You Were Never Really Here is directed by Lynne Ramsay, who is one of those directors you just never hear people talking about.  She also directed the equally underrated We Need to Talk About Kevin (she also apparently has a thing for long titles). It’s a shame this one came and went with such little fanfare because Joaquin Phoenix gives one of the best performances of his career as a war vet tasked with tracking down the whereabouts of a kidnapped girl. The film deals with a veteran suffering from PTSD and portrays the impossible task of him trying to assimilate back into society. Some will go into You Were Never Really Here expecting tons of revenge violence, but Ramsay does something unique. She builds up to the violence and right when it’s about to commence, she shields us from it. An effective technique that I’ve never seen in a film like this before. You Were Never Really Here is sure to be one of those films that you remember long after the credits roll.

I’m not sure there was a more relatable film released in 2018.  It doesn’t matter how old you are, everyone can relate to Kayla, a teenager trying to navigate the minefield that is teen life.  While the film is relatable no matter what decade you grew up in, it’s also a perfect snapshot of what it’s like to be a teenage girl in today’s world. Elsie Fisher is a revelation as an awkward teen that expels advice on YouTube, but doesn’t practice what she preaches. Keep an eye on Fisher, I foresee big things from her career.  I think the other interesting aspect of Eighth Grade is from a parent’s perspective. The film does a great job of showing how confusing it must be to for a parent of a teenager, especially today.  By the end of the film, I felt like a proud parent that just wanted to give Kayla a big hug. Seriously, check this one out.

Leave No Trace is a perfect companion piece to You Were Never Really Here.  Both films revolve around war veterans and both have PTSD as a central theme. The other interesting aspect is that both films are directed by women.  Debra Granik, who directed Winter’s Bone, has created a quiet, heartbreaking film about a father and daughter living off the grid in the woods. At its core, Leave No Trace is a film about parenting. Ben Foster plays Will, a father who has nothing but the best intentions for his daughter, but at the same time, his lifestyle and mental state might just be detrimental to her growth. Ben Foster is one of the best character actors working today. He’s made a career out of being overshadowed by bigger actors. It’s ironic that when he finally has a chance to lead a film, he’s overshadowed by Thomasin McKenzie, who plays his daughter. In Winter’s Bone, director Debra Granik cast a young Jennifer Lawrence and watched her career blow up, it wouldn't shock me to see the same for McKenzie.

A Simple Favor is one of the bigger surprises of the year for me.  The trailer didn’t do anything for me and kind of made the film look like it was a fluffy comedy.  I think audiences might have thought the same thing and that’s too bad because what we actually got was one off the more twisty, fun films of the year. A Simple Favor features outstanding performances from Anna Kendrick & Blake Lively.  Both actresses seem like they are having a blast with the subject material. The film keeps you guessing from the start and includes an ending that could have gotten away from them in the wrong hands. Favor is directed by Paul Feig, who is mostly known for his comedies. He’s directed a film that deserved to be seen by more people.

I’m not sure what happened here. Early reports had Widows competing for a Best Picture Oscar and with a cast like this (Viola Davis, Liam Neeson, Robert Duvall, Colin Farrell) many thought it would resonate with audiences as well.  Neither happened. What’s even more surprising is the fact that the film is directed by Steve McQueen (not that one) who was nominated for an Academy Award for 12 Years a Slave. Regardless of Widows getting seemingly lost in the shuffle, it’s a fantastic film.  The setup: A bunch of thieves are killed in a heist gone wrong, it’s then up to their wives to pay off the debt they left behind. Many probably went into Widows expecting a typical heist film, but the film is actually pretty light on that. A large portion of the film actually revolves around the local politics of Chicago.  One of the highlights of the film for me was a single long take with the camera mounted on the hood of a car. We start in a neighborhood ravaged by crime and poverty and slowly make our way to a gated house just a few minutes away. I can’t think of a more powerful and accurate way to portray the gap between the haves and the have nots.  I would also like to mention Daniel Kaluuya (Get Out), who gives one of the more menacing performances I’ve seen in a while.

Bad Times at the El Royale is directed by Drew Goddard, who directed the fantastic Cabin in the Woods.  Here, he is certainly channeling Tarantino and the Coen Brothers, right down to the quirky characters and shifting timelines.  I’m a sucker for these kinds of films. Some people will chalk it up to style over substance, but I loved every second of it. There’s certainly bucket loads of style here, but there’s also a lot of substance if you’re patient enough. Royale also features an amazing cast - Jeff Bridges, Jon Hamm, Chris Hemsworth.  Hemsworth gives one of the better villainous performances of the year, but it’s newcomer and rising star Cynthia Erivo, who also can be found in Widows, who steals the film.

