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The 100 Best Albums of the 1980s

As for the just-burgeoning hip-hop genre, acts like Public Enemy and De La Soul not only had a conscience—they served as ours.



The 100 Best Albums of the 1980s

While ’80s pop culture is largely remembered for its frivolity, the social unrest that stirred beneath the decade’s brightly colored gloss and greed resulted in not just the guilt-driven good intentions of enterprises like the star-studded USA for Africa, but a generation of artists whose music genuinely reflected the state of the world. They say all politics is local, and the incisive perspectives of the decade’s defining acts were likewise geographical: Released in the U.S. in January of 1980, the Clash’s seminal London Calling ushered in a new decade with disgruntled punk rock from across the pond, while U2’s early focus was on the violence in their homeland of Ireland. Back in the U.S., Springsteen spoke to the struggles and dreams of the working class, and Michael Stipe began using his increasing rock-star status to react to the rising conservatism in American politics. By the end of the decade, the Reagan era’s biggest pop stars (Michael, Janet, Madonna) were transformed into cultural critics too, reflecting on poverty, race relations, and what Prince called “a big disease with a little name.” Though women were entering the workforce in record numbers, the surprising (even to us) lack of female artists on our list points to a music industry that, perhaps, needed a few more years to catch up to the feminist movement, but the women who left the most indelible marks bravely pushed the boundaries of sexuality and gender. And as for the just-burgeoning hip-hop genre, acts like Public Enemy and De La Soul not only had a conscience—they served as ours. Sal Cinquemani

The 100 Best Albums of the 1980s

100. Soul II Soul, Club Classics Vol. One

Less a product of its own decade than a prophecy of the next one, Soul II Soul’s debut presaged the development of downtempo and trip-hop by blending the seductive depth of R&B with reggae, funk, and hip-hop, all while remaining firmly planted in the disco-soul aesthetic of U.K. house. Groundbreaking sound design notwithstanding, Club Classics Vol. One also showcases, in the three-headed vamping of Caron Wheeler, Rose Windross, and Doreen Waddell, one of the finest soul-diva lineups ever to grace a dance album. And what’s more impressive? That the album’s classic singles (“Fairplay,” “Keep On Movin’,” and “Back to Life”) don’t sound anything like one another, or that, two decades of girl groups later, they still sound totally unique? Matthew Cole

The 100 Best Albums of the 1980s

99. Slick Rick, The Great Adventures of Slick Rick

Rap’s premier storyteller, London-born Richard Walters burst onto the scene in 1988 with The Great Adventures of Slick Rick, an album with such a unique style that it changed hip-hop. Rick weaves compelling narratives from the first and third person, using the Queen’s English and a devilish sense of humor to make each of these 12 tracks quirky and utterly irresistible listens. Relishing in whimsical wordplay, Rick adopts a hilarious high-pitched squeal for the dialogue of his female characters, and makes shifts in style when stepping into alter egos like the Ruler and MC Ricky D. Of course, there are times when Rick’s tales can fringe on vulgar and misogynistic, but his storytelling prowess is second to none. Huw Jones

The 100 Best Albums of the 1980s

98. X, Los Angeles

A punk-rock power duo making strong use of their male/female dynamic, Exene Cervenka and John Doe fronted X’s roaring songs with a vibrant vocal and lyrical approach, which helped make them the creative standard bearer of the nascent L.A. scene. Beefing up the usual punk attack with a sound hearkening back to several decades of rock, from Chuck Berry to Blondie, the band went beyond the usual three-chord dynamic, forming an album that’s both a paean to a fading city and an excoriation of its faults, all burning trash, clumped hair and Hollywood Boulevard sleaze, perfectly summed up by the burning logo of the album’s cover. Jesse Cataldo

The 100 Best Albums of the 1980s

97. George Clinton, Computer Games

George Clinton’s solo debut begins, almost oddly, with the former Parliament and Funkadelic frontman putting on his clothes. But the song’s message is a naked one: the promise of a throw down—to bring on the funk, the soul, and the psychedelic like no one’s business. What follows is an almost spotless blitzkrieg of jams that run the gamut from the rousing (“One Fun at a Time”), to the poignantly metaphoric (“Free Alternations”), to the playfully infantile (“Pot Sharing Tots”). “Loopzilla” is a master class in sampladelic overload, and the title tune suggests Kraftwerk put through a P-Funk filter, but it’s the synth-funk “Atomic Dog” that remains the album’s triumph, an unbelievably improvised totem to Clinton’s own stray cock strut, and one that makes a world without Adina Howard and Snoop Dogg seem impossible. Ed Gonzalez

The 100 Best Albums of the 1980s

96. Talk Talk, The Colour of Spring

For many bands, transitional albums are most valuable for establishing context between distinct phases of a career arc. Talk Talk’s The Colour of Spring, however, stands as one of the band’s most satisfying standalone albums, even though it’s a clear bridge between their origins in new wave and the post-rock of their later albums. Songs like “Life’s What You Make of It” and “I Don’t Believe in You” strike a perfect and often beautiful balance between Talk Talk’s extraordinary gifts for memorable pop melodies with a newfound experimental bent that finds them replacing the synths and guitars of the era with flourishes of organ, sax, and even a children’s choir. Jonathan Keefe

The 100 Best Albums of the 1980s

95. Tears for Fears, Songs from the Big Chair

In which an attempted primal scream ends up coming out as an incredibly pitch-perfect crying jag. (Boy, am I glad the word “emo” wasn’t around in 1985, though Richard Kelly’s use of the dreamy “Head Over Heels” in his frowny sci-fi teen-angst epic Donnie Darko paid back that particular favor with interest.) British synth-pop act Tears for Fears’ follow-up to the critically acclaimed The Hurting may have seemed a sellout at the time, but heard anew today, the cathartic, shuffling hit “Everybody Wants to Rule the World” seems like one of the great indictments of the materialism and false triumphalism of the decade. Eric Henderson

The 100 Best Albums of the 1980s

94. U2, War

The aptly titled War found U2 not only diving into the jagged terrain of British politics, but likewise, developing a harsher, needle-nosed sound. The album finds the band in attack mode, where on standout tracks like “Sunday Bloody Sunday” an instrument as refined as the violin takes turns playing electrical whip, wailing animal, and battle cry across the song’s marching protest beat. This is U2 at their angriest, each piece infused with a sense of dark urgency that reaches a frothy head on “New Year’s Day.” Bono’s resolution, “I will begin again,” is perhaps indicative of the spiritual introspection to come on The Unforgettable Fire and The Joshua Tree, but for War, the music is as immediate, violent, and striking as its subject matter. Kevin Liedel

The 100 Best Albums of the 1980s

93. The Fall, This Nation’s Saving Grace

This Nation’s Saving Grace is the most accessible release from a band that can, at times, border on the completely inaccessible. Mark E. Smith makes no attempt to curtail his ominous murmuring, and his bandmates are as prone as ever to prickly songcraft and thrashing, but the grooves and melodies here showcase the Fall at their least abrasive. With “Barmy,” “What You Need,” and “Spoilt Victorian Child,” the group strikes the perfect balance between bilious dirge and subversive pop, while “Paintwork” is a charmingly tongue-in-cheek homage to ’60s pop. A little bit of melody goes a long way for the Fall, making this a quintessential album in a unique and strangely interesting canon. Jones

The 100 Best Albums of the 1980s

92. My Bloody Valentine, Isn’t Anything

It’s easy to dismiss Isn’t Anything as Loveless-lite, but My Bloody Valentine doesn’t attempt anything quite as epic or ambitious on their debut as they would just two years later. But even when they’re less grandiose, the shoegazing pioneers’ music is just as fascinating and hypnotic. Guitarist and songwriter-in-chief Kevin Shields employs reverb, feedback, pitch bending, and heavy distortion throughout, creating music that’s capable of simultaneously soundtracking our most ethereal dreams and most violent nightmares. Isn’t Anything beautifies all that should be ugly, and deserves a spot as a lo-fi masterpiece in its own right. Jones

The 100 Best Albums of the 1980s

91. Meat Puppets, Meat Puppets II

Unfortunately for brothers Cris and Curt Kirkwood, it took a guest appearance alongside Kurt Cobain on MTV Unplugged in 1993 to immortalize their legacy, a feat which 1984’s Meat Puppets II was fully capable of doing on its own merits. “Plateau,” “Oh, Me,” and “Lake of Fire”—the three songs that Cobain performed with the band—are especially alluring examples of the group’s cowpunk formula, and they strike similar success with the alluring “We’re Here” and endlessly infectious “The Whistling Song.” And with instrumental tracks “Aurora Borealis” and “I’m A Mindless Idiot,” the group is still in excellent form, serving up front-porch psychedelica of the highest order. Jones

The 100 Best Albums of the 1980s

90. Metallica, Master of Puppets

In retrospect, Master of Puppets exists as a kind of rapid-fire last hurrah for Metallica’s status as L.A.’s favorite underground thrash metal band. For a major-label debut, the album is unapologetically metal, brandishing wave upon wave of knifing guitar, percussion that rattles like tank treads, and nary a fully-formed melody to break through the rage, testosterone, and noise. Lest one thinks it’s all speed and mechanics, though, there is substance in the machine: Between the titular reference to drug abuse and swipes at evangelical commercialism, Master of Puppets isn’t just Metallica’s best album, it’s also their most heartfelt. Liedel

The 100 Best Albums of the 1980s

89. Talking Heads, Speaking in Tongues

If the title of the Talking Heads’ sixth album found them embracing their lyrical Dadaism with an almost religious zealotry, and if the title’s mission statement is more than fulfilled in the likes of “Moon Rocks” (“I ate a rock from the moon/Got shicked once, shocked twice”) and “Girlfriend Is Better” (where “Stop making sense” became a mantra), it’s also worth noting that the tunes were counterintuitively accessible like never before, no more so than “Burning Down the House,” which set fire to no wave and planted one of the many seeds for new wave. Henderson

The 100 Best Albums of the 1980s

88. Pet Shop Boys, Actually

Actually, it explains nothing, but alludes to everything. Actually, it dances around the outskirts of dance music without ever diving headlong into disco hedonism. Actually, Neil Tennant’s yawn could conceivably greet any DJ set that dares to drop “One More Chance” or “Hit Music” alongside, say, “The Pleasure Principle.” Actually, Chris Lowe’s synth lines make cheap sound posh and vice versa. Actually, you know what you’ve done to deserve this, but are afraid to admit it. Actually, it isn’t a sin, but it’s more fun if you think it is. Actually, it’s hiding in plain sight. Actually, none of your business. Actually, this is all precisely the point. Henderson

The 100 Best Albums of the 1980s

87. Tom Tom Club, Tom Tom Club

Bless Mariah for sampling “Genius of Love” or we may remember Tom Tom Club only as a kookier-than-Taking-Heads offshoot. The band’s debut album, which shares a really messy loft in my medulla oblongata with Björk, David Lynch, and Alvin and the Chipmunks, is a smart-alecky cacophony of giddy rhymes, ballsy raps, blissed-out melodies, and lush bells, whistles, beeps, splats, and just about every other sound Moog synthesizers were capable of back in 1981. Not only does Tina Weymouth, on “Wordy Rappinghood,” show why humorless white girls like Madonna should never take up the rap mantle, she and hubby Chris Frantz’s production proves to the Paul Simons of the ’80s how to ebulliently transmute exotic sounds without whitening out their essence. Gonzalez

The 100 Best Albums of the 1980s

86. The Human League, Dare!

Stoic but danceable, detached but emotionally sincere, Dare! was, at the time of its release, simply the finest set of synth-pop songs ever compiled. The album has lost a lot of its futuristic sheen in subsequent decades, but “Seconds” still sounds sweeping and lush, while “I Am the Law,” with its bursts of rumbling bass and off-kilter harmonies, will never be anything but captivating. There’s always been something severe, even clinical, about Dare! (the same interplay of coldness and candor that made Joy Division so great), and with its technology dated, it sounds more tragic than ever, imparting a sense of deferred emotional connection akin to finding a breakup letter in a time capsule. Cole

The 100 Best Albums of the 1980s

85. The Clash, Sandinista!

The succulent fat that drips from this spit-skewered, bloated pig of an album—36 tracks spanning two-and-a-half hours!—is fuel for a distinctive genre bonfire. The flames reach brashly, soulfully, sarcastically beyond punk, rock, pop, dance, ska, rockabilly, dub, calypso, and gospel, and its themes, as diverse as its sound, are the concerns of the world: consumerism, working-class disaffection, political antipathy, immigration, warfare. And drugs, the afterlife, Jesus Christ, sometimes all at once. Heavy stuff, yes, but this is the Clash, who will provide us with an address of Cold War relations but so from the floor of Studio 54. These cheeky blokes operate as spies, disguising grave matters with high-spirited musicality, hoping the powers that be won’t notice. Truly an album without borders. Gonzalez

The 100 Best Albums of the 1980s

84. Afrika Bambaataa & Soulsonic Force, Planet Rock: The Album

For any student of hip-hop or dance music, the first two tracks of electro-funk pioneer Afrika Bambaattaa’s Planet Rock alone make this landmark album worth the price of admission, stocked as they are with lessons on both the history and future of the genres. “Looking for the Perfect Beat” is still emulated by hip-hop and dance producers to this day, while the title track, first released as a single in 1982 and constructed from recreated portions of Kraftwerk’s “Trans-Europe Express” and “Numbers” (from the German group’s Computer World), singlehandedly fathered both ’80s Latin freestyle and the entire hip-hop genre as we know it. Cinquemani

The 100 Best Albums of the 1980s

83. Brian Eno and David Byrne, My Life in the Bush of Ghosts

A twitching sonic collage that falls somewhere between studio experiment and gonzo pop record, My Life in the Bush of Ghosts challenges the often egg-headed nature of its presentation by being sneakily and eminently listenable. These are songs, despite their scrambled nature and lack of traditional vocals, and as a collection they reverberate with nervous energy. Whether it’s the voice of an exorcist on “The Jezebel Spirit” or a nervous radio-show caller on “Mea Culpa,” Brian Eno and David Byrne harness these disparate voices as the engines for a series of amazingly diverse tracks. Cataldo

The 100 Best Albums of the 1980s

82. Sonic Youth, EVOL

Jittery and eclectic, 1987’s EVOL stands far apart from the later, more cohesive Daydream Nation; it’s a difficult album that’s nonetheless one of the best latter-day invocations of no-wave chaos. Full of sustained bursts of cathartic noise, the album kicks off with the jagged squeal of “In the Kingdom #19,” which employs Minuteman bassist Mike Watt over a spoken-word account of a car crash, months after the death of bandmate D. Boon in similar circumstances. Lydia Lunch contributes vocals to the blown-out wasteland “Marilyn Moore,” adding to the weird collegial air of one of the group’s strangest albums. Cataldo

