Top 10 Films of 2017

Here are my 10 favourite films of 2017.

10. Baby Driver – Edgar Wright

Baby Driver

An irresistibly enjoyable film made by one of the most inventive directors working today. Bringing together the car-chase thrillers of Burt Reynolds and Steve McQueen and the classic musicals of Gene Kelly and Fred Astaire, Baby Driver is a splendid, song-filled joy ride from beginning to end. Telling the story of a hearing-impaired, baby-faced getaway driver trying to leave his life of crime behind so he can run away with his sweetheart, this is a film bursting to the seams with life and energy. Wright is on top form as he takes through Baby’s musical world with all the creativity and imagination he’s known for. In one scene where Baby is simply walking down the street to pick up some coffee, Wright matches his surroundings with the tone and tempo and song he’s listening to and lines him up with a variety of visual cues. By doing so he is showing us how completely in sync Baby is with the world around him and he brings them together in a perfect harmony. The story itself isn’t anything great, but who cares about that when you’ve got style, character, and heart? This movie has got plenty and it is a delight to sit through. This is an idea that should’ve definitely not worked, but those kinds of ideas are Edgar Wright’s bread and butter. Review here.

 

 9. The Death of Stalin – Armando Iannucci

The Death of Stalin

This was one of the funniest and most agonising movies I’ve seen in a while. Depicting the death of a man who was so feared by his own people that a simple request for a recording of a radio broadcast was enough to send a studio into pandemonium, The Death of Stalin finds humour in the terror and shows the chaotic, morbid aftermath for the horrifying farce that it was. Plots were schemed, backdoor deals were struck, and shots were fired, all in the interest of consolidating power in this tyrannical state where saying the wrong thing (or even appearing to) will get you killed before you can say “long live Stalin”. Even as Stalin lay their on the urine-soaked floor, nobody even dared suggest that he might need a doctor for fear that he would hear them, recover, and regard them as traitors for their lack of faith. It works because the characters do not realise that they are in a comedy, they are simply subjects of the pressures and anxieties of Stalinist Russia scrambling to get ahead of each other by any means necessary. They hatch their diabolical plans and exploit their hapless subordinates and the humour comes with the ever-rising absurdity, desperation and horror of it all. Iannucci assembles a first-rate cast and together they’ve deliver a comedy so unbearable you won’t know whether to laugh or tear your own hair out. Review here.

 

 8. War for the Planet of the Apes – Matt Reeves

War for the Planet of the Apes

I still cannot believe that a movie about sentient apes fighting a war against humankind ended up being one of my favourite films of the year, but here we are. It is the conclusion to an epic trilogy about evolution, survival, and humanity where it all builds up to an all out war between the humans and the apes, both of whom are fighting for their very existence. It is a costly war for both sides and, when Caesar ends up paying a price that is too terrible and tragic to bear, it becomes about nothing more than vengeance. So it is for The Colonel as well, a leader being confronted with the very extinction of his species and responding in the only way he knows how: blood, revenge, and death. Serkis and Harrelson are both excellent at playing these mirror images of each other, two men (so to speak) shaped by a lifetime of violence and misfortune who no longer have anything left to lost except their humanity. It is a brutal and deeply tragic war, more so because in the middle of it all we can see that the possibility for compassion and co-existence is there, if only things had gone differently. Review here.

 

7. Coco – Lee Unkrich, Adrian Molina

Coco

Based heavily on Mexican folklore and culture, Coco marks a bigger departure for Pixar than usual, but one that works wonderfully. Through the story of a young boy with dreams of becoming a musician who ends up meeting his ancestors in the Land of the Dead, the film tells a moving, poignant tale about family and legacy and the power of music to bring people together. Like the best Pixar movies it is complex yet comprehensible, huge yet intimate, and fun yet emotional. It depicts the tale of a journey, again like all Pixar films do, one full of twists and turns, many of which you may very well see coming but which still feel no less touching or rewarding because of it. It captures a tone that you don’t see often in American films (never mind animated or Hollywood films!), one that assumes a distinctly Central-American point-of-view. With the way it expresses its views on spirituality and family, Coco feels like an honest representation of the culture it portrays as opposed to an Americanised version of that culture. The animation is breathtaking, the music is delightful, the performances are wonderful, there is no end to the list of what makes Coco great. It is Pixar doing what they do best: telling great stories to an audience of all ages.