If you like your revenge films with an extra helping of blood, then Revenge is just what the doctor ordered. Revenge features some of the more over-the-top violence you will find in a film. It’s hard not to see the similarities between I Spit on Your Grave, where the beautiful damsel is hellbent on seeking retribution. Matilda Lutz is a young actress to keep an eye on. I’m not sure I’ve seen an actress go from vapid play thing to badass killer faster than Lutz. For this reason alone, Revenge is a timely film ripe for the #MeToo movement. Some of the symbolism is a little too on the nose, but if you can get past that and some of the more ridiculous moments, then you should enjoy this one.

It’s a stupid title, I get it.  It’s also probably one of the reasons not enough people have seen it, but that’s a shame because it’s easily one of the more uplifting films of the year.  The setup is kind of intricate, but essentially the film revolves around a writer sent to research a small island that was occupied by the Germans in World War II.  The Guernsey Literary and Potato Peel Pie Society has an old Hollywood feel to it. It’s the kind of film that just doesn’t get made anymore, hence why it’s on Netflix and not in theaters.  Society stars the enchanting Lily James. It’s impossible to take your eyes off of her. Turn on Netflix, you’ll see what I mean. After you read the rest of this list, of course.

Yikes.  I’m not sure my thoughts on this one could possibly do it justice. Sorry to Bother You is one of those films you kind of have to see for yourself.  Be warned, it’s not for everyone. It’s easily one of the more unique film experiences I’ve had in a long time.  The film features a third act plot twist that is sure to prompt most viewers to turn it off. I myself wasn’t so sure about how I felt about the film until a few days after I watched it. Once I had some time to think about some of the themes of the film, I realized how good it really was.  Themes of race, class distinction and how African Americans are perceived by the general public and portrayed by Hollywood and the news. Themes about social media and how it impacts our society. Themes about consumerism and the list goes on and on. Sorry to Bother You also stars Tessa Thompson, who has had a busy year with Creed 2, Annihilation and her role on HBO’s Westworld.

Melissa McCarthy has become one of those you either love her or hate her kinds of actors in the mold of Will Ferrell.   I’m sure part of the problem is that McCarthy seemingly accepts any script that comes her way, causing her to make quite a few terrible films.  However, she’s made some very quality comedies as well. Here, she tries her hand at a serious role and knocks it out of the park. McCarthy plays Lee Israel, a real-life writer struggling to make it in an industry cluttered with cheesy romance novels and easy-to-consume spy thrillers.  To pay the bills (especially for her sick cat’s doctor’s bills) Lee decides to use her talents in a very unique, yet highly illegal way - forging private letters from famous writers. Not only is the money good, but Lee has found a new creative voice, which is exhilarating for her. There’s nothing funny about McCarthy’s portrayal of Lee Israel.  In fact, she’s a pretty sad and miserable woman, who has grown jaded by the book industry and society in general. That’s not to say the film isn’t funny. Many of the best moments come when Lee is interacting with her flamboyantly gay friend played to perfection by Richard E. Grant. Both his performance and McCarthy’s are what Oscar nominations are made of, it might just change even the most negative McCarthy critic’s opinion of her acting ability.

Apostle is the second of 3 Netflix films on this list.  Netflix is becoming an increasingly active player when it comes to original films and while their quality continues to vary, I can’t help but applaud them for featuring films that would otherwise have no platform.  Apostle is one of those such films. It’s a little odd and doesn’t fit into any one genre very easily. The film is directed by Gareth Evans, who directed the ridiculously awesome Raid franchise. Evans has molded a moody, twisty period film about a man, played by The Guest’s Dan Stevens, sent to rescue his kidnapped sister from a religious cult on a mysterious island.  The third act starts to get away from Evans for a bit, but there was still enough there for me to enjoy myself. Like many of the films on this list, Apostle is sure to divide audiences.

Hold the Dark is another film that can be found on Netflix that is directed by a young, up-and-coming director.  Here, director Jeremy Saulnier, who directed the fantastic Green Room and Blue Ruin has created a cold, slow burn of a film. One that is sure to turn most people off. The third act is ultimately going to be too weird and slow for most people. Hold the Dark never quit matches Saulnier’s previous efforts, but it’s a well made film.  The highlight of the film is a gruesomely intense shootout.