The 100 Best Albums of the 1980s

81. R.E.M., Reckoning

There’s no way Reckoning could ever have been as revelatory as Murmur, a fact that plays an obvious role in determining their respective legacies in R.E.M.’s catalogue. It’s a matter of “importance” versus “quality,” and, while Murmur certainly wins in the former category, there’s a strong argument to be made that, song for song, Reckoning might be the better album, even if it is rightly overshadowed by its predecessor’s greater historical impact. Informed by the death of the band’s close friend, photographer Carol Levy, Reckoning is focused on emotions of anger and regret, and it’s that focus that makes songs like “Harbourcoat” and “So. Central Rain” some of the most captivating in R.E.M.’s embarrassingly rich catalogue. Keefe

The 100 Best Albums of the 1980s

80. The Clash, Combat Rock

“This is a public service announcement…with guitars!” The album’s famous first words, and a perfectly concise summation of the Clash’s uniquely exuberant and stylish craft, their provocative blending of political provocation with eclectic musicality. Their evolution was such that they became catchier as their convictions became more dense, which may explain Combat Rock’s somewhat ill repute; there would be hits, and as such it was conceived, wrongly, as a sell out. To me, the stream of consciousness of “Car Jamming” attests like few other Clash songs to Joe Strummer’s social consciousness, restless even when he was standing still. They saw rock, like fascist might, as a power, and so it is that their music feels as if it hits you with the force of a club or a boot to the face. Gonzalez

The 100 Best Albums of the 1980s

79. The Cure, Pornography

The general read on the Cure’s legacy has been unfairly reduced to music for mopey goth kids, which misses the breadth of the band’s actual output. But it’s not like that reputation emerged from a vacuum: There’s Pornography, which opens with the line “It doesn’t matter if we all die” and then gets even more bleak from there. A thick, sludgy album that underscores its miserable bent with portentous arrangements that are brooding and uncompromising, Pornography peaks with “The Figurehead,” on which Robert Smith outlines his vision of hell in unflinching detail. The themes may be dire, but Smith elevates his unrelenting pain into real art. Keefe

The 100 Best Albums of the 1980s

78. The Bangles, Different Light

It’s telling that, in a decade dominated by men, the first all-girl band to top the Hot 100 (with the kitschy “Walk Like an Egyptian”) featured a name, lush harmonies, and guitar riffs that all hark back to the 1960s. The caveat to their accomplishment, of course, is that producer David Kahne infamously excised drummer Debbi Peterson from the track. The album’s biggest hits were written by other people (including the somewhat out-of-place yet nonetheless hard-to-resist “Walk Like an Egyptian” and the Prince-penned opener “Manic Monday”), but it’s the simple sophistication of the songs composed by the band themselves, like the rollicking title track and the haunting acoustic ballad “Following,” that makes Different Light more than simply a collection of Top 40 hits from a bygone era, but one of that era’s best pop albums. Cinquemani

The 100 Best Albums of the 1980s

77. Minutemen, Double Nickels on the Dime

The punk-rock scene was built on a discontented ethos, but it was often a challenge in itself to decipher just what bands like Black Flag and Minor Threat were raging against. Minutemen, though, always stood out for the lack of ambiguity in their mission statement, and Double Nickels on the Dime features D. Boon and Mike Watt’s fiercest social and political tirades. What’s more, given Watt’s propulsive basslines and Boon’s eclectic guitar work (shifting from soft Spanish-guitar interludes and shrill punk riffs with the greatest of ease), the album also boasts far tighter and more varied musicianship than anything they did before or after. Jones

The 100 Best Albums of the 1980s

76. Art of Noise, Who’s Afraid of the Art of Noise?

“In the nineteenth century, with the invention of the machine, Noise was born,” wrote Luigi Russolo in a letter to fellow Italian futurist composer Balilla Pretella. And in the late 20th century, avant-garde electronic-pop collective Art of Noise, who took their name from Russolo’s famous essay, was born, concocting cacophonous collages of digital beats and samples that would influence an entire generation of knob twirlers. The group’s 1984 debut opens with the proto-political “A Time for Fear (Who’s Afraid),” portions of broadcasts from the U.S. invasion of Grenada building to industrial beats and a minimalist sub-bass that informed the work of future pioneers like Björk and Tricky. Surprisingly, it’s the album’s least noisy track, the 10-minute instrumental chill-out “Moments In Love,” that truly veers off into some exhilaratingly strange, unexpected territory. Russolo would be proud. Cinquemani

The 100 Best Albums of the 1980s

75. Depeche Mode, Music for the Masses

Communication is a recurring theme on Depeche Mode’s landmark Music for the Masses, and from the sampled radio broadcast of “To Have and to Hold” to the collage of grunts and moans of “I Want You Now” and the use of chamber choirs on “Sacred” and “Pimpf,” voices play a pivotal role in conveying Martin Gore’s missives of repentance and redemption. The high drama that’s so often proven to be the band’s Achilles’ heel works impeccably here, each song seguing effortlessly into the next, each histrionic verse and melodramatic key change aiding in the creation of a bona-fide pop-rock opera. While the band’s music wouldn’t truly meet the masses until 1990’s Violator, Music for the Masses stands as an early masterpiece of the synth-pop genre. Cinquemani

The 100 Best Albums of the 1980s

74. Cocteau Twins, Treasure

No, you still can’t make out a damn thing that Elizabeth Frazer sings on Treasure. But you don’t need to: Her rolling, ululating syllables impart the kind of feelings that verbal communication is notoriously ill-suited for, and besides, when she swoops between the extremes of her range on a devastating number like “Lorelei,” you’ll swear you’re speaking her language. Robin Guthrie’s hypnotic guitar playing, by turns majestic and muscular, is everything that dream-pop guitar should be—if not for My Bloody Valentine, maybe all it ever would be. Critics sometimes protested that the Cocteau Twins shouldn’t really be considered a rock band at all, and that’s fine by me: When “Donimo” closes the album with operatic splendor, it’s clear that they’re something far more special. Cole

The 100 Best Albums of the 1980s

73. Hüsker Dü, Zen Arcade

With 1984’s Zen Arcade, Hüsker Dü married their fast and furious brand of punk with swirling psychedelica, elaborate noise arrangements, and a newfound melodious side. Bob Mould’s cacophonous solos and treble-heavy riffing are raw and intense, while his sullen acoustic jams are gorgeous in their own melancholic way, and he even gets raise-your-fist anthemic with “Turn on the News.” With all this sonic shapeshifting, and an exhausting 70 minutes on the clock, Zen Arcade is something of an operatic frenzy, one where violent forays of rapid-fire punk are set to eccentric and elaborate structures. Jones

The 100 Best Albums of the 1980s

72. Sonic Youth, Sister

Overshadowed both critically and commercially by its successor, Daydream Nation, Sonic Youth’s Sister is the last great punk album of the Reagan era and the first great pop album to emerge from the American underground. The chiming, bending guitars of “Schizophrenia” interject a gorgeous haze into a sad, understated song about a friend’s crazy sister that immediately signaled a new era in the band’s development. Across the album, tightly interwoven textures of machine noise, feedback, and distortion are balanced out by shimmering harmonics and unprecedented warmth. Sure, the album still seethes with disaffection, but the avant garde never sounded so inviting. Cole

The 100 Best Albums of the 1980s

71. Kate Bush, The Dreaming

As far as 1980s female-centric performance-art-cum-mutant-pop goes, Kate Bush is the explosive sensualist against Laurie Anderson’s cool, detached yogi. Years removed from the idyllic anticipation of “This Woman’s Work,” The Dreaming is a violently singular work that places its creator’s emotions in their most natural environment: inscrutable and volatile. Each song, from the pedagogically impatient “Sat in Your Lap” to the trap-door hysterics of “Get Out of My House,” is a Joyce-worthy confluence of footnotes-to-be, and the key keeps getting tantalizingly passed between tracks via Bush’s darting tongue. Henderson

The 100 Best Albums of the 1980s

70. Lou Reed, New York

A poison-pen letter to his hometown, Lou Reed’s New York devotes itself to rapidly fading objects, things that always seem to be in danger, from blue whales to the familiar nature of a city. Obsessed with the soiled underside of mid-’80s NYC, acting as a grimy catalogue of police shootings, bigotry, and murder, Reed’s last great album also contains a fair sprinkling of affection. His love for the manifold details and innate possibilities of this complicated place is never more intact than on “Halloween Parade,” which documents the annual Greenwich Village tradition with a tender eye for minutiae, depicting a city that slips into a different costume every day. Cataldo

The 100 Best Albums of the 1980s

69. The Smiths, Strangeways, Here We Come

Whether or not Strangeways, Here We Come ended the Smiths’s brief career with their best album has been the subject of considerable debate for nearly a quarter century, but it definitively stands as the band’s most lush, richest work. Johnny Marr’s signature guitar work is at its most varied and widest-ranging here, and, thanks to producer Stephen Street, the contributions of Andy Rourke and Mike Joyce’s rhythm section are actually given the chance to shine, which was rarely the case on the band’s first three albums. Morrissey, for his part, contributes lyrics that are dense and heady, steeped in imagery of death that reflects the demise of one of modern rock’s most influential bands. Keefe

The 100 Best Albums of the 1980s

68. Elvis Costello and the Attractions, Get Happy!!

In the saga of the punk-rock upstart who shocked critics by going all Lennon-McCartney on their asses, the blue-eyed soul of Elvis Costello’s Get Happy!! is typically considered a genre detour, more like 1981’s country-themed Almost Blue than the classic pop triumvirate of Armed Forces, Trust, and Imperial Bedroom. But you need only compare it to Young Americans, Bowie’s misguided stab at R&B from five years earlier, to see how sincerely Costello inhabits the style’s past and present. Costello may have set out to show how much he knew about soul, but what he actually proved was how much he loves it. Cole

The 100 Best Albums of the 1980s

67. XTC, Skylarking

The story behind the recording of XTC’s Skylarking is that the band absolutely hated working with producer Todd Rundgren, whom they found overbearing and snide, but none of that behind-the-scenes tension translated into the finished product, as joyous and buoyant a pop album as has ever been recorded. The songwriting is balanced between Andy Partidge’s more twee impulses and Colin Moulding’s grounded, dry wit, while Rundgren’s on-point production splits the difference between the band’s Pet Sounds inspiration and new wave’s bounce. Even when the band explores headier themes, such as the working-class disaffect on standout “Earn Enough for Us” and the potent defense of atheism on minor-hit single “Dear God,” their melodies are outsized and sunny. Skylarking might not have been fun to record, but it’s still a blast to listen to. Keefe

The 100 Best Albums of the 1980s

66. The Replacements, Tim

On the continuum of ’80s rock acts with a pronounced rock n’ roll influence, the Replacements fall somewhere on the spectrum between Bruce Springsteen and the Mekons, styling a skuzzy blend of mutated rockabilly that absorbs and adapts ’50s tropes with propulsive glee. There’s a glimmer of punk attitude in all of Tim’s hurtling songs, but each one is too piercingly romantic and sincere to fit into that genre; witness “Kiss Me on the Bus,” which caps off with a joyous wave of sleigh bells. The result is a collection of booming love songs that find the spirit of the adventure in the most domestic of settings. Cataldo

The 100 Best Albums of the 1980s

65. Run-D.M.C., Raising Hell

It wasn’t the album that made hip-hop “safe” to white, middle American audiences (that didn’t come along until M.C. Hammer’s Please Hammer, Don’t Hurt ’Em), but Run-D.M.C.’s landmark Raising Hell was the album that truly gave a broader pop audience an entry point into hip-hop music. That Run-D.M.C. were able to break through on such a massive scale without sacrificing their aggressive sampling of harder-edged rock music or their inimitable lyrical flow speaks to the skill, unrivaled at the time, that they displayed on Raising Hell. Thanks to producers Rick Rubin and Russell Simmons, the fans who were initially hooked by the group’s cover of Aerosmith’s “Walk This Way” discovered the depth of sound, purposeful use of samples, and razor-sharp wordplay that made the mid-’80s rap music’s golden age. Keefe

The 100 Best Albums of the 1980s

64. Pretenders, Pretenders

The Pretenders’ debut is notable not only for the pitch-perfect execution of the band’s glam-meets-punk style, but also its delivery of unconventional sex appeal. Like Debbie Harry before her, Chrissie Hynde represented a feminization of the punk aesthetic, a street-smart girl who could outdrink, outperform, and ultimately outsmart her male counterparts. Rock feminism never sounded as good as it does here, particularly on tracks like the spunky “Brass in Pocket,” where Hynde has the power to be playful, tough, and even self-deprecating without sacrificing any of her throaty vocal presence. At its core, rock n’ roll is about charisma, and as tracks like “Stop Your Sobbing” and “Private Life” prove, the Pretenders not only had a cache of the stuff, but were well-versed in how to showcase it. Liedel

The 100 Best Albums of the 1980s

63. Tina Turner, Private Dancer

Like another mega-successful pop monster, Michael Jackson’s Thriller, Private Dancer is a staggering display of self-affirming artistry and vocal expression. For Turner, who was 45 when the album was released, it also represented a kind of vindication, with songs like the gritty, powerful “What’s Love Got to Do with It” and the sultry ultimatum “Better Be Good to Me” all but destroying the false pretense that she was somehow only fit to play second fiddle to Ike. Both a personal liberation and sonic redemption, Private Dancer established Turner not only as a genuine diva, but a bona fide force of nature. Liedel

The 100 Best Albums of the 1980s

62. George Michael, Faith

Written, arranged, composed, and produced by George Michael almost entirely by himself, Faith put the former Wham! singer in the same league, if not on the same team, as Prince, and its blockbuster status and franchise of hits gave the King of Pop a run for his money in the late ’80s. The album fuses pop and R&B with funk and jazz elements (the three-part “I Want Your Sex” alone traverses no less than four or five different styles), and just as the tracks are composed of a mix of canned Synclavier loops and live instruments, Michael himself is presented as one part slick lothario and one part socially conscious crusader. When he wasn’t luring some young thing into his bed with gin and tonic and pleas of “c-c-c-come on,” the middle stretch of the album found him sounding off on such patented ’80s signposts as materialism and heroin addiction. Cinquemani

The 100 Best Albums of the 1980s

61. Talking Heads, Stop Making Sense

Inseparable from Jonathan Demme’s concert doc of the same name, arguably the finest concert film ever made, and subject to endless hemming and hawing among Talking Heads’ diehards for the elisions made to said concert’s set list when the soundtrack was being produced, Stop Making Sense remains a divisive album. A 1999 reissue rectified many of the most common complaints about the original release, nearly doubling the length of the album and restoring some continuity to the band’s performance, but that takes nothing away from the fact that Stop Making Sense, even in its truncated original form, is a testament to one of the most compelling, forward-thinking bands of the rock era at the peak of their craft. Keefe