 

6. Star Wars: The Last Jedi – Rian Johnson

The Last Jedi

After The Force Awakens played it safe with its revival of the epic sci-fi/fantasy saga, The Last Jedi has sought to take more risks and take the story into new directions. It was a bold move and I think it paid off. The Last Jedi does more than any Star Wars movie since the Original Trilogy to lead the franchise into uncharted waters and expand on the mythos in unprecedented ways. It harkens to the past and considers the role it does and should have on shaping the present before ultimately passing the torch and moving the story onwards into an unknown but promising future. Along the way it provides us with superb action, enjoyable laughs, and incredible character moments particularly where Rey, Kylo Ren, and Luke are concerned. All three characters feel trapped and lost by the traumas of their pasts and through them the film is able to explore fascinating ideas around the themes of legacy, destiny, and redemption. With such sequences as the fight in the throne room and the showdown on the salt planet, The Last Jedi also triumphs as the best-directed, most visually magnificent Star Wars film to date. The Force Awakens left me feeling relieved about the future of Star Wars. Today, The Last Jedi has me feeling excited. Review here.

 

5. Dunkirk – Christopher Nolan

Dunkirk

Probably the single most cinematic experience I’ve had this year, Dunkirk is truly something to behold. The scale of this film is epically immense and it is bursting with breathtaking images and earth-shattering sounds that will shake you to your core. Telling the story of the 1940 British evacuation from Nazi-occupied France across three separate timelines, Nolan has constructed a masterwork in tension and suspense that perhaps not even Hitchcock could have believed. The movie picks up its momentum from the first frame and never lets it go for a second. Even when it appears that things have calmed down for some of the characters, we can never relax because we know that it’s just the calm before the next storm. There is very little of the brutal war imagery that you might have seen in the likes of Hacksaw Ridge, but the emotional turmoil that Nolan taps into through his characters is so agonising and dreadful that Dunkirk proves every bit as devastating as even the bloodiest, most barbaric of war films. And yet, in all of the film’s sheer range and scale, the humanity is never lost. You feel like you really are there with the characters, which makes you root all the harder for their survival. In the end, when the survivors do finally make it out, it’s almost like you’ve been holding your breath the entire time and now, finally, you get to let out a sigh of relief. Review here.

 

4. mother! – Darren Aronofsky

Jennifer Lawrence in Mother! Credit: Paramount Pictures

Honestly, I keep going back and forth on this one and I debated whether to include it on the list at all. On one hand it is a difficult film to watch; it is antagonistically inaccessible, often grotesque, and relentlessly inscrutable. On the other, it is a fascinatingly crafted and dreadfully compelling film that demands to be watched, analysed, and debated. In the months since the film’s release I’ve talked about mother! to numerous people and have yet to encounter a mild or indifferent take on the film. It is an extreme film and everyone who has gone to see it has had an extreme reaction, both positive and negative. Even my initial reaction, indecisiveness, was extreme. The more I’ve thought and read about mother! though, the less interested I’ve gotten in determining whether it is a ‘good’ or a ‘bad’ film. It certainly has good aspects; Aronofsky’s direction and Libatique’s cinematography made for a visually engrossing experience and Lawrence was stellar throughout. What’s more important, to me anyway, is that mother! is truly unlike anything else I’ve seen this year (and most of what I’ve seen full stop) and it left me all at once astounded, perplexed, confounded, disgusted, traumatised, and deeply affected in a way that I cannot explain. I will take that over mild amusement any day. Review here.

 

3. Get Out – Jordan Peele

Get Out

Perhaps the most timely movie to come out all the year, Get Out is a film that needed to be released in 2017. It takes the story of a young black man meeting his white girlfriend’s left-wing, suburban family and turns it into a horror film. It’s a comedy as well, except the subject is so relevant to what’s happening in the USA today that you can barely bring yourself to laugh for fear you might cry. Peele displays an uncanny understanding of what it really means to be black in America today and he unpacks it here in a terribly clever way while still allowing the film to be enormously entertaining. It pays to rewatch this movie because it is only the second (or third, or fourth, or…) viewing that you start to appreciate the attention to detail in this meticulously crafted story with its subtle clues and expert use of foreshadowing. What is immediately apparent on the first viewing though is the eerie sense of dread and uneasiness that Peele is able to convey that takes us from the fish-out-of-water sensation that Chris feels in this setting to his increasingly overwhelming suspicion that something is seriously amiss. If I could only recommend one movie on this list to everyone, it would be Get Out. It’s too good and too important not to watch. Review here.

