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| Scene from Black Panther |
Every year, there are a handful of characters that escape the cineplexes and become ingrained in the pop culture zeitgeist. For 2018, that served as a prevalent way to escape the dreary real world. The following is a list of 20 characters that not only made films great, but captured our interests and became icons in their own right. The only rule behind this list is that these characters were introduced to audiences for the first time this year in a cinematic form. Beyond that, the field is open to whoever wants to leave an impression on audiences and give them something to think about for years to come.
Killmonger (Black Panther)
In the realm of cinema, no film came as close to a cultural phenomenon as that of Black Panther. Even surpassing the impact of Avengers: Infinity War, the film introduced audiences to Wakanda and Afrofuturism and one of the greatest superhero narratives of the decade. A large portion of that success comes from Michael B. Jordan's performance as the villain, Killmonger, whose motives in an alternate story would be seen as reasonable. He was more than an antagonist twirling a mustache. He managed to be sympathetic while helping to portray a complicated struggle of the African American experience both in economics and cultural identity. For a Top 10 box office movie, you couldn't ask for much better than Killmonger. From the writing to the performance, he controls the screen and easily becomes among the best superhero performances of the decade and likely ever.
Cassius "Cash" Green (Sorry to Bother You)
The hype around Lakeith Stanfield has been building over the years. The Atlanta actor has managed to create compelling characters in whatever project comes his way (even in the middling The Girl in the Spider's Web). However, there's a good chance that this Boots Riley-directed comedy will be near the top of the reasons why he's great. As a figure navigating the world of telemarketing and capitalism, he gets to see the corruption in all of its forms. Stanfield of course adds the lowkey humor to the entire performance, especially as the film spirals into surrealism and leaves the audience just as baffled as him. The film's tone works because Stanfield doesn't buy it either and we're all left feeling like we saw one of the most insanely creative movie of the year. It's also one of the year's best performances.
Emily Nelson (A Simple Favor)
In one of the biggest Trojan horses of the year, director Paul Feig unleashed one of the most enjoyably crazy films of the year. The premise is simple: Emily Nelson goes missing. But the fun lies in why? A lot of credit should be given to Blake Lively's performance, whose nonchalant attitude and impeccable fashion sense makes her one of the year's best narcissists. Her humor is acidic, and it burns through the supporting cast in ways not entirely felt since Amy Dunne in Gone Girl. She's also, like all great trash novel adaptations, has one of the most memorable arcs of the entire film. It's best to go in without knowledge of what happens, though it should be known that this elevates Lively's charisma to a new level, making you love and hate Emily at the same time.
Marlo (Tully)
One of the most overlooked films of the year was the first collaboration between director Jason Reitman and writer Diablo Cody since the great Young Adult. What they have come up with is a spiritual sequel to Juno, in that it portrays motherhood as a war zone of constant fighting with kids, unsure of what their deal is. Charlize Theron continues her run of iconic roles as the weary Marlo, who manages to feel like the real deal from her physical dedication to the stares she gives condescending advice. It's a story with a lot to say not only about motherhood, but also about growing old and accepting the idea of not being cool. Thankfully Cody and Reitman haven't been better together and make even the most mundane of exchanges pop with some of the year's best wit.
Rev. Ernst Toller (First Reformed)
There's probably few characters who feel as uprooted from 2018 as Rev. Ernst Toller. As a priest, he is supposed to have good faith in everything. However, he hasn't met writer/director Paul Schrader, whose nihilistic world view funnels through this character as he spirals into self-doubt, feeling like the world is falling apart at every second. How do you stand a chance of being optimistic when nothing is? Ethan Hawke turns in one of his best performances as a quiet man, slowly unraveling before our eyes. It may be one of the most hopeless performances of the year, but it's one that challenges us to not fall into despair and to try and make a difference. It may not seem that way, but it's far better than giving up.
Joe (You Were Never Really Here)
Joaquin Phoenix has earned a reputation as one of the greatest actors of his generation, and for good reason. With limited exceptions, he has constantly reinvented himself by diving into intense performances that stick with the audience and force them to interpret the narratives differently. Ranking among his greatest work is this largely silent role that finds a hit man saving a little girl in a quasi-Taxi Driver riff that melds into this meditative exploration of trauma. We don't get a direct look at Joe as a person, but what director Lynne Ramsey gives us is enough to understand his struggles and the anxiety that lies behind his eyes. It's a hat trick of a performance once again from Phoenix, and he makes every single movement count.