The 100 Best Albums of the 1980s

60. Madonna, True Blue

Sure, some of the production choices on True Blue sound chintzy and dated in comparison to those on Madonna’s other ’80s releases, but there’s no getting around the fact that five of the album’s nine tracks are among the strongest individual singles of her career. More importantly, though, True Blue was the album on which it became readily apparent that Madonna was more than just a flash-in-the-pan pop star. It’s when she began manipulating her image—and her audience—with a real sense of clarity and purpose and made sure she had quality songs to back up her calculation and world-dominating ambition. Keefe

The 100 Best Albums of the 1980s

59. Elvis Costello and the Attractions, Imperial Bedroom

Imperial Bedroom can be a challenging listen at times, but the hooks and melodies are so beguiling and infectious that it’s about as close to pop as Costello has ever gotten. There’s a myriad of sounds and styles coalescing wonderfully throughout, and the quirky songwriter punctuates each of his sonic detours with jaunty badinage and pert observations. The album boasts some absolutely astonishing wordplay, with even its most personal harangues arriving veiled in clever allegories and razor-sharp double entendres. Despite its lackluster commercial performance, then, Imperial Bedroom affirms Costello as a poet laureate for the counterculture and a restless musical genius all in the space of 50 topsy-turvy minutes. Jones

The 100 Best Albums of the 1980s

58. Echo & the Bunnymen, Ocean Rain

Black-velvet rock with a distinct romantic bent, Echo & the Bunnymen’s fourth and best album, Ocean Rain, flirts with ridiculous excess but remains sturdily in check, anchored by Ian McCulloch’s big, crooner-style voice. Never as silly as the gaudy goth luminaries that surrounded them, the band employs many of the same elements and flirts with similar deathly impulses, shaping a dreamy sound that utilizes a full orchestra to call up extravagant flourishes and explore pools of inky gloom, using tracks like “The Yo-Yo Man” to hint at dramatic excess without ever veering into outright theatricality. Cataldo

The 100 Best Albums of the 1980s

57. Bruce Springsteen, Nebraska

Strip the bombastic showmanship from Bruce Springsteen’s back-alley narratives, take away the E Street Band, and you get Nebraska, a fragmentary collection of four-track demos that ended up being viable all on its own. These embryonic shells place the lingering desperation that had always lied beneath the surface of his songs into sharp relief, from the killing spree of Charles Starkweather and Caril Ann Fugate on the title track to the last-ditch liaison of “Atlantic City.” Incorporating such far-flung influences as Suicide, whose desperate whoops Springteen emulates on the grim, haunting “Highway Patrolman,” it’s a desolate sonic landscape that’s leagues more progressive than anything he recorded before or after. Cataldo

The 100 Best Albums of the 1980s

56. Talk Talk, Spirit of Eden

Opener “The Rainbow,” a deconstructed blues song splayed out over seven minutes, sets the perfect tone for Talk Talk’s Spirit of Eden, the song’s blown-out harmonica wheezing over barebones soft-jazz backing. The album presents a series of similarly deliberate excursions, whose sustained focus on individual elements, like the harmonica and rudimentary blues arrangement of that opening song, twists and transforms them. Despite the initial air of chilled-out simplicity, each of these songs is actually a twitching patchwork of carefully blended elements, with twinkling piano crawls that blossom into sustained electronic explosions, all bracketed by a mystical, quasi-religious style of lyrical wordplay. Cataldo

The 100 Best Albums of the 1980s

55. Kate Bush, The Sensual World

It’s hard to pin down what makes Kate Bush’s music so completely infectious, but it probably has something to do with the reckless abandon with which she tackles what could otherwise be preposterous material. The topics on The Sensual World, ranging from a musical rendering of the epilogue of Ulysses to a love song directed at a computer program, are often wholeheartedly silly, and yet these songs never come off as anything less than totally and achingly believable. Blessed with one of music’s most wildly expressive voices, Bush takes each song further than she has to, resulting in an album that forms its own unique world. Cataldo

The 100 Best Albums of the 1980s

54. 808 State, 90

If 90 was “Pacific 202” and 30 minutes of tape noise, it’d still be a stone-cold classic. But 808 State’s signature song (here a truncated six minutes of sax, synth, and roiling, rubbery bass), is just the most successful condensation of the diverse sonic tendencies explored on 90. Paced like an excellent DJ set from guys who’d spent enough time in the club to know, 90 doesn’t build so much as it ebbs and flows between the assertively groovy and the totally blissed out. A thrilling expansion of the possibilities for acid house and arguably the best LP ever produced in the style, 90 shows that even a transient fad can be an impetus for world-making. Cole

The 100 Best Albums of the 1980s

53. Prince, Dirty Mind

Prince, unlike George Michael, doesn’t feel the need to justify sex, that it’s natural, it’s good. He’s content to let his dick do the talking, without apology. But Prince isn’t simply shooting his dithering load on this 1980 breakthrough, he’s radically redefining sex, its expression and power. Just as the album’s production is a succulently bouncy and interwoven tapestry of funk, pop, and rock, the wily Prince fearlessly and mischievously indulges fantasy and ambiguously adopts countless roles and personas, addressing throughout both his anima and animus. He will daydream of fucking some honey in his daddy’s car, getting head from another on her wedding day, but he will also sneak in glistening moments of doe-eyed romanticism, even a startlingly metaphoric commentary on race and class. This is liquid love in its purest and most thought-provoking form. Gonzalez

The 100 Best Albums of the 1980s

52. R.E.M., Lifes Rich Pageant

In which the college (rock) kids graduate and head into the real world, ready to take over. And, in R.E.M.’s case, they came pretty close to doing just that. Lifes Rich Pageant stands as a nearly seamless transition between the band’s formative period and their commercial dominance. The ragged, frenetic energy of R.E.M.’s early work is captured on “Just a Touch” and “These Days,” while “Fall On Me” and their cover of the Clique’s “Superman” showcase a newfound emphasis on pop hooks. In striking that balance, Lifes Rich Pageant is a template for how the “alternative” music the band was largely responsible for originating would, less than a decade later, become the dominant narrative in the music industry. Keefe

The 100 Best Albums of the 1980s

51. The Smiths, The Smiths

There’s no reason why a mordant, sexually frustrated disciple of Oscar Wilde who loved punk but crooned like a malfunctioning Sinatra should’ve teamed up with a fabulously inventive guitarist whose influences were so diffuse that it could be hard to hear them at all and formed one of the greatest songwriting duos of the ’80s. On classics like “Hand in Glove” (which had Morrissey outing himself before anyone had even thought to speculate about this sexuality) and “This Charming Man,” Morrissey says a lot but always insinuates more. Though that’s not the case on “Suffer Little Children,” a ghoulish retelling of a real-life tragedy in which five children were sexually abused and murdered. Its unforgettable refrain finds Morrissey channeling the ghosts of Britpop’s sacred city: “Manchester, so much to answer for.” Cole

The 100 Best Albums of the 1980s

50. Nine Inch Nails, Pretty Hate Machine

Ever look back at your old junior high school yearbooks and see, with a shock, the last picture the kid voted “Most Likely to Shoot the Rest of Us Dead at Graduation” took before encasing himself inside that filthy, black trench coat? The last one he took with his natural hair color? The last one in which his eyes that would later reflect only cataracts of the soul still glinted with the hint of something obscene? That’s what it’s like to listen now to Trent Reznor scowl, “I’d rather die than give you control!” in “Head Like a Hole.” Before attempting suicide in The Downward Spiral and living with the wrist scars in The Fragile, Pretty Hate Machine sent out sleek, danceable warning shots. Henderson

The 100 Best Albums of the 1980s

49. Tracy Chapman, Tracy Chapman

Both the pop music landscape and political climate of the ’80s were defined by a me-first sense of opulence and entitlement, nearly a full decade of the haves flaunting their wares and promising the have-nots that, someday, those wares would trickle down to them too. Tracy Chapman’s unassuming, self-titled debut laid bare the fundamental injustice and dishonesty behind the prevailing policies of the day; she wasn’t just “Talkin’ About a Revolution,” she aimed to start one. But what makes Tracy Chapman more than just a leftist course-correction or an antidote to hair metal are Chapman’s unabashed sincerity and empathy and the robust quality of her songwriting, which make songs like “Fast Car” and “Baby Can I Hold You” no less powerful or moving today. Keefe

The 100 Best Albums of the 1980s

48. Michael Jackson, Bad

Michael Jackson’s Bad, perhaps the most highly anticipated album of all time, took the multi-format approach of 1982’s Thriller and magnified it to larger-than-life proportions. The pop was poppier, the rock was rockier, the dance was dancier. (Notably, R&B took the form of carefully placed elements as opposed to the bedrock of the songs.) The album was sonically more adventurous than its predecessor, resulting in more missteps, but perhaps even more rewards. Bad found Jackson taking more creative control, composing the majority of the songs on his own, making the breadth of album’s variety all the more impressive and solidifying many of the artistic and personal quirks and preoccupations that would come to define him in the last two decades of his life. Cinquemani

The 100 Best Albums of the 1980s

47. Eurythmics, Touch

If Sweet Dreams (Are Made of This) proved that the Eurhythmics had mastered the new wave genre’s icy detachment and ironic distance better than just about anyone, Annie Lennox and Dave Stewart’s follow-up, Touch, found them ready to move on to greater challenges. The album may not be as song-for-song consistent as Sweet Dreams, but it’s far more diverse in its style, leaning heavily on the soulfulness of Lennox’s performances to keep its synth-pop aesthetic grounded in palpably human emotions. To that end, standout cuts like “Who’s That Girl” and the defiant “Aqua” confirm Lennox’s status as one of pop music’s most gifted, singular vocalists. Keefe

The 100 Best Albums of the 1980s

46. Sinéad O’Connor, The Lion and the Cobra

The title of Sinéad O’Connor’s debut was culled from Psalm 91, in which God promises to protect his people from the lion and the snake—symbols of bold and sly danger, respectively. O’Connor is more lion than snake, of course; she purrs like a kitten you’re fully aware is capable of lunging for your throat at any moment, and she often does—shrieking at dead lovers, admonishing her country’s leaders. The Lion and the Cobra is regal, majestic, and allegorical, an album rife with images of war, slain dragons, and ghosts, and it’s one of the most electrifying debuts in rock history. Cinquemani

The 100 Best Albums of the 1980s

45. Roxy Music, Avalon

It’s not that the most common criticisms of Roxy Music’s final album, Avalon, don’t have merit: It’s absolutely fair to acknowledge that it’s divorced from the truly progressive aesthetic that made the band’s ’70s-era output so vital and influential, and that the few members of the original lineup who still remained by the early ’80s were so marginalized in the recording that the album plays more like a Bryan Ferry solo project. What those criticisms fail to account for is that the actual music on Avalon, taken on its own merits, is nearly perfect. The meticulous, spit-shined polish of the production can’t mask some of Ferry’s finest pop melodies, nor can it hide the lived-in worldliness that makes Avalon so much cooler and more knowing than the countless New Romantics imitators it spawned. Keefe

The 100 Best Albums of the 1980s

44. Laurie Anderson, Big Science

My love affair with Laurie Anderson began with her recent Homeland, an album perfectly and succinctly described by Robert Christgau as a collection of “very scary stories whose endings nobody knows.” But this metropolitan performance artist and borderline cat lady was scaring us as far back as Big Science, on which she asks, “What is behind the curtain?” Then and now, her humor is lacerating, her fondness for BPMs cheekily abstract, but most fetching are her articulations of powerlessness—that even she doesn’t know what’s behind the curtain. Her experiments in syntax and sound eerily echo her concerns with the irreversible tides of change, most spectacularly on her finest song and only sorta-hit, “O Superman,” an attack on American military might that begins almost sensibly with a mother leaving an embarrassing, existentially fraught message on her child’s answering machine. Like progress, Anderson’s music resists resistance. Gonzalez

The 100 Best Albums of the 1980s

43. Janet Jackson, Janet Jackson’s Rhythm Nation 1814

“Don’t get me in here acting all silly now.” Nice try, Janet, but with Rhythm Nation, Jimmy Jam and Terry Lewis got you in here acting all sober now. At least for three or four songs, anyway. The follow-up to Control’s redux debut is in equal measure self-enlightened, self-defining, and self-pleasuring. The title track and “The Knowledge” lean heavy on new-jack beats, while “Alright” and “Escapade” radiate the Minneapolis sound at its warmest (she must’ve recorded them the one week it didn’t snow there). And with seven hits (the final of which reached number one almost a year and a half after the album was released), it was one of the decade’s biggest chartbusting juggernauts. Get the point? Good. Henderson

The 100 Best Albums of the 1980s

42. New Order, Movement

In Tibetan Buddhism, “bardo” is the intermediate space in between death and rebirth. It would have made an appropriate debut album title for the remaining members of Joy Division, reincarnated as New Order, following the suicide of frontman Ian Curtis. “Movement,” however, works just as well, evoking the fluidity of Bernard Sumner and company’s still-evolving sound. “Dreams Never End” is an apt opener; it’s the only song on the album with a traditional live-rock arrangement, featuring vocals by bassist Peter Hook, whose voice sounds closer in tone and cadence to Curtis’s than Sumner’s does. The rest of Movement exists almost exactly in between Joy Division’s post-punk sound and the synth-pop style that would come to define New Order and influence pop music for decades. Cinquemani

The 100 Best Albums of the 1980s

41. Peter Gabriel, So

Home to the colossuses “Red Rain,” “Sledgehammer,” “In Your Eyes,” and “Big Time,” So is Peter Gabriel’s most accessible yet ambitious work. A chronicle of political, emotional, and artistic exploration, the album finds the Genesis co-founder attempting to balance standard pop orthodoxy with his still-rumbling desire for sonic experimentation. When Gabriel strikes that balance, the results are nothing less than sublime, such as when the untamed vocals of Youssou N’Dour join in on the melodious climax of “In Your Eyes.” Notwithstanding its successful expansion of Gabriel’s sound, So succeeds on quirky offerings alone: What’s not to love about an album that features a duet with Kate Bush and a shakuhachi solo? Liedel

