I have been moving much slower this year than the last two, barely even scratching 100 and with the mid-point of the year looming closely. But I like to think that I’m watching for quality over quantity… I’d like to think that, but as some of the movies on this list prove, that just isn’t true.
88. Deadpool 2 (2018)
While not quite the transgressive coups that the first Deadpool film was, I found it incredibly entertaining anyway. This ultra violent comedy is so packed with meta-comic book jokes that it is a miracle how well it manages to avoid feeling too insider-y. Ryan Reynolds was born to play this part, the same way Robert Downey Jr. was born to play Iron Man.
89. Show Dogs (2018)
While the recent controversy surrounding this movie makes sense in retrospect, I just found it to be a severely stupid and poorly written kids movie. The fact that the movie has some really messed up unintentional messages hidden in it is just icing on the shit cake.
90. Cimarron (1931)
Cimarron is quite rightly seen by film historians as one of the worst Best Picture winners ever made. Certainly there is a lot to admire about the film from a production standpoint, particularly the opening “Land Rush” sequence which featured thousands of extras and is one of the most epically staged scenes in early cinema. However the movie has a seedy underbelly of racism that makes it simply impossible to watch today without acknowledging. Watch this film for the gloriously staged sequences and impressive large scale set design. And as an education on the destructiveness of stereotypes in cinema.
91. Cimarron (1960)
This 1960 remake attempts to be as epic in scale and ambitious as the 1931 film, while cleaning up some of the original movie’s unfortunate stereotypical elements. Unfortunately, it succeeds only in whitewashing the movie even more, and by stretching the film’s story an extra 20 minutes longer. I hate to say it, but the 1931 version is far better, even in spite of the hatefulness which dominates much of the running time.
92. Rio Lobo (1970)
Director Howard Hawkes’ final film, and once again aping on the formula Hawkes crafted with Rio Bravo and remade once before on El Dorado. This time the movie takes a looser approach to the concept, but the basic sentiments are the same. A ragtag group of gunfighters on the right side of the law are under siege by a large and more powerful band of outlaws. The movie isn’t without its entertainments, but they are mostly surface level.