The Five Choice Indies of 2018

As with every single year, we try to cover as much indies as possible, but we just never have the time to see them all, sadly. As with previous years, this top five comprises five of the best indies I saw all year. It’s not to say the films that didn’t make the list are terrible films, or that the films the other writers on Cinema Crazed enjoyed aren’t good, either. This is merely a subjective list of five independent films we highly recommend to you that we saw this year.

It’s good to remember this is opinion, and not gospel.

If you want to see what films the Cinema Crazed collective consider A+ Indies, visit the link included!

Also, be sure to let us know some of the best indie films you saw all year!

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You Have to See This! Grave of the Fireflies (Hotaru no haka) (1988)

Opens Friday January 4th for a New York Premiere 30th Anniversary Theatrical engagement!

The idea of the cost of war has never been more thoughtfully and emotionally conveyed than in Isao Takahata’s “Grave of the Fireflies.” The 1988 animated film is still one of the most emotional and powerful films I’ve ever seen, it’s a film that completely transcends all ideas of storytelling, and destroys any stigma that animation is a child’s medium that is limited in scope and substances, especially when telling human stories.

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Jailhouse Rock (1957)

In a way “Jailhouse Rock” also works as something of a pseudo-biography that would prophesize a lot of Presley’s endeavors. Whether or not intentional, “Jailhouse Rock” serves as a fascinating and often entertaining peek in to what the man would become, except with some slightly sweeter end results. Richard Thorpe’s “Jailhouse Rock” is a solid Elvis Presley vehicle that presents the definitive Presley on film. If you’ve never seen a single Elvis film, this is the great place to begin tracking his film career.

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Empire Records (1995)

Even for a nineties kid like me, I can fully acknowledge that “Empire Records” is a clumsy, tonally uneven, and terrible coming of age dramedy. It works hard to be as relevant and generation defining as “Dazed and Confused” or “Clerks,” but it comes up short as artificial and hollow, despite its great soundtrack. “Empire Records” even for 1995 is a pretty insufferable film that never quite finds humanity in its archetypes and cast of nineties youngsters. It’s hard to enjoy a film that features a fun sing along to AC/DC one moment, and a tear soaked nervous breakdown by one of the characters who pops pills forty five minutes later.

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Hearts Beat Loud (2018)

You can almost look at “Hearts Beat Loud” as something of an urban “Once,” in where music is something of the soul behind a very human story of two lost individuals in a somewhat turbulent world. This time around we meet father and daughter Sam and Frank, both of whom never really healed from a horrendous loss that they experienced many years before the narrative starts. In one instance, Frank literally sits at the scene of his wife’s death, which is still a memorial standing in the middle of a busy street, and tries to figure out where to go next.

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Don’t Knock The Twist (1962)

Chubby Checker managed to get a lot of mileage out of his dance hit “Twist.” Not only did he get three movies, but he presents variations of the dance with a variety of the songs where he beckons us to twist. There’s “Don’t Knock the Twist,” “Slow Twistin’,” “Salome Twist,” “Bucket Twist,” “La Paloma Twist,” and “I Love to Twist”! “Don’t Knock the Twist” is a sequel to the 1961 movie headlined by Chubby Checker. Though he’s the headliner he’s not the star per se, but he does show up every so often to present another performer or twist for us.

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Rock, Rock, Rock! (1956)

In the long arena of musicals, “Rock Rock Rock!” is easily one of the most lackluster of them all. It’s pacing is weird, the acting leaves so much to be desired, and there’s a lot of filler, but if you’re willing to invest time in to it for the kitschy performances from folks like Chuck Berry, Frankie Lymon, and Connie Francis, you might just enjoy the inherent camp value. You also might get a giggle at a movie with probably the least effective “conflict” ever put to film.

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Rock Around the Clock (1956)

By the time Fred Sears’ “Rock around the Clock” arrived, the Bill Haley and the Comets song “Rock around the Clock” was already a massive hit thanks to “Blackboard Jungle.” It’d been accepted already as the quintessential youth anthem about rocking out and partying to rock and roll until the broad daylight. Banking on the beloved anthem was a stroke of genius, with a film that puts Bill Haley and the Comets front and center and zeroes in on the appeal of rock and roll. Well—the Caucasian version of rock and roll, anyway.

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