The 100 Best Albums of the 1980s

40. Grace Jones, Nightclubbing

In go Iggy Pop, David Bowie, the Police, Bill Withers, and Astor Piazzola. Out comes Grace Jones as though none of the others ever existed. (All right, Jones’s dubby take on “Use Me” is no patch on Withers’s original. A minor chink in the armor.) With backing from Sly & Robbie, Jones’s Nightclubbing performs double duty, building up the singer’s legend even as it makes attempts at deconstructing it (as in “Art Groupie,” in which she enunciates “Touch me in a sculpture” so that it sounds like “Touch penis sculpture”). But the boogie masterpiece “Pull Up to the Bumper” removes such academicism from the table entirely. Henderson

The 100 Best Albums of the 1980s

39. The Replacements, Let It Be

In the rough and raw underbelly of hardcore punk, naming your LP after a seminal Beatles album and peppering it with coarse ballads and painfully intimate moments is certainly a brave move. But that’s exactly what Paul Westerberg and company did on Let It Be, and that decision puts the accent mark on what is their strongest work by some stretch: “Unsatisfied” is a jagged ballad on which Westerberg howls his lungs out, while “Androgynous” is a tender, heart-on-the-sleeve piano number that finds the singer in equally gripping form. Make no mistake: The Replacements still fulfill their obligation to exhilarating punk jams, and the band is at their anthemic best on “I Will Dare,” but the album’s really remarkable moments arrive whenever the group dares to leave their hardcore comfort zone. Jones

The 100 Best Albums of the 1980s

38. The Jesus and Mary Chain, Psychocandy

Shaping fuzz into a potent, tactile instrument, the Jesus and Mary Chain helped establish the style of distortion-laden fogginess that would eventually become the foundation for shoegaze. Possibly their most amorphously detailed album, and probably their best, Psychocandy buries snide and snotty vocals in a rolling sea of noise, an enormously effective approach that’s still being imitated today. The musical backing may be spare, like the faint guitar shimmer and lonely hi-hat smack of “Just Like Honey,” or it may be dense, the roiling chaos of “In a Hole,” but it remains effective throughout, leaving each song encased in a thick viscous shell. Cataldo

The 100 Best Albums of the 1980s

37. Guns N’ Roses, Appetite for Destruction

The Sunset Strip didn’t spew the decade’s noisiest music. It just produced the most popular noise. In some cases, the sound disguised an iffy supply of fury. Despite initially boasting what would’ve been one of the most nasty-as-we-wanna-be covers ever attached to a diamond-selling blockbuster (Robert Williams’s comic-strip panel depicting the aftermath of robot rape) before caving into retailer pressure, and beyond such liquor-soaked speed-metal anthems as “You’re Crazy” and “Welcome to the Jungle,” the bleeding heart at the center of “Sweet Child o’ Mine” proves Axl Rose was always one good bender away from getting all “November Rain” on us. Henderson

The 100 Best Albums of the 1980s

36. Pixies, Surfer Rosa

The scary thing about Surfer Rosa is that the songs are so damn catchy you’re in danger of not only deciphering the initially incomprehensible lyrics, but of singing them out loud. Which is great, since “Bone Machine” has a memorable bridge about being molested by a priest, “Broken Face” is yet another terrific Pixies song dedicated to the inbred, and “Cactus” finds Black Francis missing his lover and wishing to slip into one of her wet, bloody dresses. But the hooks are as grotesquely powerful as the imagery, and against all odds the Pixies created some bizarrely poignant moments in unexpected places (like Fancis’s trippy scuba fantasy, “Where Is My Mind?,” and Kim Deal’s “Gigantic” ode to the well-endowed), a fact which owes, more often than not, to Joey Santiago’s endless supply of otherworldly guitar leads. Cole

The 100 Best Albums of the 1980s

35. Bruce Springsteen, Born in the U.S.A.

The ironic misinterpretation of Born in the U.S.A.’s title track has been well-documented, and persists as a rather inane flap as it pertains to the album’s real import: Bruce Springsteen’s transformative leap from bar muse to blue-collar rock god. Born in the U.S.A. is chock-full of working-class anthems that fueled that metamorphosis, from burners like “I’m on Fire” to the wistful “My Hometown,” where the Boss sings of old Buicks, racial tensions, and the sting of economic downturn. Rounded out by the mixture of sex, magnetism, and poetry in “Dancing in the Dark,” Born in the U.S.A. propelled Springsteen not only into a pop-radio staple in the ’80s, but cast him as the voice of the disillusioned American everyman. Liedel

The 100 Best Albums of the 1980s

34. Pixies, Doolittle

Doolittle is their manifesto for ’90s alt rock: dark, offbeat, slow-churning, humorously grim, and peppered with the kind of loud-soft dynamics that exemplify both the Pixies’ sound and the countless bands that followed in their wake. Arriving in 1989, Doolittle served as vanguard for modern rock both sonically and tonally, as evidenced by the descriptive, almost metaphysical nature of the band’s lyrics. When Black Francis screams, “God is seven!,” on “Monkey Gone to Heaven,” there’s little doubt about the gravity of the message—or where Billy Corgan found his inspiration. Liedel

The 100 Best Albums of the 1980s

33. Madonna, Madonna

Few would deny that Madonna went on to pursue deeper goals than the simple pop perfection of Madonna. But any debut album that yields a “Holiday” and a “Lucky Star,” both released as singles in the span of two consecutive days (albeit an ocean apart), is still pretty untouchable. Wistful and eager to please, Madonna’s sparkling ditties aren’t so much “post-disco” as they are “disco ain’t going nowhere, so shut up and dance.” Like a heavenly body atop the surging underground currents of every synth-heavy dance subgenre that preceded her, Madonna’s cultural co-opting is nothing if not fervent. Henderson

The 100 Best Albums of the 1980s

32. Eric B. & Rakim, Paid in Full

Many would argue that the late ’80s was the absolute pinnacle for hip-hop, and it’s difficult to argue against Paid in Full being a benchmark of the era. Rakim’s methodical and meticulous approach to his delivery provides a stark contrast to that of his contemporaries, while his mastery of internal rhymes underlines his status as a superbly technical wordsmith. For his part, Rakim didn’t need to rely on macho jargon and trite gangsterisms for his self-aggrandizing sermons; he would simply reel off line after line of spellbinding wordplay, influencing an entire decade of tongue-twisting MCs in the process. Jones

The 100 Best Albums of the 1980s

31. Janet Jackson, Control

The story goes that Papa Jackson warned producers Jimmy Jam and Terry Lewis, former members of the Time, not to make his daughter sound too much like Prince on her breakthrough album, Control. Not only did they fail, but they failed spectacularly. The keyboards and synth melodies on tracks like “What Have You Done for Me Lately” and “You Can Be Mine” are quintessential Minneapolis pop, but Jam and Lewis also previewed what would become their signature industrial beats and spliced-and-diced vocal treatments (which, it should be noted, is all the rage in indie pop today) on the title track. Janet would go on to release more “important” albums (namely Rhythm Nation and The Velvet Rope), but track for track, Control is still her strongest. Her albums would get longer as her waistline got slimmer, but Control boasts little padding. Cinquemani

The 100 Best Albums of the 1980s

30. Sonic Youth, Daydream Nation

It’s hard to think of a band that matched malice with infectiousness as well as Sonic Youth, that pulled of this tricky balance most adroitly on Daydream Nation, the shining capstone on a strong decade of experimentation. Combining consummate songcraft with the furthest reaches of noise, they end up with withering digressions like “Silver Rocket,” which derails its hooky, slithering guitar line to plunge into a two-minute-long sea of noise, and “Total Trash,” which recalls Television with its rambling, seven-minute-plus exploration of a looping melody, buttressed by increasingly frantic walls of noise. Cataldo

The 100 Best Albums of the 1980s

29. Leonard Cohen, I’m Your Man

Pop goes Leonard Cohen and it soars. I discovered this poet prophet through McCabe & Mrs. Miller, his deadpan baritone passing throughout Robert Altman’s dreamy film like opium smoke. The almost synth-pop production of this 1988 masterwork, arguably his finest next to his stunning debut, would seem to be a terrible match for his customarily dense and nuanced lyricism. But Cohen has always been a man of many hats, and here he ballsily suffuses his pained declarations of romantic and spiritual desperation with a wryness that’s matched almost subversively beat for beat by the sugariness of the background vocals. With great courage and conviction, the man turns a sermon into a cabaret. Gonzalez

The 100 Best Albums of the 1980s

28. The Stone Roses, The Stone Roses

In hindsight, The Stone Roses is essentially a lithe and sinuous greatest-hits album, a string of would-be singles blaring from the speakers of a Madchester baggy disco, dominating dance floors still reeling from the acid-house scene and the new-romantic era. Mani’s thundering basslines and John Squire’s kaleidoscopic guitar parts keep the sound firmly rooted in indie-rock territory, their anthemic refrains setting a number of Britpop trends in a heartbeat, while John Leckie’s psychedelic production won over pill-popping ravers en masse. The Stone Roses is an unashamedly British album, a love letter to its working classes and an ultraprecise predictor of what was on the horizon for Her Majesty’s airwaves in the ’90s. Jones

The 100 Best Albums of the 1980s

27. David Bowie, Scary Monsters (And Super Creeps)

Scary Monsters (And Super Creeps) catches David Bowie on the cusp of international megastardom and is widely regarded as the glam-rock icon’s last truly great album. Bowie bridles the experimentation of his Berlin trilogy and channels those synth flourishes and off-kilter guitar licks into one of the decade’s quirkiest pop albums. “Ashes to Ashes” is absolutely mesmerizing, and “Fashion” almost sets the tone for the entire decade by itself, and even beyond these singles are countless examples of utterly flawless pop. That it’s difficult to even notice Brian Eno’s absence is a testament to how convincing this madcap milieu really is, and affirms Bowie’s reputation as the maharishi of avant-garde pop. Jones

The 100 Best Albums of the 1980s

26. Tom Waits, Swordfishbones

At the turn of the decade, lowlife laureate Tom Waits was well on his way to becoming an industry-vetted, Hollywood-normalized singer-songwriter. Think Randy Newman if Randy Newman wrote songs about hookers. Swordfishbones marks the beginning of a genius period, which, judged by last year’s Bad As Me, isn’t winding down anytime soon. Here, he trades barroom ballads for disorienting, percussive songs that sound like a junkyard come to life, and on “Down, Down, Down” and “16 Shells from a 30.6” he unleashes the gravely howl that would become his trademark. Waits was always a reliable guide to the desperate underbelly of American city life, but with Swordfishtrombones, it became clear that this was only the first stop on an itinerary eventually destined for hell. Cole

The 100 Best Albums of the 1980s

25. Kraftwerk, Computer World

In the beginning there was light, said Genesis. Then came apes and space travel, an odyssey immortalized by Stanley Kubrick. And somewhere between there were computers, their rise the theme of the maximalist Computer World, the eighth and last great album by chilly electronic geek-teurs Kraftwerk. Consistent with the pioneering German band’s body of work, the album is an exploration of the effects of technology on modern urban living, which will sound as torturous as a Todd Haynes film lecture to someone who’s never actually heard Kraftwerk’s music. Across seven gorgeously lurching and exacting tracks, we are made to understand the angst and hilarity of our inextricable, personality-warping ties to the computer. This prescient sonic landscape still leaves one feeling with the sensation of having swum through a prickly but immaculate ocean of 0s and 1s. Gonzalez

The 100 Best Albums of the 1980s

24. U2, The Joshua Tree

Never has an album synthesized angst, spirituality, love, and politics in just its first three tracks as well as The Joshua Tree, the only U2 album that seriously threatens Achtung Baby as the band’s greatest accomplishment. With “Where the Streets Have No Name,” “I Still Haven’t Found What I’m Looking For,” and “With or Without You,” three of the band’s most aching, impassioned songs back to back to back, the band became lords and emperors of anthemic ’80s rock. Perhaps on a more meaningful level, though, the universality of The Joshua Tree completed U2’s evolution from Irish ruffians to globe-straddling rock heroes. “Outside is America,” Bono sings on “Bullet the Blue Sky,” prescient to the fact that with the album’s astounding success, U2 no longer belonged to Dublin, but the world. Liedel

The 100 Best Albums of the 1980s

23. New Order, Power, Corruption & Lies

From the instantly recognizable surf-guitar riff that opens “Age of Consent” to the poignant, observational lyrics of “Leave Me Alone,” New Order’s second album finds the band working with broader sonic and emotional palettes than on their debut. Movement was apiece with Joy Division’s dismal worldview (the suicide of a dear friend does not often prompt a positive reassessment of one’s lot in life), but Power, Corruption & Lies marks the real beginning of New Order’s career. Sweet pop songs like “The Village” are juxtaposed by beautiful, melancholy compositions, none of which stand out as elegantly as “Your Silent Face.” With Bernard Sumner’s fragile, boyish voice giving the album a human center, the dance-rock pioneers had crafted their first perfect pop record. Cole

The 100 Best Albums of the 1980s

22. Cyndi Lauper, She’s So Unusual

An absolutely peerless collection of profound pop jewels that achingly and euphorically speak to the heart and soul of a girl grappling with loneliness, carnality, being down and out, the pressures of growing up, knowing that you have to even though you don’t want to, and the paradoxes of being a girl in a society that doesn’t respect you. And maybe it’s because Cyndi Lauper is a girl that the album still doesn’t get the respect it deserves from chauvinistic rock critics that would hide her away from the rest of the world—or maybe it’s because two of its greatest songs are covers, which trivializes her outstanding retaining of Prince’s pronouns for her take on “When You Were Mine,” one of pop music’s most radical sleights of hand. Like the fluttering production of “All Through the Night,” there are some mightily empowered hooks here that still send shivers up my spine, that once made me believe that this wonderful kook really could walk in the sun. Gonzalez

The 100 Best Albums of the 1980s

21. Violent Femmes, Violent Femmes

Folk-punk pioneer Gordon Gano wrote the songs on Violent Femmes’ 1983 debut when he was still in high school, which goes a long way toward explaining why the songs possess such an authentic sense of teen angst. Of course, Gano’s creaky voice aids in the image of a pimply social outcast scribbling in his notebook late at night or in the back of a classroom. Violent Femmes is horny, cheeky, and audacious, but it’s also musically sophisticated and deftly executed, with infectious hooks and harmonies (“Please Do Not Go”) and some of the slickest acoustic ax riffs and tightest rhythm sections (“Blister in the Sun,” “Kiss Off”) put to tape. Cinquemani

