“[Colette] wasn’t about what society thought you were, she was about who she felt, who she knew, she was. She declared her voice loud and proud, and that’s why I think she’s an inspiration for today.”
– Wash Westmoreland

If Colette doesn’t make my list as one of 2018’s best films, it’s still certainly deserving of being an honorable mention, this historical biography of one of the great writers of the 20th century a fascinating treatise on artistic, sexual and gender expression I’ll not soon forget.

While Hell Fest has its moments, while there is plenty here worthy of praise, none of that is strong enough to overlook the film’s more irritating missteps. Maybe I’ll change my mind later, but as of right now I just can’t do it.

While there are some laughs, while a few solid dramatic moments are to be found, on the whole nothing ends up working, Night School a frustrating misfire that sadly proves to be a waste of time for almost everyone involved.

Smallfoot is just pleasing enough younger viewers will likely have a grand time watching Migo and his fellow yeti’s juvenile antics. While I didn’t like the movie, that doesn’t mean I can’t admit I’m not exactly in the prime age group it’s been designed to entertain.

The insanity of Scream for Help cannot be undersold. Michael Winner’s head-scratching teenage coming-of-age slasher film is a skuzzy Nancy Drew mystery overflowing in easygoing sleaze. It’s freakishly entertaining, likely for all of the wrong reasons, and I’m sort of flabbergasted I’ve never watched this wonderfully schlocky misfire until now.

In many ways Ocean’s Eight is slowly climbing up my list of 2018 favorites. I just really love watching it, the joy it makes me feel when it comes to an end almost indescribable.

“I think Gilda brings back memories for people of where they were and what they wanted from life. It brings back a youth. People who know Gilda, love Gilda.”
– Lisa D’Apolito

It’s how all these various pieces fit together that makes Assassination Nation work as well as it does, and while Levinson doesn’t hit every target he aims at, the ones that strike the target end up right at the very center of the sadistically satirical bulls-eye.