as well-executed as they are in this, who cares? The direction is rock solid and the whole movie does just feel like an updated romcom in the best way.

 

Set It Up avoids the pitfalls of the modern romcom in a very clear way. There is no romance, comedy or drama, without sincerity. This film believes in the seemingly inconsequential story being told as being incredibly important, with all the humor and fluff that the romcom allows. I’d love so many more modern romcoms in this vein, but for now, Set It Up is excellent thanks to the clever characters, delightful script, and charismatic actors. A pure joy." - @Blankments

 

Critic Opinions

"Sometimes, the best pleasures are the simplest ones. Boy meets girl, boy competes against girl, maybe the boy will fall in love with the girl. Maybe they won’t. The latest film powered by this time-tested “will they/won’t they” formula is Claire Scanlon’s feature debut Set It Up. It’s a feel-good throwback to Nineties romantic comedies like When Harry Met Sally and You’ve Got Mail that left me — and a never-to-be-disclosed number of Netflix viewers — warm and nostalgic for the simple pleasure of falling in love.

 

While the plot is familiar, Katie Silberman’s witty script plays with expectations. In one sequence, the pair dip out of a party much the way they might if they were sneaking home early to have sex. Instead, they’re grabbing pizza. Since Charlie’s roommate (Pete Davidson) commandeered the living room for his evening plans, the couple have to scramble, with their oversized box, up the fire escape and into Charlie’s room to enjoy their cheesy spoils. When the scene ends, it’s likely not on the note you would expect." - Monica Castillo

 

 

"Set It Up feels like a return to that era, when smaller-scale star vehicles like Picture Perfect, You’ve Got Mail, One Fine Day, and While You Were Sleeping were regular fixtures at the multiplex. At the heart of these movies is, typically, a story contrivance, often involving a character’s false identity or a secret scheme that gets discovered by the end of the second act. So Set It Up sees two weary assistants, Harper (Zoey Deutch) and Charlie (Glen Powell), hatch a plot to make their workaholic bosses, Kirsten (Lucy Liu) and Rick (Taye Diggs), fall in love with each other.

 

In short, it’s a charming watch and, more importantly, it’s the kind of film studios simply aren’t offering audiences today. I remain unconvinced that Netflix is going to be able to break into the world of big-budget, widescreen movie-making; no matter how massive our TVs get, they’ll always fail to truly compete with the theater experience. But as long as Netflix continues to insist on its strategy of releasing films online the same day they’re out in cinemas, the company would do well to satisfy needs that studios are otherwise ignoring. Set It Up might just feel like a fluffy rom-com, but it could also be the start of a genuine realignment within the industry." - David Sims

 

Personal Reasoning

Set It Up was a pleasant Netflix surprise that I wouldn't have even thought to give a shot if it weren't for a few users talking quite a bit about it around the time of its release.  While the rom-com elements are certainly familiar, it's presented in such a witty and funny manner that the predictability of it all doesn't really matter.  It hits you in some of your emotional areas, and keeps you invested in the main two characters in their quest to get a little of freedom from their bosses.  While the entire cast is great in the film, Zoey Deutch is certainly fun to watch and probably the easiest to relate to out of the entire bunch.  If all rom-coms were like this one, I wouldn't complain at all if they made a comeback (even though I'd argue given a few other great, hit romcoms that came out this year, they already have).

 

 

 

[The Panda]

Number 16

 

User Opinions

"The greatest movie ever made." - @That One Guy

 

"An absolute joy.

 

The story is close to irrelevant (Cher literally shows up and is pretty much instantly forgiven for her past.) but there’s such joy and bliss on screen that it’s hard not to fall in love the same way.

 

The last 10 minutes had be sobbing." - @Spagspiria

 

Critic Opinions

"This exuberant sequel easily tops the 2008 musical hit Mamma Mia!: ABBA's songs flow nonstop, and the dexterous ensemble give as much pleasure as the gorgeous Mediterranean backdrop. In flashbacks, the youthful version of Meryl Streep's free-spirited character (Lily James) beds three different men (Hugh Skinner, Josh Dylan, Jeremy Irvine) and then wonders which is the father of her child. Colin Firth, Stellan Skarsgard, and Pierce Brosnan reprise their roles as the suitors in middle age, and Cher is the cherry on the sundae as Streep's mother." - Andrea Gronvall

 

 

"So many claim “The Godfather Part II” to be the best sequel of all time. It was only a matter of time for another film franchise to steal the structural sauce of Francis Ford Coppola’s epic. Who would’ve guessed that franchise would be “Mamma Mia?”

 

The Don figure of the franchise is Donna (Lily James & Meryl Streep), an Oxford graduate who takes a gap year heading to the Greek island of Calicari. Her whirlwind romances result in a pregnancy and Donna dedicates herself to staying on Calicari and running a hotel of her own for wanderlust souls. The musical and initial 2008 film centers around Sophie (Amanda Seyfried) and her search for which of her Mom’s three suitors is her biological Father. The sequel employs “Godfather Part II’s” dual timeline structure to further accentuate the familial bond between Donna and her daughter Sophie. In the past, we witness a bright, young Donna gallivant around Europe as she searches for her life’s passion, leading her to Calicari. In the present, Sophie reopens her Mom’s dream hotel as she comes to terms with her own relationship and impending pregnancy.

 

The first film works primarily because the cast visibly looks like they are having the time of their life. This infectious energy only continues in the sequel, both with the veteran cast members and the new younger set. Lily James finds herself with the unenviable task of having to portray a young Meryl Streep. However, from the opening moments she proves to be not only adept at channeling a young Donna in even the most specific of motions while also adding new flair and vivacity to the role. Her youthful energy further proves to be a great counterpoint to Streep’s performance in the first film. She has this mischievous glint in her eyes that suggests she’s always after a new adventure. In short, Lily James makes a compelling case that she should be our next marquee movie star." - Christopher James

 

Personal Reasoning

If you were wondering if I was being ironic in stanning this movie, just know that I am completely, unironically putting this movie at number 16.  I considered trying to push it even higher.  Mamma Mia! Here We Go Again is an absolute joy to watch, with a heartcrushingly beautiful cameo by Meryl Streep.  While the first movie was campy fun, this movie is just all movie, much good.  Lily James is magnificent in the title role, took my breath away with how graceful she took the scene, she should be leading many more musicals and movies after this.  The soundtrack is great, and the new Mamma Mia rendition is an instant classic.  It's hard to have more fun in a movie than I had in this one.

 

 

 

 

[The Panda]

My picks for supporting actress and actor

 

 

Edited December 30, 2018 by The Panda