Ally (A Star is Born)
In what is one of the most celebrated performances of the year, Lady Gaga has transitioned into her phase as a serious actress. While everyone knows where A Star is Born is likely to go, there's something infinitely compelling about her performance. It shines through in now-iconic moments like when she sings "Shallow" on stage for the first time or breaks into deeply emotional scenes opposite Bradley Cooper's Jackson Maine. It's a role that promises her status as a performer is only going to continue to grow over the years and it wouldn't be all that surprising if she had two Oscars by this time next year. She just has that much power and screen presence.
Red Miller (Mandy)
There's the tired cliche of Nicolas Cage being crazy in awful movies and that it somehow redeems the movie. While he's had some hits in recent years that contradict this, 2018 was one of the first years where it felt like he finally hit the mark. Mandy is likely to remain one of the most insane movies that he will ever be in, especially as he dives into a satanic cult in order to save the titular woman. Don't let the slow build fool you. Once the film gets going, it more than validates Cage's furious performance as a mad man who breaks through so many obstacles in ways that have to be seen to be believe. He snorts cocaine off a broken mirror. He fights someone with a chainsaw. It's all a glorious exercise in madness, and it's great that it finally gives those Cage doubters evidence that what he's doing actually is good. It just needs the right director to prove it.
Kayla Day (Eighth Grade)
Considering how much time Steven Spielberg and Disney spent this year exploring the internet, it's a surprise that the best understanding of digital identity came from an indie film about an eighth grader. Kayla Day is someone who dishes out helpful advice on the internet in spite of not having a lot of personal experience to draw from. There's a desperation to be loved by her peers, and she tries to use it as a chance to speak out, even if nobody is possibly listening. Elsie Fisher is definitely one of this year's breakout stars and it's entirely because of how painful and real her awkward exchanges feel. She is practically that kid nervously glancing around when a conversation falls apart. She knows a lot more about how we relate to each other than the more scholarly, adult voices. She knows how we connect with each other over our phones, and it's all so charming and familiar, even if you didn't have half the technology she had when growing up.
Lisa Conroy (Support the Girls)
While most of the year's greatest characters can be seen as doing exceptional things, Support the Girls suggests that the most exceptional thing is running a Hooters-like restaurant. After spending an entire film with Lisa Conroy, it's hard to argue against that. Regina Hall has generally been a great actress, but comes across as charming as she tries to keep her restaurant from falling apart. The cable keeps going out and the customers are a tad unruly, and you'll want to give her a big hug for all of the work she does to keep things barely operating. For a film that flew under the radar, it has more than enough to make such a simple story come to life in very meaningful ways, and a lot of it is in how Hall never loses hope of being more than a failure.
Alice Gunner (Widows)
Much like Ocean's Eight, there was some charm in watching women perform heists. Director Steve McQueen has rarely been more electric than he has when filming a getaway scene that has several hurdles along the way. With that said, the breakout role belongs to Elizabeth Debicki, who stars as a woman who becomes helpless when her husband dies. With the help of her friends, she learns to use her skills to become a strong woman who is self-reliable and can capable of handling any situation that comes her way. After years as a character actress, Debicki has found one that makes her something greater. Hopefully whatever comes next will be as good as this.
Goh Peik Lin (Crazy Rich Asians)
One of the summer's most exciting films was this romantic comedy that pitted every noteworthy Asian American actor into a feel good story that showed just how many stories like this need to be told. Among the standouts was the comedic best friend, played by Awkwafina in a fairly impressive year. Here she plays the friend who didn't quite live up to her parents' expectations and is in love with celebrity culture. Whenever she walks on screen she lightens up a room and makes the film all the more enjoyable. There's a good chance that she is bound to be one of the most used character actresses of the next few years. Hopefully that means she'll continue to find roles as memorable as this one.
Miles Morales (Spider-Man: Into the Spider-Verse)
In a world of infinite Spider-Men, it is shocking to know that the most revolutionary of the group was the most grounded. Miles Morales is a Spider-Man who doesn't look or act all that much like Peter Parker (or even Peter B. Parker). He's an urban kid who is gawky and takes awhile to fully understand his superpowers. He's a character that feels real and serves as the gatekeeper to the film's bigger mythos that anyone could be a hero. Right as the web slinger was maybe getting a bit tired again, this film came along and refreshed everything in a way that is astounding. The awe of the world around Miles is only that way because of him, and thankfully it comes with just as much emotion as it does awe in the unique visuals. This is a Spider-Man that feels more 21st century than he did when he first arrived in 2002, and things are only going to get weirder from here.