 

2. Logan – James Mangold

Logan

This was somehow both the Wolverine film I always wanted and didn’t know I wanted. It delivers all the R-rated cussing and bloodiness that the character has always needed to truly come into his own, but it also tells a profound, sophisticated story through the character that raises him to greater emotional and thematic heights than ever before and it provides an eye-opening commentary on the superhero movies as a genre. Logan was of course Jackman’s final outing as the mutant that made him a star and he has never been better. He is old, haggard and disillusioned and the father-figure who once inspired him is now a raving loony who can no longer control his immensely powerful and dangerous mind. When circumstances force him to escort a young girl to the Canadian border, the journey that unfolds is a turbulent one that forces Logan to confront the ghosts and demons of his past and challenges the superhero mythos that has developed in the 17 years since the first X-Men movie in a way that no other movie in this genre has ever done. The character work done with Logan, Laura and Charles Xavier is wonderful and the film’s deconstruction of superhero movies (the never-ending cycle of violence, the paradoxical morality, the inherent trauma of self-sacrificing heroism) makes it the best contribution to the genre since The Dark Knight. This is great and touching a swan song as you could possibly give a character this popular and iconic. Review here.

 

1. Blade Runner 2049 – Denis Villeneuve

Blade Runner 2049

The most visually stunning film of the year and also, I think, the most profound. A common mistake often seen in ambitious science fiction is this tendency to focus on complex, philosophical themes without taking the time to establish an emotional connection with the audience, resulting in a film that feels convoluted, self-indulgent, and empty. Blade Runner 2049 is an ambitious film but it is also a deeply moving one with great characters and a gripping plot, both of which add emotional stakes to the themes being explored. It takes the ideas of humanity and existence that Scott’s 1982 masterpiece explored so beautifully and expands on them in astonishing ways, aided in no small part by Deakins’ stunning imagery. Every single frame is a breathtaking work of art and the poetry they bring to the story being told is what elevated this film beyond all the others I saw this year. In the scene where K is approached by a giant hologram at his greatest moment of despair, I was moved not just by the beauty of the image but also by how it perfectly encapsulated the devastation and loss he feels in the face of the cost he has had to pay to get to the truth. It is a perfectly crafted film that tells a wonderfully constructed story. Review here.

 

Honourable Mention: Twin Peaks: The Return – David Lynch

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I could not in good conscience include Twin Peaks in my top 10 film list because it is, despite what Lynch himself says, television. Even so, I still want to take the chance to write about this 18-hour tour de force because I found it to be my most emotionally tumultuous viewing experience of the year. At times I loved it and at others I hated it. Sometimes I felt like I could see the order and meaning beneath all the madness and at others I found myself utterly baffled and completely lost. And yet, no matter how confusing, frustrating, or downright impenetrable this show got, I was captivated by every single second of it. Rejecting the rules of traditional storytelling, Twin Peaks is instead more like a composition of dreamlike images and sounds that follow their own internal logic and it is a series that defies categorisation and convention. Lynch has always been one of those directors who has never had any interest in straightforward narratives or playing to an audience and he has only gotten more cryptic with age. Here he takes countless unprecedented chances with the absolute confidence of a master and has created something truly new, strange and transcendent unlike anything else in the history of television. From the mystery of the Black Lodge to the silliness of Dougie Jones to the darkness of the atom bomb and the evil force it created, this was a wild rollercoaster of a series and was more challenging and confounding than anything I saw in the cinema, but also more fascinating and overwhelming.

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mother!

Cast: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer

Director: Darren Aronofsky

Writer: Darren Aronofsky


Divisive doesn’t even begin to cover the reception this film has received. mother! has inspired acclaim, hatred, adoration, revulsion, amusement, confusion, horror, curiosity, contemplation, frustration, and so much more from its audience. Some have applauded in ecstasy; others have walked out in disgust. Some hail it as an epic masterpiece; others disparage it as an epic catastrophe; and others still have absolutely no idea what to make of it whatsoever. It is a difficult film to watch, that much is certain. mother! is downright alienating, oftentimes horrifying, and relentlessly inscrutable. But it is also fascinating and unique. There’s never been a film quite like this and it’s one that compellingly draws your eyes and holds your attention the way that either a magnificent painting or a calamitous car crash would. I’ll try to go into more detail about the story and what I took from it, but personally I think the viewer should go in knowing nothing and would encourage anyone who has not seen it to stop reading now and go watch it.

