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Great Movies In 2018 That No One Is Talking About

In a perfect world, movie lovers’ pockets
would always be lined with enough cash to buy tickets to every single film that ever
screened in theaters. Unfortunately, we live in the decidedly flawed reality that makes
seeing and appreciating every movie pretty much impossible. Year after year, a ton of incredible films
are released only to end up going largely unnoticed, and 2018 is no different. Here
are some of the most underappreciated movies you’ve already missed in 2018. I Kill Giants Adapted from writer Joe Kelly and artist J.
M. Ken Niimura’s graphic novel I Kill Giants, Danish director Anders Walter’s adaptation
stars Madison Wolfe as the plucky Barbara Thorson. Barbara’s an oddball outsider with
a bunny-ear cap, a head in the clouds, and a Norse war hammer in her bag. You see, Barbara
fancies herself a killer of giants, and is convinced that a horde of them are coming
to Earth and she’s the only one who can vanquish stop them. Blending together an impactful coming-of-age
tale, themes of grief and denial, gorgeous magical realism, solid CGI, and captivating
performances from Wolfe and supporting actors Imogen Poots, Zoe Saldana, and Sydney Wade,
I Kill Giants is a magnificent monster movie that’s monstrously moving. Critics have applauded
it as “never less than engrossing,” and you’ll agree. Thoroughbreds Murder is on the menu in writer-director Cory
Finley’s Thoroughbreds, a black comedy thriller that centers around childhood friends Lily,
played by Anya Taylor-Joy, and Amanda, played by Olivia Cooke, who reunite to cook up a
devious plan. Even though both are born and raised in the suburbs, Lily’s years at boarding
school and an illustrious internship have turned her into a prim and proper goody-two-shoes,
whereas Amanda’s unidentified mental disorder has turned her into an emotionless outcast
with a smart mouth and stinging wit. Opposites attract in this case, and the two
end up fueling the worst in one another as they bond over a shared contempt: They both
hate Lily’s tyrannical stepfather Mark, played by Paul Sparks, and resolve to bring him to
a grisly end. Lily and Amanda’s scheming leads them to recruit drug dealer Tim, played by
the dearly departed Anton Yelchin, whom the girls manipulate into becoming their personal
hitman. The murder mission takes more than a few unexpected turns, arriving at an end
you likely won’t see coming. Rarely do first-time creatives get their debut
as right as Finley did with Thoroughbreds, a darkly alluring film. Most everyone agrees
that Thoroughbreds has the potential to be a classic, and despite the film’s lack of
big-budget promotion and pre-release hype, it’ll be revisited by audiences for years. The Endless The Endless snagged a bunch of relentlessly
positive reviews after it opened in a limited run on April 6, but was buried by its box
office competition, John Krasinski’s A Quiet Place, which debuted to $50 million that same
weekend. The Endless is a perception-twisting thriller that takes one terrifying moment
brothers Justin and Aaron receiving a cryptic video from members of a UFO death cult they
were once a part of and springboards into the insane. Rather than burning the tape and getting on
with their lives, Justin and Aaron decide to head back to the exact place they narrowly
escaped a decade earlier in hopes of finally getting closure. As incomprehensible horrors
start surrounding the camp, Justin and Aaron are forced to reconsider if the cult was actually
preaching the truth. A slow-burning horror that shocks in its second half but frightens
the whole way through, The Endless is an underappreciated movie you’ll wish you had paid more attention
to before learning about it right now. Lean on Pete Director Andrew Haigh’s Lean on Pete perfectly
adapts Willy Vlautin’s touching novel and spreads it beautifully across the silver screen
for the world to see. It’s a film festival darling and a favorite among critics, but
has gone seriously underappreciated by casual moviegoers. Lean on Pete follows burgeoning young star
Charlie Plummer as Charley, a fifteen-year-old boy who moves to rural Portland with his father
Ray, played by Travis Fimmel. As his father spirals further into himself, Charley discovers
companionship and camaraderie at a racetrack, where he becomes the new attendant to a weathering
racehorse named Lean on Pete. While there, he also befriends the horse’s owner, Del Montgomery,
and his jockey Bonnie, played respectively by Steve Buscemi and Chloë Sevigny. But don’t let the premise fool you: Lean on
Pete is no light-hearted movie about a young boy and the love he feels for an aging horse
and his new pals. As critics have proclaimed, the film is a “haunting tale of survival,”
a “heartbreaking look at a marginalized America” that’s “likely to leave you in tatters.” Goldstone Take everything you’ve learned about Australia
from Crocodile Dundee, internet jokes about riding kangaroos to school, and the throw-a-shrimp-on-the-barbie
restaurant chain Outback Steakhouse and toss it in the bin. Goldstone, from multi-talented
writer-director-composer-cinematographer Ivan Sen, presents the Australian Outback in an
intimate, thrilling new way. Set in the titular town of Goldstone, the
movie follows Indigenous Detective Jay Swan, played by Aaron Pederson, as he journeys up
to the tiny mining outpost. He’s there to aid Josh, a young policeman played by Alex
Russell, and Goldstone’s mayor, played by Jacki Weaver, to investigate the disappearance
of a Chinese tourist. An already complex case turns tense because of Jay’s identity as both
an Aborigine and as a law enforcement officer. His presence in town ruffles the feathers
of both the racists of Goldstone and the town’s Aboriginal residents. When Jay discovers that
Josh and the Mayor may not be as innocent as they’d like others to believe, the gripping
noir narrative takes yet another unexpected turn. Released to high praise but underwhelming
box office in Australia in 2016, Goldstone made its theatrical debut in the United States
in March of 2018, where it performed much the same: while critics adored it, the raw,
sun-blasted pic didn’t get as much attention as it deserved. Gemini The neo-noir thriller Gemini lives up to the
split personality implication of its title, as you’re never really sure of the true intentions
of its leading lady. The lady in question is Lola Kirke as Jill LeBeau, the assistant
to Hollywood It girl Heather Anderson, portrayed by Zoë Kravitz’s. One evening, Jill discovers
Heather’s lifeless body, the result of a gunshot wound, slumped in pool of blood in her otherwise
immaculate multi-million dollar mansion, and she decides to embark on a mission to solve
the mystery of her former boss’ murder. Meanwhile, Jill must also stay a step ahead of the relentlessly
determined Detective Edward Ahn, played by John Cho, who senses she’s the one who committed
the heinous crime. Can she? Or will the skeletons Jill has long kept shoved in her closet finally
break free? “Am I under arrest?” “Not yet.” Written, directed, and edited by award-winning
independent filmmaker Aaron Katz, Gemini has earned a mostly positive response with critics.
