Still, the year that was in cinema is starting to take shape, and I think it's fair to say it was a pretty above average one.
The blockbusters were better than usual -- and the prestige films were more accessible without losing their auteur's vision (think BlacKkKlansman) -- and yet, there were a lot of really terrific movies that never found an audience despite considerable critical acclaim.
There are always good to great movies that don't reap the financial whirlwind that they deserved. I am still shocked that Boogie Nights wasn't more of a hit (it ranked 79th among the films released in 1997, below the Macauley Culkin-less Home Alone 3 and Beverly Hills Ninja), especially since it's one of those movies that everyone seems to have eventually seen.The same goes for Fight Club, a movie I like a lot less, but was ubiquitous when it came out back in 1999 although it grossed less than forgettable movies like Bicentennial Man and the late career Kevin Costner tearjerker Message in a Bottle.
I would put Steve McQueen's fantastic thriller Widows in that category. It's definitely underperformed at the box office, despite boasting a top notch cast and an exciting trailer. Perhaps its disappointing run is simply a symptom of racism and/or sexism (women of all shades are the center of the film) or maybe it is simply one of those terrific movies that fell victim to an overcrowded holiday
marketplace.
Still, I fully expect it to find its audience and become a cult classic over time. But even if it tops out at $40-$45 million domestic, it'll have still been seen by a lot more people than the other films I'm about to shout out...
Eighth Grade - It's been a real pleasant surprise to see this film emerge on some end-of-the-year critics' lists. I thought it was one of the most charming, assured coming-of-age films I'd ever seen when I first caught it back it back in July and I assumed it would be a big crossover success but it tapped out at just $13.5 million at the box office. Sure, it had no stars, but it had so much heart and good humor. Hopefully, people will take a second look at it now.
You Were Never Really Here - Joaquin Phoenix has a legitimate argument to make as the greatest actor of his generation. He certainly added to his impressive run of leading performances with his brooding, powerful work here in this dark drama about the underbelly of NYC high society and a would-be avenging angel out to set things right. This one might have just come out to early to capture the prestige crowd, but it's so taut and terrific it really deserved to have been a hit. But it only made $7.4 million.
First Reformed - Of all the films on this list, this one seems to have the most awards season heat, which is surprising since it is a uniquely intellectual film that is not for many peoples' tastes. I thought it was profound, and quite possibly director Paul Schrader's greatest masterpiece. The lead performance from Ethan Hawke (as a priest whose faith gets tested by the indifference of the clergy to the effects of climate change, among other things) is also a career best. Honestly, I'm not surprised the movie wasn't a 'hit' -- almost no Schrader movies are -- but $3.8 million seems way too low.
Sorry to Bother You - After being so well-received on the festival circuit and with its star -- Lakeith Stanfield -- really enjoying a moment culturally, I assumed Boots Riley's savage satire of corporate America would be a real breakthrough hit. I don't know anyone who saw it and didn't have a lot of fun with it (even if the last act struck some as too over the top -- but I loved it). And yet it has been totally overlooked in the awards conversation (it at least deserves an original screenplay nod) and it only made $17.5 million -- although against a $3 million budget it was at least profitable.
The Old Man & The Gun - All the pre-release hype about this movie centered around it being the potential acting swan song of legendary Hollywood icon Robert Redford, which I think is both a blessing and a curse. It does give what could have bene a lightweight romp more pathos but I also think it distracted from what a solid, character study it is. I think it'll likely fade in the background of more substantive 2018 films, but it ageism wasn't so prevalent, I think it'd made more than the $11.5 million if currently has.
Hereditary - This acclaimed horror film was probably the biggest 'hit' of this bunch -- but for a widely released horror title $44 million isn't a great number. This was one of those films that the critics loved and many audiences couldn't make heads or tails of. Horror audiences are historically fickle and perhaps this film's psychological bent and disturbing finale was too unpleasant for some people to stomach. But no one can deny the power of Toni Colette's lead performance and there are too many incredible sequences in this movie to discount it.
Mandy - In defense of this movie's performance -- a film like Mandy was never meant for mass consumption. It's so incredibly trippy and strange, with a narrative that doesn't necessarily makes sense but is visceral and compelling. If you get on the film's wavelength and appreciate Nicolas Cage's eccentricity than you will have a wild, exhilarating time with it -- but everyone else should probably steer clear -- and most audiences did, it only grossed $1.4 million.
Stay tuned for my top 10 list of 2018, which will likely feature some of these titles and will be unveiled sometime in the new year most likely. Until then, try to seek out some of these overlooked gems, I think they'll be worth your while.
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