The 100 Best Albums of the 1980s

20. Madonna, Like a Prayer

For her fourth album, Madonna went back to her roots. Like a Prayer is decidedly retro, the ultimate genre pastiche of all of singer’s early influences: Sly Stone, Simon & Garfunkel, the Association, the Beatles. More significantly, it found Madonna reflecting on marriage and family, subject matter that bonds her musical influences together into a cohesive—and confessional—collection. For all of her vocal limitations, Madonna often sings with more feeling than many of her more technically gifted peers, and with her voice left shockingly unpolished here, the album offers some of her most soulful, vulnerable performances. Upon revisiting Like a Prayer, I made a new discovery: a whirring synth on “Till Death Do Us Part,” a non-cloying song about her marriage to Sean Penn, that mimics the sound of a car speeding away as the song fades. Likewise, the album begins with a slamming door—the closing of a chapter, if you will, and the beginning of a new one. By the late ’80s, Madonna was already one of the biggest pop stars of all time, but with Like a Prayer, she became one of the most important. Cinquemani

The 100 Best Albums of the 1980s

19. Paul Simon, Graceland

Modern-day indie purveyors like Vampire Weekend, Tanlines, and even the Very Best owe the lifeblood of their mbaqanga-meets-baroque pop sound to Graceland, the album that singlehandedly revived Paul Simon’s career in the ’80s. The album is gorgeous and diverse by way of its quirkiness, a multi-sided gem drawing on a limitless number of styles and influences and combining them with an almost celebratory humor. “You Can Call Me Al” is a prime example of that winning formula, where the typically witty existentialism of Simon’s lyrics is paired South African basslines, worldly percussion, and even a pennywhistle. With Graceland, Simon completed the journey from Garfunkel to funky, and to this day, imitators can’t quite match the record’s blithe mosaic. Liedel

The 100 Best Albums of the 1980s

18. N.W.A., Straight Outta Compton

“Do I look like a motherfucking role model?!” You know your debut has truly caught people’s attention when even J. Edgar’s descendant soldiers are wiring you demerits. Given the carnage on display, though, it’s not hard to see why G-Men started getting a little testy when they caught wind of G-funk’s prehistory emerging from speakers everywhere in the form of the metaphor-free “Fuck tha Police.” The juxtaposition of midtempo, Cali-languid grooves and violent wordplay positioned Straight Outta Compton as the sound of the West Coast firing on New York’s Fort Sumpter in what would become ’90s culture’s biggest Uncivil War. Henderson

The 100 Best Albums of the 1980s

17. R.E.M., Document

Michael Stipe has said he knew he wanted to play in a rock band when he heard Patti Smith’s Horses at the age of 15. I have to think that Document, made 12 years later, is the R.E.M. album that Smith would be most proud to have inspired. Stipe’s lyrics had never been as political, though with the exception of “Exhuming McCarthy,” he avoids making accusations, instead using desolate midtempo numbers like “Welcome to the Occupation” and “King of Birds,” which paraphrases Reagan’s State of the Union address from the same year in its chorus, to evoke the confusion and frustration of the era. Ironically, it was by rediscovering the power in the original outsider stance, reflected sonically in their step back from the crisp production of Lifes Rich Pageant, that R.E.M. made their breakthrough, not so much crossing over into the mainstream as piercing it with their most focused and intelligent work to date. Cole

The 100 Best Albums of the 1980s

16. The Smiths, The Queen Is Dead

There may never again be an indie-rock album as good as The Queen Is Dead. Johhny Marr proves himself to be the consummate indie guitar hero by never allowing his Rickenbacker to jangle quite the same way on nay two songs, and, crucially, never taking a single solo. Even so, bouncing pop numbers like “Bigmouth Strikes Again” and “The Boy with the Thorn in His Side” are as much his showcase as they are Morrissey’s, who only really steals the show on “I Know It’s Over.” On that desolate breakup number, he gives the vocal performance of his life, finding a new way to contort his larynx each time he begs his mother for consolation. His lyrics had never been more revealing: By the end of the album, we learn that Morrissey is the type of person who imagines himself burning at the stake on a bad day, and on a good night allows himself to fantasize about dying in an incredibly romantic bus accident. Cole

The 100 Best Albums of the 1980s

15. The Cure, Disintegration

After two albums’ worth of uncharacteristically light-hearted pop, Disintegration might’ve sounded like something of a relapse for the Cure. It’s a dreamlike album that turns nightmarish in places as its icy, imperious pop epics channel Pornography’s atmospheric despondency. Depression is often associated with the inability to feel, but Disintegration proves that sorrow is, as much as love, a many-splendored thing. For all his infamous melodrama, Robert Smith can be a plainspoken and relatable lyricist; this is an album with songs about hungry spider men and hopeless prayers, but its most memorable lines are simple and heartfelt. If not for Smith’s wardrobe, we wouldn’t call this goth. We’d call it sad, pretty pop music. Cole

The 100 Best Albums of the 1980s

14. Tom Waits, Rain Dogs

Early in his transition from post-beatnik piano man to percussive backwoods hobo, the Tom Waits of Rain Dogs still had the residual stink of a boozy poet left on him, which resulted in the snappy rhythms of this big album. At 19 tracks and 53 minutes, it’s the most overstuffed and expansive effort of his long career. From the squealing free jazz of “Midtown” to the jaunty music-hall balladry of “Anywhere I Lay My Head” and off-kilter accordion jangle of the title track, Rain Dogs is a skuzzy, dynamic mural, awash in film-noir-inspired textures and all kinds of detailed color, a sleazeball concept album pickled in cheap gin. Cataldo

The 100 Best Albums of the 1980s

13. R.E.M., Murmur

For many, this was their first taste of Michael Stipe’s wistfulness, that artful, almost autistic lyricism that would have been completely impenetrable if not for the inviting warmth of his voice. There was also, of course, the playfulness of Peter Buck’s just-shy-of-strident guitar and Mike Mills’s harmonious basslines. There are R.E.M. albums I cherish more, but Buck and Mills never played better than they did on “Radio Free Europe,” “Moral Kiosk,” “Catapult,” “Sitting Still,” and “9-9,” a gorgeous and unexpectedly sexy cacophony of sound and canny wordplay that gives striking expression to Stripe’s social anxiety. Listening to Murmur today is bittersweet, because as the spell of its dreamy melancholy breaks, we realize we must resign ourselves to a world where R.E.M. didn’t stay. Gonzalez

The 100 Best Albums of the 1980s

12. Beastie Boys, Licensed to Ill

You can blame them for a lot of things (introducing full-bore misogyny to hip-hop; paving the way for rap-rock with their aggro, guitar-based beats; sticking to the same whiny flow patterns), but the Beastie Boys’ first album also drastically modernized rap. Rife with layer upon layer of sampling, start-stop transitions, and aggressive beats, it helped transform the genre from a direct dialogue between MC and DJ into a piercing, multi-threaded narrative. Making way for the even more complex textures of Paul’s Boutique, it’s a groundbreaking classic that helped set an exciting template for the future. Cataldo

The 100 Best Albums of the 1980s

11. Prince, Sign o’ the Times

Finding Prince at an all-time high of musical creativity and an all-time low of horniness, Sign o’ the Times is Prince’s most varied album and his most self-consciously auteurish. It collects tracks from a few years’ worth of shelved experiments, which means it lacks the coherent sound of a Purple Rain. But what chance does aesthetic unity stand against such gleefully generative pluralism? The psychedelic stomp of “Play in the Sunshine” and the nervy, obsessive sexuality of “If I Was Your Girlfriend” could be spun off into whole albums. The truth is, 1999 and Purple Rain have been the blueprint for more than a handful of R&B careers, but no one’s quite figured out how to follow Prince’s trail this far. For all of the new musical possibilities that Sign o’ the Times opens up, it also prompts the sobering realization that most of them will only ever be possibilities for one musician. Cole

The 100 Best Albums of the 1980s

10. Kate Bush, Hounds of Love

My mother, a freak for the Victorian, once defied by father by naming me not after him, his father, and his father’s father, but after an Emily Brontë character, so it was destiny that lured my imagination to the wily, windy moors from which Kate Bush appears to sing these tales of longing and remembrance. The album is a haunting—lush with playful and dramatic dreaming, metaphor and symbolism, motifs of running and hiding, beats that gently fall like raindrops. She plays child, woman, beast, and witch, standing on the ground but sounding as if she’s flying through the sky. She is hunter and huntee at once, and she makes you feel her transformation from one to the other, quite literally, with a howling. A whistle becomes a gust of wind, and it takes you away in its wraith-like arms to a place of very warm comfort. Gonzalez

The 100 Best Albums of the 1980s

9. De La Soul, 3 Feet High & Rising

De La Soul were easy and breezy when it seemed everyone else winning the game preferred sleazy. So you just knew white folks from the Pazz & Jop roll call all the way down to college DJs in Wyoming were going to flip their token for the ’60s utopianism and overachieving, carnivalesque sonic display of 3 Feet High & Rising (as they later would over Deee-Lite’s plastique-fantastique, vitamin C-infused inversion of underground house). But you can’t listen to Prince Paul’s stitchery with the Funkadelic bounce of “Me Myself and I,” the saxy “Potholes in My Lawn,” or the scratching of “Buddy” and still hold that against them. Henderson

The 100 Best Albums of the 1980s

8. Prince, 1999

If Prince’s reign over the airwaves ended a good deal earlier than the year he predicted the world itself would end in 1999, the album still marked the grand crossover moment for the decade’s most versatile, least predictable pop superstar. Positioned between—and embodying the strengths of both—the rambunctious, genre-defying immediacy of Dirty Mind and Controversy before it and the dick-waving rock majesty of the Purple Rain soundtrack that followed, 1999 is an expansive, disturbed communiqué from the nexus of naked funk and sexual obsession. “Some people tell me I’ve got great legs.” Nope, this is not your grandfather’s rhythm and blues. Henderson

The 100 Best Albums of the 1980s

7. Joy Division, Closer

The fact that Joy Division’s very name is synonymous with ’80s post-punk despite their having released only one album in the decade speaks to Closer’s looming impact on the genre it helped propel. A similar shadow was cast by frontman Ian Curtis’s death shortly before the album’s release, lending Closer an added layer of mystique to the band’s already-bittersweet unfulfilled promise. Though the remaining members would go on to form seminal synth-pop group New Order, Closer exists as Joy Division’s magnificent epithet. Its songs are beautifully crafted dirges, with thrumming, ghostly synths and plumbing basslines bolstering Curtis’s imaginative but morbid lyricism. Liedel

The 100 Best Albums of the 1980s

6. Talking Heads, Remain in Light

Paul Simon’s Graceland gets much of the credit for the revival of African-inspired pop music in the mid-’80s, but the Brian Eno-produced Remain in Light broke that ground six years earlier with a joyous meld of Afrobeat and post-punk. This is Talking Heads at their best, a band that had once teased its listeners with full-fledged worldbeat experimentation now reveling in the interplay between South African harmonies, new wave looping, and funk rhythms. Remain in Light is, in effect, one long, finely crafted global jam session, delivered by a group of musicians who can ably handle its assortment of eclectic parts and intricacies. As predictable as it might be to point to “Once in a Lifetime” as a perfect microcosm of everything that’s right about Remain in Light, the point holds true: The track, like its album, is blithe, bizarre, noisy, unpredictable, and a deliciously energetic slice of pop virtuosity. Liedel

The 100 Best Albums of the 1980s

5. Beastie Boys, Paul’s Boutique

Those who dismissed the music of the Beastie Boys as hackneyed frat-boy gimmickry—and those who expected these three white Jews to descend into novelty caricatures—were forced to eat their words with the release of Paul’s Boutique. And though it was a complete commercial disaster in 1989, this spastic blitzkrieg of pop-culture references and madcap sampling marks the moment where the Beastie Boys were taken seriously as artists. The trio redefined the posse-rap dynamic with their furious to-and-fro changeovers, punctuating their rhymes with sassy samples to further energise their unorthodox sound. Paul’s Boutique is the sound of hip-hop sneaking into mainstream consciousness, purchasing property in affluent suburbia and inner cities alike, all thanks to three born-again punk rockers. Jones

The 100 Best Albums of the 1980s

4. The Clash, London Calling

A large part of the musical narrative of the ’80s involves the parasitic influence of punk, as its rough attitudes and stripped-down approach spread out to consume and incorporate outlying genres. One of the first instances of this spread occurred as the decade was just dawning, on a sprawling album that expands to cover Jamaican ska, northern soul, and American pop, creating both a searing document of a world in flux and a convincing precedent for the rest of the decade. All this in addition to a sharp lyrical sense, which espouses revolutionary rhetoric without sounding completely idiotic. Cataldo

The 100 Best Albums of the 1980s

3. Public Enemy, It Takes a Nation of Millions to Hold Us Back

Now that hip-hop has become so intractably linked to mainstream pop, the idea of a hip-hop album as revolutionary as It Takes a Nation of Millions to Hold Us Back is hard to fathom. In the nearly 25 years since the album’s release, hip-hop culture has been embraced by the very nation of millions Public Enemy railed against. It may not sound as groundbreaking as it once did (though, thanks to the Bomb Squad’s most creative productions, it’s still catchy as all hell), but it’s a testament to Public Enemy’s power and intelligence that the album’s ferocious political outrage and its damning portraits of institutionalized racism and class warfare are still as relevant as they’ve ever been. Keefe

The 100 Best Albums of the 1980s

2. Prince and the Revolution, Purple Rain

On which Violet the Organ Grinder takes us to church and straight into the confession box. The album may not possess the salaciousness of Dirty Mind, but even at its softest, its most “mature,” it exudes a rapturous sense of feeling. From elevators to hotel lobbies and beyond, Prince resigns himself to love and makes you feel the funky stirrings of his heart, perhaps most expressively on “The Beautiful Ones.” From here to there, life to death, there’s a startling, telling fixation on movement. This is, after all, a companion piece to a film that ostentatiously depicts the Kid’s rise to fame. And there’s no fall here, only one gorgeous climax after another, immaculately and luxuriously sustained from beginning to end. Gonzalez

The 100 Best Albums of the 1980s

1. Michael Jackson, Thriller

What additional praise can be heaped on Michael Jackson’s genre-mashing magnum opus except to say that even the lesser hits like “P.Y.T. (Pretty Young Thing)” are perfectly rendered pop gems? That seven of the album’s nine tracks were all Top 10 hits reinforces how much of a culture-defining gargantuan Thriller was and continues to be. And yet, despite the well-earned acclaim and its unquestionable unification of fans across class, age, gender, and racial lines, Thriller is an album steeped in angst and loneliness. Lest we forget from years of grotesque eccentricity, Jackson was once the original Kanye West, and this album was his own dark, twisted fantasy—a glimpse into a creative but fissured mind that sought, above all things, unquestionable greatness. MJ achieves that countless times on Thriller, arguably the most sublime 42 minutes of pop music ever recorded. Liedel



2019 Oscar Nomination Predictions

How has Oscar royally screwed things up this year? Let us count the ways.



