Top Ten Films of 2018

The BAFTAs are over. The Oscars are over. The book on 2018 films is about to be closed, but, wait, there’s more! Before we switch our focus completely onto the films of 2019 and the future awards season, I’d like to, as always, submit and present my own top ten films of the year-list. What was my favorite film of the year? What film got the honor of being my one and only honorable mention? It’s time to reveal the top ten films of 2018. Continue reading “Top Ten Films of 2018”

REVIEW: Green Book (2018)

Theatrical Release Poster – Universal Pictures

The following is a review of Green Book — Directed by Peter Farrelly.

Today, as I was sitting in the theater watching Green Book, less than ten hours after it had won Best Picture at the 91st Academy Awards, I was briefly reminded of Mark Kermode’s thoughts on revisiting Moonlight after it had become an Oscar contender and then Best Picture winner. In his video, the British film critic remarked that he found himself seeing the film in a different light. It was no longer an indie hit — it had evolved and he saw different things in it. The film had risen to meet the expectations that the label ‘Best Picture winner’ brings with it. Continue reading “REVIEW: Green Book (2018)”

91st Academy Awards: Reaction – Special Features #49

What a night. It was a night of some ups and many downs, for me. In this post, I’ll give my initial reaction to the 91st Academy Awards. What bothered me? What was the greatest surprise of the night? Here is what I have to say right now only one or two hours removed from the show.  Continue reading “91st Academy Awards: Reaction – Special Features #49”

Final 91st Academy Awards Predictions: Winners – Special Features #48

It’s time. This awards season has felt really long, and, with how incompetent AMPAS has been in preparation for the big night, Oscars-night seems so mysterious and uncertain. Add to that the fact that there are so many different categories that we don’t really know which film is going to win including Best Picture, and we are left with a show that is probably going to be very interesting. Today, I’m giving my final predictions for the big Oscar night — the Super Bowl for the film community.
Continue reading “Final 91st Academy Awards Predictions: Winners – Special Features #48”

6th I’m Jeffrey Rex Awards, Part Two – 2018

This is it. We are finally here where it all matters. This is where I highlight the best technical achievements and performances of the year. This is where I get a chance to recognize all of my favorite films that I saw this past year. As always, I also have a lifetime achievement film award at the end of the post, so don’t forget about that one. For the full list of nominees, go here. Continue reading “6th I’m Jeffrey Rex Awards, Part Two – 2018”

IJR Awards 2018: Film Nominations Announced

It is finally time for me to announce my own personal film nominations for the I’m Jeffrey Rex Awards of 2018. Sure, we’re in 2019 now, but I needed some time to watch some of the films that were released in January in Denmark.

There will be a couple of surprises here, and I’m not just talking about the nominees. Four awards that have not previously been announced will make their debut here with their own sets of nominations. Also, one award has had its titled changed to allow for more than a small handful of nominees. Well, let’s get to it. Continue reading “IJR Awards 2018: Film Nominations Announced”

REVIEW: Vice (2018)

Theatrical Release Poster – Annapurna Pictures

The following is a review of Vice — Directed by Adam McKay.

In recent years, comedy filmmaker Adam McKay has successfully changed his reputation in Hollywood. He was once thought of as one of the great funny-man directors of the industry, with such films as Anchorman and The Other Guys. But with 2015’s The Big Short — a film about the financial crisis of 2008 — McKay became known for his unconventional techniques in covering a disastrous true story. It didn’t work for everyone, but, for the most part, I really enjoyed his first foray into this style of political filmmaking.  Continue reading “REVIEW: Vice (2018)”