They’ve dubbed the kaleidoscopic film “a piece of clean, confident visual storytelling” and
a “shimmering puzzler” that “warp[s] into an unlikely detective story in the Cold Weather
vein.” If that description doesn’t entice you to catch this seriously underappreciated
movie, what will? Bomb City One part pulpy crime story, one part heart-grabbing
drama, Bomb City is a brilliant little film that made a bang without the general public
even noticing. The Jameson Brooks-directed film stars Dave Davis as Brian, a punk music-obsessed
teen from Amarillo, Texas who sticks out like a mohawked thumb in his conservative town.
Thankfully, there are a few other punks out there who view Brian as a sort of mouthpiece
for the movement. Sadly, there are an equal number of bullying jocks who regularly clash
with the punks. Tensions bubble below the surface, then explode in a violent altercation
that comes with a fatal consequence. A native of Amarillo, director Brooks based
Bomb City on the real-life story of the town’s violent confrontation between a group of punks
and bullies. Not only does the film present the tragedy of the violence in a truthful
and harrowing light, it also serves as a reminder that the American justice system isn’t always
moral. Not everyone is as unassuming or as aggressive as their outward appearance may
suggest. Unsane You may think you know director Steven Soderbergh,
but you’ve never seen him like this before. The mind behind films like Out of Sight, Erin
Brockovich, and Logan Lucky casts aside the traditional trappings of filmmaking and embraces
B-movie mojo with Unsane, a psychological horror-thriller pic shot entirely on an iPhone
7 Plus. The Crown actress Claire Foy leads the ambitious
film as Sawyer Valentini, a financial analyst who moved away from her hometown in an attempt
to evade her longtime stalker, David Shrine, played by Joshua Leonard. A confession to
her therapist about her self-destructive thoughts gets Sawyer a one-way ticket into a mental
institution, where she’s held for 24 hours of observation. There, Sawyer is soon forced
to confront her darkest fear while trapped inside the institution’s walls. The only question
is: Is the fear real, or just a product of her paranoia? As disturbing as the experimental Unsane is,
it didn’t drum up as much buzz as you’d expect. Still, though it’s underappreciated by the
masses, it hasn’t gone without critical praise. The New Yorker’s Richard Brody calls Unsane
“one of [Soderbergh’s] best movies … the very spark of his artistic passion.” All the
more reason to see it yourself. You Were Never Really Here Joaquin Phoenix is in top form in You Were
Never Really Here, writer-director Lynne Ramsay’s film adaptation of Jonathan Ames’ novel of
the same name. Phoenix gives a darkly intense performance as Joe, a former law enforcement
agent and combat veteran struggling with post-traumatic stress disorder. Joe lives out his post-FBI
days as a hired gun, earning cash to support himself and his ailing mother, played by Judith
Roberts, by locating missing and trafficked young girls. But he also experiences intense
suicidal fantasies, one of which almost becomes reality before his boss, played by John Doman,
snaps him back to the surface world and tasks him with finding 13-year-old Nina, the daughter
of a state senator. Though Joe is properly equipped for the violence
of the job, what he isn’t prepared for is the triple-layer twist and searing horrors
that await him. Touted as “stark, sinewy, [and] slashed-to-the-bone,”
You Were Never Really Here is a “masterclass in filmmaking” more than worthy of the type
of global adulation its heavily-promoted cinematic counterparts have received this year. Sweet Country Another blistering drama out of Australia,
Sweet Country centers around Hamilton Morris as middle-aged Aboriginal farmer Sam Kelly,
who works for a preacher in the Northern Territory. Sam and his family are sent to assist a cruel,
ill-tempered war veteran named Harry March, played by Ewen Leslie, in renovating his cattle
yards in Alice Springs. As the two work together to build the yards up, their relationship
quickly deteriorates, coming to a chaotic head when Sam fatally shoots Harry in an act
of self-defense. As Sam flees across the unforgiving Australian outback to outrun the relentless
Sergeant Fletcher and his hunting party, the truth behind the killing comes out. In response,
the community is left to ponder whether capturing Sam is justice or just vengeance. We suspect most skipped out on the limited
release of Sweet Country in favor of the widely launched A Quiet Place, which made its massive
debut on the same day, and that’s a shame. Beyond its engrossing visuals and rhythmic
pacing, Sweet Country has captivated those who did see it with its powerful and universal
story that lingers long after the credits have rolled. check out all this cool stuff we know you’ll
love, too!


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