Walt Disney Studios Motion Pictures
Photo: Walt Disney Studios Motion Pictures

How has Oscar royally screwed things up this year? Let us count the ways. The hastily introduced and unceremoniously tabled (for now) “best popular film” Oscar. The impending commercial-break ghettoization of such categories as best cinematography and best film editing, but most certainly not best song and best animated feature. The abortive attempts to unveil Kevin Hart as the host not once, but twice, stymied by the online backlash over years-old anti-gay Twitter jokes and leading AMPAS to opt for George Glass as this year’s master of ceremonies. The strong-arming of its own membership to deter rank-and-file superstars from attending competing precursor award shows. If these end up being the last Oscars ever, and it’s starting to feel as though it should be, what a way to go out, right? Like the floating island of plastic in the Pacific, the cultural and political detritus of Oscar season has spread far beyond any previous rational estimates and will almost certainly outlive our functional presence on this planet. And really, when you think about it, what’s worse: The extinction of mankind or Bohemian Rhapsody winning the best picture Oscar? In that spirit, we press on.



There will be plenty of time, too much time, to go deep on the many ways Green Book reveals the flawed soul of your average, aged white liberal in America circa 2019. For now, let’s just admit that it’s as sure a nominee as The Favourite, Roma, and A Star Is Born. (There’s snackable irony in the fact that a movie called The Front Runner became very much not an Oscar front runner in a year that doesn’t appear to have a solid front runner.) And even though few seem to be predicting it for an actual win here, Spike Lee’s BlacKkKlansman has an almost spotless precursor track record, showing up almost across the board among the guilds. Predicting this category would’ve been easy enough when Oscar limited it to five films, but it’s strangely almost as easy this year to see where the line will cut off between five and 10. Adam McKay’s Vice may be without shame, but you don’t have to strain hard to see how people could mistake it for the film of the moment. Bohemian Rhapsody is certainly lacking in merit, but, much like our comrade in chief, Oscar has never been more desperate for people to like and respect him, and a hit is a hit. Except when it’s a Marvel movie, which is why Black Panther stands precariously on the category’s line of cutoff, despite the rabid enthusiasm from certain corners that will likely be enough to push it through.

Will Be Nominated: BlacKkKlansman, Black Panther, Bohemian Rhapsody, The Favourite, Green Book, Roma, A Star Is Born, and Vice

Closest Runners-Up: If Beale Street Could Talk and A Quiet Place

Should Be Nominated: BlacKkKlansman, Burning, First Reformed, Let the Sunshine In, and Zama

Best Director

Yorgos Lanthimos

Everyone can agree that Bohemian Rhapsody will be one of the best picture contenders that doesn’t get a corresponding best director nomination, but virtually all the other nominees we’re predicting have a shot. Including Peter-flashing Farrelly, whose predictably unsubtle work on Green Book (or, Don and Dumber) netted him a widely derided DGA nomination. The outrage over Farrelly’s presence there took some of the heat off Vice’s Adam McKay, but if any DGA contender is going to swap out in favor of Yorgos Lanthimos (for BAFTA favorite The Favourite), it seems likely to be McKay. As Mark Harris has pointed out, Green Book is cruising through this awards season in a lane of its own, a persistently well-liked, well-meaning, unchallenging throwback whose defiant fans are clearly in a fighting mood.

Will Be Nominated: Bradley Cooper (A Star Is Born), Alfonso Cuarón (Roma), Peter Farrelly (Green Book), Yorgos Lanthimos (The Favourite), and Spike Lee (BlacKkKlansman)

Closest Runners-Up: Ryan Coogler (Black Panther), Barry Jenkins (If Beale Street Could Talk), and Adam McKay (Vice)

Should Be Nominated: Lee Chang-dong (Burning), Claire Denis (Let the Sunshine In), Spike Lee (BlacKkKlansman), Lucrecia Martel (Zama), and Paul Schrader (First Reformed)

Best Actress

Yalitza Aparicio

Had Fox Searchlight reversed their category-fraud strategizing and flipped The Favourite’s Olivia Coleman into supporting and Rachel Weisz and Emma Stone into lead, the five best actress slots would arguably have been locked down weeks, if not months, ago, unless Fox’s bet-hedging intuits some form of industry resistance to double female-led propositions. As it stands, there are four locks that hardly need mention and a slew of candidates on basically equal footing. Hereditary’s Toni Collette has become shrieking awards show junkies’ cause célèbre this year, though she actually has the critic awards haul to back them up, having won more of the regional prizes than anyone else. The same demographic backing Collette gave up hope long ago on Viola Davis being able to survive the Widows collapse, and yet there by the grace of BAFTA does she live on to fight another round. Elsie Fisher’s palpable awkwardness in Eighth Grade and winning awkwardness navigating the Hollywood circuit have earned her an almost protective backing. But we’re going out on a limb and calling it for the rapturously received Roma’s Yalitza Aparicio. Voters could, like us, find it not a particularly great performance and still parlay their good will for her into a nomination that’s there for the taking.

Will Be Nominated: Yalitza Aparicio (Roma), Glenn Close (The Wife), Olivia Colman (The Favourite), Lady Gaga (A Star Is Born), and Melissa McCarthy (Can You Ever Forgive Me?)

Closest Runners-Up: Toni Collette (Hereditary), Viola Davis (Widows), and Elsie Fisher (Eighth Grade)

Should Be Nominated: Juliette Binoche (Let the Sunshine In), Toni Collette (Hereditary), Olivia Colman (The Favourite), Regina Hall (Support the Girls), and Melissa McCarthy (Can You Ever Forgive Me?)


John David Washington

Take Toni Collette’s trophies thus far in the competition and double them. And then add a few more. That’s the magnitude of endorsements backing First Reformed’s Ethan Hawke. And his trajectory has the clear markings of an almost overqualified performance that, like Naomi Watts’s in Mulholland Drive, cinephiles decades from now will wonder how Oscar snubbed. If Pastor Ernst Toller and Sasha Stone are right and God is indeed watching us all and cares what the Academy Awards do, Hawke’s nomination will come at the expense of John David Washington, whose strength in the precursors thus far (SAG and Globe-nominated) is maybe the most notable bellwether of BlacKkKlansman’s overall strength. Because, as with the best actress category, the other four slots are basically preordained. Unlike with best actress, the bench of also-rans appears to be one solitary soul. A fitting place for Paul Schrader’s man against the world.

Will Be Nominated: Christian Bale (Vice), Bradley Cooper (A Star Is Born), Rami Malek (Bohemian Rhapsody), Viggo Mortensen (Green Book), and John David Washington (BlacKkKlansman)

Closest Runners-Up: Ethan Hawke (First Reformed)

Should Be Nominated: Yoo Ah-in (Burning), Ben Foster (Leave No Trace), Ethan Hawke (First Reformed), Meinhard Neumann (Western), and John David Washington (BlacKkKlansman)

Supporting Actress

Emily Blunt

Every Oscar prognosticator worth their bragging rights has spent the last couple weeks conspicuously rubbing their hands together about Regina King’s chances. The all-or-nothing volley that’s seen her sweep the critics’ awards and win the Golden Globe, and at the same time not even get nominations from within the industry—she was left off the ballot by both SAG and the BAFTAs—are narrative disruptions among a class that lives for narratives and dies of incorrect predictions. But despite the kvetching, King is as safe as anyone for a nomination in this category. It doesn’t hurt that, outside the pair of lead actresses from The Favourite, almost everyone else in the running this year feels like a 7th- or 8th-place also-ran. Except maybe Widows’s Elizabeth Debicki, whose fervent fans probably number just enough to land her…in 7th or 8th place. Vice’s Amy Adams is set to reach the Glenn Close club with her sixth Oscar nomination, and if she’d only managed to sustain the same loopy energy she brings to Lynne Cheney’s campaign-trail promise to keep her bra on, she’d deserve it. Which leaves a slot for supportive housewives Claire Foy, Nicole Kidman, and Emily Blunt. Even before the collapse of Mary Poppins Returns, we preferred Blunt’s chances in A Quiet Place.

Will Be Nominated: Amy Adams (Vice), Emily Blunt (A Quiet Place), Regina King (If Beale Street Could Talk), Emma Stone (The Favourite), and Rachel Weisz (The Favourite)

Closest Runners-Up: Claire Foy (First Man), Nicole Kidman (Boy Erased), and Margot Robbie (Mary, Queen of Scots)

Should Be Nominated: Sakura Ando (Shoplifters), Zoe Kazan (The Ballad of Buster Scruggs), Regina King (If Beale Street Could Talk), Rachel McAdams (Disobedience), and Haley Lu Richardson (Support the Girls)

Supporting Actor

Timothée Chalamet

The same people who’re curiously doubting Regina King’s nomination chances seem awfully assured that Sam Elliott’s moist-eyed, clearly canonical backing-the-truck-up scene in A Star Is Born assures him not only a nomination but probably the win. Elliott missed nominations with both the Golden Globes and BAFTA, and it was hard not to notice just how enthusiasm for A Star Is Born seemed to be cooling during the same period Oscar ballots were in circulation. Right around the same time, it started becoming apparent that BlacKkKlansman is a stronger draw than anyone thought, which means Adam Driver (who everyone was already predicting for a nod) won’t have to suffer the representationally awkward fate of being the film’s only nominee. Otherwise, the category appears to favor previously awarded actors (Mahershala Ali and Sam Rockwell) or should have been previously awarded actors (Chalamet). Leaving Michael B. Jordan to remain a should have been previously nominated actor.

Will Be Nominated: Mahershala Ali (Green Book), Timothée Chalamet (Beautiful Boy), Adam Driver (BlacKkKlansman), Richard E. Grant (Can You Ever Forgive Me?), and Sam Rockwell (Vice)

Closest Runners-Up: Sam Elliott (A Star Is Born) and Michael B. Jordan (Black Panther)

Should Be Nominated: Timothée Chalamet (Beautiful Boy), Adam Driver (BlacKkKlansman), Hugh Grant (Paddington 2); Richard E. Grant (Can You Ever Forgive Me?), and Steven Yeun (Burning)

Adapted Screenplay

Can You Ever Forgive Me?

Get beyond the best picture hopefuls BlacKkKlansman and If Beale Street Could Talk, which seem deservedly locked, and A Star Is Born, which is even more deservedly iffy, and you’ll see the screenwriters’ branch deciding just how seriously to take themselves this year, and whether they’re feeling like spiritually reliving the moments that found them nominating Bridesmaids and Logan. If so, then expect Crazy Rich Asians and Black Panther to factor in here. If they most definitely don’t feel frisky, then maybe the foursquare First Man has a shot at reversing its overall downward trajectory. If they’re seeking that “just right” middle ground, then Can You Ever Forgive Me? and The Death of Stalin are in.

Will Be Nominated: BlacKkKlansman, Can You Ever Forgive Me?, The Death of Stalin, If Beale Street Could Talk, and A Star Is Born

Closest Runners-Up: Black Panther, Crazy Rich Asians, and First Man

Should Be Nominated: BlacKkKlansman, First Man, Leave No Trace, The Grief of Others, and We the Animals

Original Screenplay

First Reformed

It’s not unusual for some of the year’s most acclaimed movies whose strength isn’t necessarily in their scripts to get nominated only in the screenwriting categories. First Reformed, which even some of its fiercest defenders admit can sometimes feel a bit like Paul Schrader’s “It’s Still Rock and Roll to Me” greatest-hits package, stands to be another of them. But it’ll be a close call, given the number of other equally vanguard options they’ll be weighing it against, like Sorry to Bother You, which arguably feels more urgently in the moment in form, Eighth Grade, which is more empathetically post-#MeToo, and even Cold War, which had a surprisingly strong showing with BAFTA. Given the quartet of assured best picture contenders in the mix, First Reformed is going to have to hold off all of them.

Will Be Nominated: The Favourite, First Reformed, Green Book, Roma, and Vice

Closest Runners-Up: Cold War, Eighth Grade, and Sorry to Bother You

Should Be Nominated: The Ballad of Buster Scruggs, Bodied, First Reformed, Sorry to Bother You, and Western

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The 20 Best Music Videos of 2018

The year’s best music videos reflect the way we live now: the technology we use, the power we wield, and the places we carve out for ourselves.




The 20 Best Music Videos of 2018
Photo: YouTube

The year’s best music videos reflect the way we live now: the technology we use (“Vince Staples’s “Fun!”), the power we wield (the Carters’ “Apeshit”), and the places we carve out for ourselves (“Anderson .Paak’s “Til It’s Over”). They also acknowledge the state of the world, from systemic racism (Childish Gambino’s “This Is America”) to institutional corruption (Jack White’s “Corporation”). Notably, a clear majority of the videos on our list were created by or for artists of color, whose stories serve as an act of resistance against a racist regime. The year in music video wasn’t all gloom and doom, though, as both identity and resistance manifested in profoundly joyous ways in Chaka Khan’s “Like Sugar” and Kali Uchis’s “After the Storm.” And Bruno Mars and Migos embraced playful, nostalgic visions of the past—though it’s hard not to question whether even those ostensibly frivolous throwbacks are rooted in self-care and a need to romanticize a seemingly simpler time. Sal Cinquemani

20. Prince, “Mary Don’t You Weep”

There are no guns or mass shootings in the clip for Prince’s posthumously released “Mary Don’t You Weep,” but their absence isn’t conspicuous. Gun violence is, more than anything else, about the aftermath—the loss, the grief, the haunted lives left in the wake of a fleeting shot. Amid politicians’ perpetual handwringing over when the “right” time is to talk about solutions to this epidemic, Salomon Ligthelm’s exquisitely lensed video testifies to the notion that, at least for tens of thousands of Americans this year, it’s already too late. Cinquemani

19. Rosalía, “Malamente”

Barcelona-based collective Canada marries the traditional with the modern—as in an eye-popping freeze-frame of a bullfighter facing off with a motorcycle—in this spirited music video for Spanish singer-songwriter Rosalía’s flamenco-inspired hit “Malamente.” Alexa Camp

18. Ariana Grande, “God Is a Woman”

The music video for Ariana Grande’s sultry, subtly reggae-infused slow jam “God Is a Woman” finds the pop princess bathing in a milky swirl of vaginal water colors, fingering the eye of a hurricane, and deflecting misogynist epithets, a visual embodiment of her declaration that “I can be all the things you told me not to be/When you try to come for me, I keep on flourishing/And he sees the universe when I’m in company/It’s all in me.” Directed by Dave Meyers, the video mixes animation, digital eye candy, and references to classical artwork, as well as a few WTF moments, like a set piece in which a group of moles emerge from their holes and scream bloody murder. Pointed metaphors abound, from scenes of Grande walking a tightrope to literally breaking a glass ceiling. At one point, pop’s original feminist queen, Madonna, makes a cameo reciting the Old Testament by way of Pulp Fiction—with her own characteristic twist, of course, swapping “brothers” for “sisters.” Cinquemani