Simon Spier (Love, Simon)
While the LGBT have slowly been more and more recognized in mainstream cinema, Love, Simon earned credit as the first film of its ilk to be about a teenager coming out as gay. It seems like a lofty goal, but what makes it work is Nick Robinson's Simon Spier. This is at times a goofy romantic comedy with all of the tropes in tow, but there's also a sense that Simon's struggle is about more than the taboo. It's about how he treats others during that time and how it weighs on him personally. Simon feels like a groundbreaking character simply because of how normal he ends up being. It's a touching performance and one that is likely to be held as a standard for closeted teens for years to come.
Cleodegaria "Cleo" Gutierrez (Roma)
When you think of the life of a maid, the idea of it being exciting is far from consideration. In director Alfonso Cuaron's lengthy drama, he finds a way to make Cleo come to life in awe-inspiring ways. She's pregnant with an unwanted baby, her boyfriend is a bit reprehensible, and the family she cleans for maybe doesn't respect her. It may sound like cut and paste material, but Cuaron manages to find the tenderness in her quiet moments. This is a woman whose life is full of memorable moments, though they come in required moments of bravery. It's a film that at times feels autobiographical for Cuaron, and it only helps to make a 1970's version of Mexico feel like someplace familiar, even for those who haven't been south of the border.
Collin (Blindspotting)
Not every race relation drama needs to have a world changing story to tell. This is especially true for Blindspotting which features Collin on the verge of being free of parole. The only issue is that he's constantly running into obstacles that threaten to throw him back in jail. Daveed Diggs has gotten acclaim for his work in Hamilton and transitions into a lead actor status with such ease here. His journey is a story that may seem uneventful at points, but his struggle for restraint comes at great costs, especially when he could be seen as a hero to some and villain to others. Even as the film reaches some odd plot choices, Diggs gives it his all and makes one of the most intense and overlooked performances of the year.
Daphne Kluger (Ocean's Eight)
This may seem like a cheat, especially given that it's Anne Hathaway playing an Anne Hathaway-type. But what's so wrong with that? In one of the summer's most enjoyable blockbusters, this all-woman heist film features a great cast that pop with life and personality. It's a film that doesn't need to have dark plot twists to be a compelling piece of entertainment. All it really needs is to have Hathaway playing into the idea of a vapid debutante in love with jewelry and self-image. It's a great role in a film full of them, and audiences who can get on the film's wave length will be rewarded greatly.
Starr Carter (The Hate U Give)
With the world being a complicated place, it only makes sense that there would be a young adult drama that isn't about romance. Instead, there's a lot about what it means to be black in America and where the hostility between communities originates. Starr is a character who feels destined to embody the young activist, fighting for an understanding that is so desperately needed in society. The answer to equality isn't that simple, but through the course of one teenager's journey she is able to find ways to make a difference. It's a powerful performance and one that leads to some of the most emotional, richest conversations in a mainstream movie this year. It's a tough conversation to have, but it's very much worth having.
Jack (The House That Jack Built)
It's safe to say that director Lars von Trier is not for everyone. Likewise, the film about a serial killer who compares his murders to architecture and music is going to seem appalling to many. However, Matt Dillon's earnestness and dead-behind-the-eyes approach is magnetic in a way that makes it feel a lot more compelling. This is a vision into lunacy that is awarding those who can look beyond the awfulness of Jack's actions and attempt to understand him on a deeper level. He's going to hell anyways, but von Trier's ability to make him both fascinating and intimidating as well as the subject of an often pitch-black comedy is quite an accomplishment. It may be tough for some to watch Jack's career path, but that doesn't mean it's not one of the most confrontational and memorable of the year.
Buster Scruggs (The Ballad of Buster Scruggs)
It seems unfair to pick just one performance from The Coen Brothers' first anthology film. With that said, it's hard not to fall immediately in love with the lunacy of Tim Blake Nelson's performance of Buster Scruggs. Scruggs is basically the embodiment of what Gene Autry would be if he was more of a homicidal maniac. The balance between goofball westerns of yesteryear and ultraviolence is at points shocking, but it all helps to introduce audiences to the worlds to come. This is meant to explore our understanding of the west in ways that are both reminiscent of Hollywood and something closer to realism. Nelson balances it so beautifully that he even rides off into the sunset with a song. It's pitch perfect, even as it becomes more and more uncomfortable.
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