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My 12 for ’18: “I, Tonya” and the Post-Truth Biopic

It’s that time of year. I’ll counting down my top twelve films of the year daily on the blog between now and New Year. I’ll also be discussing my top ten on the Scannain podcast. This is number two.

One of the interesting things about being an Irish film critic, as opposed to an American film critic, is that it does make the end-of-year top tens rather… jumbled.

Piracy and social media have done a lot to close the gap between cinematic releases in peak blockbuster season. Movies like Mission: Impossible – Fallout and Avengers: Infinity War tend to be released day-and-date around the world in an effort to prevent bootleg copies and spoilers cutting into those profit margins. The conversation about such films tends to be instantaneous or nigh-instantaneous, as it is with even off-season blockbusters like Mary Poppins Returns or Spider-Man: Into the Spider-Verse.

In contrast, awards fare is still staggered. The “big” and “populist” awards fare films tend to synchronise releases across the globe; A Star is Born, First Man, Bohemian Rhapsody, Widows. However, the smaller and more eccentric films end up staggered across the New Year. So although I have seen If Beale Street Could Talk, ViceStan and Ollie and The Favourite, they are not eligible for this end of year countdown.

In contrast, Three Billboards Outside Ebbing, Missouri and I, Tonya both make the countdown of my favourite releases of 2018, despite the fact that the bulk of the conversation around them (and the bulk of their cultural context) was anchored in 2017. It is something that seems strange, even as I go through my end of year list, feeling like I’ve arrived late enough to the party that I might as well just order breakfast.

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