17. Bruno Mars featuring Cardi B, “Finesse (Remix)”

Bruno Mars directed the video for “Finesse” himself, and its note-perfect homage to the opening sequence of In Living Color shows him to be as adept a visual pastiche artist as he is a musical one. As with the song, however, it’s guest Cardi B who steals the show, dominating every second she’s on camera as the flyest of Fly Girls in tube socks, cutoffs, and larger-than-life hoop earrings. Zachary Hoskins

16. LCD Soundsystem, “Oh Baby”

Featuring masterful performances by Sissy Spacek and David Strathairn, LCD Soundsystem’s “Oh Baby” is a stirring saga of lovers venturing into the unknown. Directed by Rian Johnson, the video follows an aging couple who build a set of strange, inter-dimensional doorways. Enter one, and you can exit out of the other, but it’s never clear what reality exists between them. Simple, cinematic, and heart-wrenching, the clip is the perfect accompaniment for James Murphy’s ponderous, uplifting electro-pop. Paired together, Spacek and Strathairn convey love’s capacity to obliterate all barriers: loneliness, old age, even death. Pryor Stroud

15. Migos featuring Drake, “Walk It Talk It”

Migos’s “Walk It Talk It” takes place on a fictional television program called Culture Ride—a clear homage to the iconic show Soul Train. This isn’t the first music video to conceptually riff on the vintage variety show format; both OutKast’s “Hey Ya!” and the Strokes’s “Last Nite” are set in Ed Sullivan Show-style sound stages. But the video is still a triumph of flashy, vintage style. Offset, Quavo, and Takeoff surround themselves with dancing spectators and major stars, notably Jamie Foxx and Drake, all of whom are transfixed by the music they’re hearing. And just as they are today, Migos is the center of attention. Stroud

14. Azealia Banks, “Anna Wintour”

Yes, those really are Azealia Banks’s nipples. At least according to the New York singer-rapper-lightning-rod’s perennially deleted Twitter account. But the music video for Banks’s single “Anna Wintour” is striking not just because of the artist’s ample bosom. Directed by Matt Sukkar, the clip was filmed in an empty warehouse using understated faux-natural lighting, an apt visual milieu for Banks’s declaration of independence: “As the valley fills with darkness, shadows chase and run around…I’ll be better off alone, I’ll walk at my own pace.” Shots of a scantily clad Banks strutting on a metal catwalk, posing in a full-length mirror, and striking a pose in front of a backlit gate pay homage to Janet Jackson’s “The Pleasure Principle,” an iconic video by another female artist who was once determined to assert control. Camp

13. Flasher, “Material”

The internet has rendered media consumption so isolating that it takes a work of profound ingenuity to remind us that art is inherently a shared experience—even if that experience is one of infuriating data buffering, inescapable clickbait, and micro-targeted advertising. Directed by Nick Roney, Flasher’s meta visual for “Material” proves that YouTube has become so engrained in the fabric of modern life that the simple action of clicking out of a pop-up advertisement is now part of our brains’ cache of muscle memory. Though the video isn’t actually interactive, you just might find yourself unconsciously reaching to take control of what’s happening on your screen. Cinquemani

12. Jennifer Lopez featuring Cardi B and DJ Khaled, “Dinero”

The music video for Jennifer Lopez’s “Dinero” is as over the top as the song itself, which finds J. Lo alternately singing over a tropical rhythm and rapping atop a trap beat—sometimes both—while fellow Bronx upstart Cardi B boasts of their borough-based bona fides. Directed by Joseph Kahn, the black-and-white clip brazenly takes the piss out of Lopez’s dubious Jenny from the Block persona—and she’s clearly in on the joke, bowling with a diamond-covered ball, barbecuing in lingerie and pearls while sipping a crystal-encrusted Slurpee, toasting marshmallows over a burning pile of cash, and walking a preening pet ostrich on a leash. The video also features a blink-and-you’ll-miss-it cameo by a Casino-era Robert De Niro. Camp

11. Tierra Whack, “Whack World”

One of the most ambitious music video projects of the year, “Whack World” is a full-length accompaniment to Tierra Whack’s debut album of the same title. Like the album, it’s 15 minutes long, with the Philadelphia-based rapper and visual artist performing a wildly different vignette in each minute. Both album and video make for an impressive sampler of Whack’s versatility as a performer—which, in visual form, translates to her inhabiting a range of quirky and inventive characters, from a facially disfigured receptionist to a rapping corpse in a sequined coffin, a sentient house, and others that defy description. With a highlight reel like this, it’s hard to image there being anything Whack can’t do. Hoskins

10. Janelle Monáe, “Make Me Feel”

Every segment of the “emotion picture” released by Janelle Monáe to accompany her third album Dirty Computer is visually striking and thematically rich in its own way. But it’s the segment for lead single “Make Me Feel” that arguably stands best on its own. Directed by Monáe’s longtime collaborator Alan Ferguson, the video features the singer and 2018 It-girl Tessa Thompson at what may be the year’s coolest party captured on screen. Widely viewed as a coming-out moment for Monáe—her pansexuality is dramatized in her interactions with both Thompson and co-star Jayson Aaron—the clip is rife with references to two recently canonized icons of sexual fluidity, Prince and David Bowie. Monáe’s choreography with Thompson and Aaron echoes Prince’s with dancer Monique Mannen in the video for “Kiss,” while the dynamic of a bold, flamboyant alter ego performing for the singer’s more reserved self is borrowed from Bowie’s “Blue Jean.” As with her music, however, Monáe is capable of wearing these influences on her sleeve (and her silver bikini top) while still making them wholly her own. Hoskins

9. Chaka Khan, “Like Sugar”

The music video for R&B legend Chaka Khan’s first single in five years giddily foregrounds a multiplicity of black bodies via vibrant, kinetic montage. The joyous clip represents a celebration of identity and persistence in the face of adversity, a thread that shoots through many of the year’s best videos. Camp

8. Anderson .Paak, “Til It’s Over”

The music video has always sat at an awkward intersection of art and commerce, having originated as short film clips serving quite literally as “promos” for new singles. It’s thus only a little strange that Spike Jonze’s video for Anderson .Paak’s “Til It’s Over” isn’t a conventional one at all, but rather an extended commercial for Apple’s HomePod smart device. In the short vignette, FKA Twigs comes home from a long work day and asks Siri to play something she’d like. After a few seconds of .Paak’s voice coming out of her HomePod speakers, she discovers that her dancing can make the physical properties of her apartment stretch and shift. Both the simple, human joy of Twigs’s movements and the technical wizardry of the expanding room are so arresting that you’ll almost forget you’re being sold something. Hoskins

7. Travis Scott featuring Drake, “Sicko Mode”

The album cover for Travis Scott’s Astroworld painted a vivid picture of the eponymous theme park as a psychedelic, vaguely sinister landscape, dominated by a giant inflatable model of Scott’s head and decidedly not to be confused with the real-life (and long-defunct) Six Flags AstroWorld. But it’s the video for single “Sicko Mode,” directed by Dave Meyers, that really brings the place to life, turning the bleak landscape of Houston’s inner city into a post-apocalyptic playground of talking train graffiti and video vixens on bicycles while Scott rides past a prowling police cruiser on horseback. Much like the multi-part song, the clip isn’t cohesive, as the scenes during Drake’s guest verse almost seem to be cut in from an entirely different video. But the abundance of bizarre imagery, both menacing and absurd, ensures that it’s never boring. Hoskins

6. A$AP Rocky featuring Moby, “A$AP Forever”

The camera is the star of Dexter Navy’s video for “A$AP Forever”: whirling in dizzy circles above A$AP Rocky’s head and pulling in and out of a seemingly endless series of television monitors, street signs, smartphone screens, and other images within images. In the final sequence, the camera moves one last time into Rocky’s eyeball, revealing a reflected image of the rapper rotating in an anti-gravity chamber. Also, Moby is there. What it all means is anyone’s guess, but the trippy effect is a perfect complement to the strain of 21st-century psychedelia in Rocky’s music. Hoskins

5. Vince Staples, “Fun!”

Directed by Calmatic, the video for Vince Staples’s “Fun!” is both an astute condemnation of racial tourism and a (perhaps unintentional) auto-critique of hip-hop’s exportation of the black experience to middle America. Like Flasher’s “Material,” it’s also a bleak commentary on the ways technology—in this case, satellite mapping—has simultaneously united and divided the human race. Cinquemani

4. Jack White, “Corporation”

Jack White’s “Corporation” is just as oblique, ambitious, and political as the artist himself. Over the course of seven minutes, a series of surreal, seemingly disjointed events occur: a cowboy puts on lipstick, a rave starts in a diner, a little boy steals a car. By the end, you learn that all of the characters are simply different manifestations of White himself, revealing the alt-blues pioneer as someone we already knew him to be: a complex, multifaceted artist whose neuroses are intimately tied to his genius. Stroud

3. Kali Uchis featuring Tyler, the Creator and Bootsy Collins, “After the Storm”

Like the contemporary surrealist photos of its director, Nadia Lee Cohen, the video for “After the Storm” pairs a rich Technicolor palette with a playfully elastic approach to everyday banality: bringing P-Funk icon Bootsy Collins to (animated) life as a cereal box mascot and making rapper Tyler, the Creator grow from a garden like a literal “Flower Boy.” That these whimsical images appear alongside shots of singer Kali Uchis, dolled up in mid-century attire and staring blankly into the distance, suggest that they’re meant to dramatize the daydreams of a bored 1950s suburbanite. This makes the video’s final image, of Uchis and a fully sprouted Tyler acting out an idyllic nuclear family scene while their own disembodied Chia-pet heads look on from the window, as vaguely disquieting as it is humorous. Hoskins

2. The Carters, “Apeshit”

The Carters’s Everything Is Love may not have achieved the same cultural ubiquity as Beyoncé‘s Lemonade, or Jay-Z’s 4:44, but it spawned one of the year’s most poignant videos. In “Apeshit,” the power couple performs in a vacant Louvre, commandeering the world’s most famous museum without breaking a sweat. It’s a radical testament to their influence as artists, business people, and political players, as well as a bold statement about the overlooked primacy of blackness in the Western canon. Stroud

1. Childish Gambino, “This Is America”

Surprise-released to coincide with Donald Glover’s double duty as host and musical guest on Saturday Night Live in May, the provocative video for “This Is America” was already inspiring breathless think pieces by the following morning. Directed by Hiro Murai, Glover’s principal collaborator on FX’s Atlanta, “This Is America” shares with many of that show’s best episodes a knack for getting under viewers’ skins, presenting highly charged images with just enough ambiguity to encourage social media reactions of the “WTF did I just watch” variety. But if the last seven months of critical dissection and memetic recycling have inevitably dulled some of its shock value—and, by extension, its power as a political statement—the video remains an astounding artistic achievement. In a series of long shots cleverly disguised as one uninterrupted take, Glover pulls dances and faces from the intertwined traditions of pop culture and minstrelsy, seamlessly juxtaposed with eruptions of sudden, graphic gun violence. In both extremes, it’s impossible to take your eyes off of him—which is, of course, the point. Like the never-ending train wreck that is American history itself, “This is America” offers entertainment and grotesquerie in equal measure. Hoskins

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The 30 Best Film Performances of 2018

These performances share a commitment to achieving emotional vitality by any means necessary.




The 30 Best Film Performances of 2018
Photo: Fox Searchlight Pictures

This year offered a feast of cinematic acting that pivoted on surprise, in terms of unconventional casting that allowed performers to add new shades to their established personas, as well as in blistering work by newcomers. These performances share a commitment to achieving emotional vitality by any means necessary, shattering the banality of expectation to elaborate on universal feelings that are too easily submerged by us on our day-to-day toils. Which is to say that the finest film acting of 2018 was less indebted to the representational “realism” that often wins awards than to fashioning a bold kind of behavioral expressionism. Like many of their filmmaker collaborators, these actors are master stylists. Chuck Bowen

The 30 Best Film Performances of 2018

Sakura Ando, Shoplifters

As Nobuyo, the default “mother” of an informal family of hustlers on the margins of present-day Tokyo, Sakura Ando enriches Hirokazu Kore-eda’s gentle social drama with her bracing articulation of her character’s self-discovery. Nobuya’s melodramatic arc—a woman with dark secrets whose hard-won redemption is inevitably undone by higher forces—culminates in an agonizing one-shot unraveling, but what makes her fate so devastating is the sense of surprise and liberation that Ando brings to Nobuya’s acceptance of new responsibilities, passions, and her own self-worth. Christopher Gray

The 30 Best Film Performances of 2018

Juliette Binoche, Let the Sunshine In

For all of her versatility, Juliette Binoche has never particularly been noted for her comic skills, but she displays a subtle wit as the middle-aged and single Isabelle in Claire Denis’s Let the Sunshine In, often dismissing petulant, needy men with scarcely more than a mocking glance or a passive-aggressive comment. Binoche truly shines, though, in scenes that play up Isabelle’s feelings of panic and loneliness over having to date again, such as when Isabelle reminisces about her ex-husband and, in the process, a whole panoply of emotions, including resentment and wistfulness, flit anxiously across the actress’s face. Most moving of all is the outright panic that Isabelle betrays when a wonderful date urges her to take things slowly, triggering an existential attack over her perceived lack of time to find another partner so late in life. Jake Cole

The 30 Best Film Performances of 2018

Emily Browning, Golden Exits

Golden Exits sustains a lingering aura of futility that’s counterweighted by the film’s beauty and by the exhilaration of seeing Alex Ross Perry realize his vast ambitions, as he’s made a modern film about relationships and social constrictions that clears the bar set by the work of John Cassavetes and Woody Allen. Perry also ultimately empathizes with Naomi, who’s paradoxically diminished by her status as the narrative’s center of attention. Regarded by her American acquaintances as a barometer of their own personal failures, Naomi is never truly noticed. She’s the gorgeous woman as specter, played by Emily Browning with an ambiguity that carries a heartbreaking suggestion: that Naomi’s unknowable because no one wishes to know her. Bowen

The 30 Best Film Performances of 2018

Nicolas Cage, Mandy

Mandy‘s smorgasbord of indulgences is held together by Nicolas Cage, who gives one of the best performances of his career. Director Panos Cosmatos understands Cage as well as any director ever has, fashioning a series of moments that allow the actor to rhythmically blow off his top, exorcising Red’s rage and longing as well as, presumably, his own. In the film’s best scene, Red storms into the bathroom of his cabin and lets out a primal roar, while chugging a bottle of liquor that was stashed under the sink. Cage gives this scene a disquieting sense of relief, investing huge emotional notes with a lingering undercurrent that cuts to the heart of the film itself. Bowen