Seriously, nothing I can say can prepare you for what happens. Whether you end up liking it or not, the only way to understand what kind of film mother! is is to actually watch it. If, however, you’re interested in knowing more about the story and what I think it means (if it means anything at all) then read on.

The movie is set in an old house in the middle of nowhere that was previously destroyed in a fire but has since been rebuilt and its two inhabitant are Mother (Jennifer Lawrence) and Him (Javier Bardem). He is a famous writer trying to start a new novel but is unable to find the words and she is his young wife who occupies her time with remodelling her husband’s house. The two live a quiet life completely cut off from civilisation, perfectly content with no other company but their own. Later they are visited by Man (Ed Harris), a lost traveller who asks for a place to stay for the night. The next day they are joined by his wife Woman (Michelle Pfeiffer). Mother isn’t keen on the idea of having visitors over, fearing the damage they might do to the house or the disruption they’ll cause to their quiet, solitary life, but her husband is positively delighted to have them stay.

It would appear to be a simple enough set-up, but there’s something else going on. Within the first 10-15 minutes, it became clear to me that this movie does not take place anywhere that we would recognise as the real world. The way that we never see any trace of an outside civilisation and the way that time doesn’t seem to have any structure or meaning here suggests this. The house itself appears to have more going on beneath the surface as we see when Mother puts her hand on the wall and sees what looks and sounds like a dying heart. After the visitors start arriving, things only proceed to get more insane and surreal and Aronofsky seems adamant that the audience’s hand must not be held through any of it. Events escalate as the movie moves closer to its increasingly chaotic climax and through it all the movie remains steadfastly metaphorical. It is clear that this is a movie that has no intentions of playing by the rules and Aronofsky never makes any apologies for it.

Our protagonist is Lawrence’s Mother and she is just as confused by what’s going on as we are. Aronofsky makes a strong effort to convey a POV affect by fixing the camera tightly on Lawrence for prolonged takes and shooting other scenes from over her shoulder, drawing a clear focus to her perspective and reactions. Her character has no apparent ambitions or desires apart from living with her husband, being completely devoted to him, and becoming the titular mother that she is destined to become. Her husband is less content with their life, suffering from writer’s block and revelling in the company of others (especially when he discovers them to be admirers of his work). He continues to neglect his wife’s wants and feelings as he indulges himself in the encouragement and admiration of others and she’s left with the task of cleaning up after them. The film takes on a Rosemary’s Baby vibe as Mother starts to feel like everyone is out to get her, destroying everything she holds dear and attacking her while her husband remains oblivious to her anxieties.

Anyone who has ever attended Sunday school will start picking up on the film’s biblical connotations before long. Lawrence serves as a stand-in for nature (or Mother Earth if you want to assign a character to her) while Bardem’s Him is God. Man and Woman then would clearly be Adam and Eve and later on the film’s introduces two characters to represent Cain and Abel. This, in turn, would apparently make Mother’s eventual child a stand-in for Christ. So what is the film trying to say with that? Well, given the duress and trauma inflicted on Mother throughout the film, both physical and emotional, perhaps this film is an allegory for the way that man has mistreated nature. If that’s the angle Aronofsky is going for then it’s clear where his sympathies lie. He casts God as a vain figure craving recognition, someone who cares more about being worshipped and adulated than in caring for his wife and child. Humanity meanwhile is portrayed as being negligent, fanatical, and destructive, caring nothing for the damage they cause in their wake.

Or maybe the movie means something else entirely. It isn’t clear what kind of movie mother! is and it was made that way intentionally. This is a movie that is meant to be dissected and written about in length. Its style is a striking one that demands the viewer’s attention and its story is an ambiguous one that invites a never-ending series of questions without answers and several contradictory interpretations. It has been advertised as a horror film, and it is a horror in the sense that it creates an atmosphere of dread, carnage, and paranoia, and thrives off the terror of that which cannot be understood. But is it any good? I don’t know. I guess it depends on what you take away from it. I found mother! to be an often enthralling, often horrifying film to sit through. Since then I’ve found it to be a fascinating film to think about, read about, and talk about. I will have to re-watch it sometime, so maybe there’s something to be said for a movie that demands to be seen again despite (or maybe because) of all the unpleasantness it depicts. mother! is a well-crafted, provocative, and confounding film and, if it’s inspiring such a strong reaction from the audience, both positive and negative, it must be doing something right.

★★★★★