The 30 Best Film Performances of 2018

Toni Collette, Hereditary

Flashes of insanity and malaise factor into Toni Collette’s performance in Hereditary, yet Annie cannot be defined by such traits often linked to the trope of a hysterical woman. Instead, Collette’s glares of frustration suggest a world of complicated emotions that extend well beyond pain. Terror and intense focus become indecipherable in Collette’s eyes as Annie, a diorama artist, is torn from her profession by conspiring forces, making the film’s outcome feel even more like a cross between a cruel joke and a rebuke of society’s stacking the deck through maternal guilt and shame against Annie’s aspiring career. Clayton Dillard

The 30 Best Film Performances of 2018

Olivia Colman, Emma Stone, and Rachel Weisz, The Favourite

As Queen Anne and her rival sycophants, Olivia Colman, Emma Stone, and Rachel Weisz, respectively, establish a delicious series of manipulative, barbarous, and poignant emotional cross-currents throughout The Favourite. Stone and Weisz verbally parry and thrust at lightning speed, one-upping one another in an escalating series of duels that inspire the actresses to give among the finest performances of their careers, while Colman expertly operates at a slower, daringly draggy and exposed speed, painting a portrait of a woman imprisoned by entitlement. Collectively, this superb acting also achieves the near miraculous feat of rendering a Yorgos Lanthimos film authentically human. Bowen

The 30 Best Film Performances of 2018

Matt Dillon, The House That Jack Built

It’s no secret that Jack (Matt Dillon), the viciously misogynistic serial killer at the heart of Lars von Trier’s The House That Jack Built, is at least partially a stand-in for the director himself, and the genius of Dillon’s interpretation of the character is that he never seems to be sucking up to the man who created it. He plays Jack as ruthless, self-pitying, and disturbingly empty—Hannibal Lecter without the wit or charm. No mere pawn of the Danish provocateur’s autocritical schema, Dillon both deepens and challenges von Trier’s intended self-portraiture with the uncanny blankness of his performance, creating in the process an absolutely chilling embodiment of evil. Keith Watson

The 30 Best Film Performances of 2018

Adam Driver, BlackKklansman

Though BlackKklansman was marketed as the story of an African-American police officer impersonating a member of the Ku Klux Klan in the 1970s, it also concerns a Jewish cop’s efforts to do the same by offering a white face to accompany a vocal charade. As said cop, Flip Zimmerman, Adam Driver deliriously plumbs head-first into a disturbing irony, acknowledging the catharses that can be had by indulging in disgusting epithets secretly at one’s own expense. Or, simply: Flip insults himself, and those close to him, and Driver elucidates the character’s disgust as well as the weird spiritual purging that can occur by indulging one’s basest instincts. One of America’s best and most sensitive actors offers perhaps his finest portrait yet of a soul twisted in contradictory knots. Bowen

The 30 Best Film Performances of 2018

Elsie Fisher, Eighth Grade

It’s a testament to the authenticity of Elsie Fisher’s performance in Eighth Grade that you’d never have guessed she’d been in front of a camera before, much less that she’s been acting consistently for years. As Kayla, the awkward, unpopular tween protagonist of Bo Burnham’s film, Fisher infuses every stammered “umm” and stumbling “like” with a palpable sense of self-loathing and social anxiety. For anyone who ever felt like Kayla in middle school, Fisher’s painfully real performance is liable to induce PTSD. Watson

The 30 Best Film Performances of 2018

Ben Foster and Thomasin McKenzie, Leave No Trace

Finally shedding his tick-laden parlor games, Ben Foster comes to life as an actor, connecting with Will and giving him a fearful thickness of being that’s only occasionally leavened by Tom, whom Thomasin McKenzie invests with the trembling, negotiating intelligence of an unformed prodigy. Will and Tom and Foster and McKenzie’s energies are beautifully in and out of sync, simultaneously. Foster confidently cedes the film to McKenzie, which parallels Will’s gradual relinquishing of authority to Tom. Both characters know that it’s unfair to expect Tom to inherit Will’s alienation, as she has the right to give this potentially doomed society a chance, to fight for it as well as herself. In Leave No Trace‘s heartbreaking climax, a relationship dies so that an individual, and maybe even a society, may be reborn. Bowen

The 30 Best Film Performances of 2018

Hugh Grant, Paddington 2

Hugh Grant may well be more cartoonish than the animated bear protagonist of Paddington 2. As the film’s villain, a has-been thespian with the world’s most convoluted scheme to finance a one-man show, Grant can scarcely utter a syllable without throwing his head back and exclaiming it to the rafters, and the actor’s body language—a series of shocked gasps, wild-eyed stares, and manic grins—is similarly absurd. As Phoenix dons a series of ever-more elaborate disguises throughout the film, Grant’s acting somehow gets even broader, resulting in a work of giddy panto and one of the finest comic performances in recent memory. Cole

The 30 Best Film Performances of 2018

Regina Hall, Support the Girls

It’s not often that we see decency and level-headedness radiated on screen as convincingly as it is by Regina Hall in Support the Girls, much less a film centered around such a performance. As Lisa, a put-upon restaurant manager enduring a particularly hectic day on the job, Hall suppresses the comic histrionics that she’s become known for in mainstream comedy movies in order to inhabit the delicate naturalism that writer-director Andrew Bujalski consistently cultivates in his casts. Slipping into this mode with grace, the actress conveys the sheer exhaustion and frustration of nine-to-five existence with just the subtlest of disruptions to an exterior of buttoned-up professionalism. Carson Lund

The 30 Best Film Performances of 2018

Ethan Hawke, First Reformed

As the great blackness of night swoops in, we reach for assurances of “the everlasting arms,” as sung about in First Reformed‘s concluding hymnal. Ethan Hawke’s staggering performance is one of Ecclesiastian sympathy, with watchful longing and hungry silences in between reminders of Toller’s own impotence to change the world. The man’s face suggests a tragic predicament that the only ark to save us from an impending flood is in our illusions. Niles Schwartz

The 30 Best Film Performances of 2018

Bill Heck and Zoe Kazan, The Ballad of Buster Scruggs

Nearly every actor in the Coen brothers’ newest anti-western is remarkable, but Zoe Kazan and Bill Heck are particularly heartbreaking, partly because the audience has been so expertly rendered vulnerable to the vignette in which they appear. By the time that we get to “The Gal Who Got Rattled” in The Ballad of Buster Scruggs, we’ve seen so much brutality and cynicism that we’re hardened for more of the same only to encounter tenderness. As potential lovers who never get to be, Kazan and Heck dramatize the unmooring vulnerability of feeling attraction just when you suspect that you’ve aged out of it, informing the Coens’ florid, beautiful dialogue with trembling pathos. Bowen

The 30 Best Film Performances of 2018

Brian Tyree Henry, If Beale Street Could Talk

For this critic, the lovers at the center of Barry Jenkins’s newest parable of racism are too gorgeous, primped, fawning, symbolic, metaphorical, and seemingly straight out of a coffee-table book. As a man recently out of prison after serving a stretch he didn’t deserve, Brian Tyree Henry does for If Beale Street Could Talk what he did for Widows and continues to do for Atlanta: informing potentially self-conscious conceits with a jolting burst of common-sense machismo. If Beale Street Could Talk‘s most haunting scene is a monologue that’s hypnotically uttered by Tyree, allowing this film, for a few minutes, to actually capture the brutal poetry of the James Baldwin novel that inspired it. Bowen

The 30 Best Film Performances of 2018

Helena Howard, Madeline’s Madeline

The center of a film about commitment and disassociation, Helena Howard’s Madeline evidently relishes the opportunity to change identities in the blink of an eye. Director Josephine Decker contrasts the aspiring actress’s easy mastery of improv exercises with Madeline’s harried life outside of rehearsal, where she’s regularly manipulated by her mother and an overeager director as she struggles to control her mental illness. Decker’s film is willfully alienating in its commitment to Madeline’s tortured interiority, but Howard steers it with an undeniable power and confidence, making Madeline’s rootless chaos feel entirely legible. Gray

The 30 Best Film Performances of 2018

Bhreagh MacNeil, Werewolf

Werewolf belongs to the extraordinary Bhreagh MacNeil. The film derives quite a bit of its power from allowing Vanessa to unceremoniously wrest the spotlight away from Blaise (Andrew Gillis), a lost and bitter man whose quest for recovery is probably hopeless. MacNeil doesn’t project Vanessa’s determination in a manner that’s familiar to rehabilitation fables, but rather physically embodies it, and McKenzie doesn’t mar her with any screenwriterly speeches. We see Vanessa’s strength in the steel of her eyes, in her willingness to ask family for help, and in her ability to get a thankless job at an old-fashioned burger and soft-serve ice cream joint, in which she grinds imitation Oreo cookies into pieces with a machine that resembles a sausage grinder. The fierceness with which Vanessa grinds these cookies—or attempts to master an ice cream machine that resembles a liquid methadone dispenser—is haunting. Bowen

The 30 Best Film Performances of 2018

Rachel McAdams, Disobedience

Esti (Rachel McAdams), at first glance, is another type: an obsequious adherent to orthodoxy. When she passionately kisses Dovid (Alessandro Nivola), you understood the gesture as compensatory, to convey that I’m just not that into her anymore. But then McAdams caps the moment by quickly playing with Nivola’s beard, and the actress subtly communicates the sense of the genuine love that exits between this husband and wife—an impression that’s confirmed when Esti later repeats the gesture with Ronit (Rachel Weisz). Only theirs is a different kind of love, and we finally get a sense of what that is when, during a tryst in a hotel room, Ronit casually sends a stream of her spit into Esti’s mouth. This moment feels organically, almost miraculously stumbled upon—arrived at by two great actors wanting to convey the singular nature of their characters’ communion. Ed Gonzalez

The 30 Best Film Performances of 2018

Melissa McCarthy and Richard E. Grant, Can You Ever Forgive Me?

The pairing of Melissa McCarthy, a Hollywood A-lister, with Richard E. Grant, a sublime arthouse presence, is one of the most invigorating surprises of this year’s cinema. McCarthy avoids the pitfall of comic actors appearing in unusually dramatic material. Rather than restricting her emotional catalogue to a few grim gestures of purposefulness, McCarthy expands her repertoire, elaborating on the sadness that’s inherent in even her blockbuster roles—a sadness that also fuels her comic virtuosity. And Grant is complicit with McCarthy’s tonal dexterity in every way. Together they offer an irresistible portrait of a bittersweet paradox of companionable alienation. Bowen

The 30 Best Film Performances of 2018

Ben Mendelsohn, The Land of Steady Habits

The Land of Steady Habits benefits enormously from the casting of Ben Mendelsohn as an unexceptionally tormented upper-middle-class guy. Here, the actor submerges the aggression that’s often closer to the surface of his sleazy villain roles, giving Anders a mysterious internal tension that’s compelling and often funny. When writer-director Nicole Holofcener follows Anders around as he drifts in and out of the lives of Helene (Edie Falco) and his grown son, Preston (Thomas Mann), and their various friends, the film has a free-associational piquancy. Bowen

The 30 Best Film Performances of 2018

Jason Mitchell, Tyrel

Sebastián Silva tasks Jason Mitchell with carrying the weight of Tyrel on the actor’s face; he’s asked to project toughness in reaction shots to aggressions both micro and macro from Tyler’s white bros, then later vulnerability as he steals away for moments of quietude to escape the ambiguous pain of social discomfort. While the scenario and performance is comparable to that of Daniel Kaluuya’s in Get Out, Mitchell’s Tyler isn’t given a catharsis of violent retribution. Mitchell’s expressions and gestures convey the betrayal of a daily life that never lets Tyler feel at ease, let alone at home. Dillard

The 30 Best Film Performances of 2018

Michelle Pfeiffer, Where Is Kyra?

Michelle Pfeiffer’s ferociously vulnerable and intelligent performance elucidates the pain, resentment, and fear that springs from escalating disappointment. Pfeiffer informs Kyra with a fragile mixture of empathy and rage, which is particularly on display when Kyra cares for her mother, Ruth, who’s played by Suzanne Shepard with a wily and commanding dignity. Kyra is understood by Pfeiffer to be taking qualified pleasure in her own effacement, as it implies an escape from a world that has rejected her. Early in the film, we see Kyra preparing a bath for Ruth, and a mirror fashions a prism in which mother and daughter are cordoned off from one another yet simultaneously visible, evoking the punishing intimacy, and the comfort, of caring for a dependent. Bowen

The 30 Best Film Performances of 2018

Meinhard Neumann, Western

Casting is everything, the saying goes, but that’s especially true when filmmakers elect to use nonprofessionals, in which case ineffable factors such as “presence” and “authenticity” become paramount. Meinhard Neumann, the grizzled, mustachioed brooder at the center of Western who director Valeska Grisebach came across on a whim at a horse market, has these qualities in spades, in addition to a seemingly preternatural capacity for playing to Grisebach’s roving handheld camera and finding his light. His taciturn, repressed Meinhard doesn’t have a wide expressive range, but when the character does undergo a few emotional breakthroughs in the latter half of the film, Neumann seems to be genuinely accessing reserves of pain and regret deep within himself. Lund

The 30 Best Film Performances of 2018

Jesse Plemons, Game Night

John Francis Daley and Jonathan Goldstein assembled one of the strongest comedic ensembles in recent memory for Game Night, but a single performer still managed to steal the show: Jesse Plemons as the weirdo Gary, a sad-sack cop with a broken heart whose self-pitying glumness could ruin anyone’s vibe. Pitched perfectly at the intersection of creepiness and pathos, Plemons earns big laughs without really seeming to try. The hilarity arises instead from his expertly discomfiting embodiment of one of those off-putting personality types we’ve all unfortunately encountered: the guy you feel bad for but desperately want to get away from as fast as humanly possible. Watson

The 30 Best Film Performances of 2018

Steven Yeun, Burning

Lee Chang-dong’s Burning is driven by a central mystery of purpose. To what genre does this film belong? Is it a horror film, a romantic triangle, a class critique, or a beguiling fusion of all of the above? Much of this mystery is embodied by Steven Yeun’s performance as a rich smoothie who’s far more appealing than the floundering hero, which strikes up a crisis in the audience’s empathy that resonates with our romantic preferences in real life. Turns out there’s a reason that confident people get all the lovers, because they are, well, confident. Yet Yeun laces his sexiness with the subtlest tint of passive aggression, so subtle that one wonders if it’s even there, investing Burning with a fleeting malignancy that’s worthy of Claude Chabrol. Bowen

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