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 deaf, 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 occupation 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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Logan

Cast: Hugh Jackman, Patrick Stewart, Boyd Holbrook, Stephen Merchant, Richard E. Grant, Dafne Keen

Director: James Mangold

Writers: Scott Frank, James Mangold, Michael Green


In Jackman’s final turn as the character that made him a star, Fox has finally delivered the Wolverine movie that fans have been waiting for. It’s probably significant that this movie was made with the intention of being Jackman’s final turn as the metal-clawed mutant. After having already seen him featured in two solo films, one terrible and one boring, I can imagine the filmmakers felt some pressure to use this one final chance to get it right. There will be other Wolverine movies I’m sure, but there may never be another actor who embodies this character as perfectly as Hugh Jackman did. With Logan he is finally allowed to fully realise this character he helped bring to life in a way he never he could in any of the prior X-Men films and it was well worth the wait. What makes Logan great is not just the way it portrays this iconic character, but also how it stands within the X-Men franchise and how it comments on the superhero genre that has dominated Hollywood for well over a decade.

Set far in the future where mutants are all but extinct, Logan (Hugh Jackman) has long since abandoned his calling as Wolverine. Now working as a limo driver, his healing factor has faltered and he has now become weaker and weary with age. With the help of the mutant tracker Caliban (Stephen Merchant), Logan cares for Charles Xavier (Patrick Stewart), now suffering from dementia and no longer in control of his telepathic abilities. At this time Logan is approached by Gabriela Lopez (Elizabeth Rodriguez), a nurse on the run from a secretive government organisation, who begs him to take in and protect an eleven-year-old girl called Laura (Dafne Keen). Hot on their trail is Donald Pierce (Boyd Holbrook), the cybernetically-enhanced security officer charged with the girl’s retrieval. After an encounter where Logan learns that Laura possesses abilities similar to his own, they must go on the run with Xavier in search of a place called Eden.

After Deadpool proved once and for all that superhero movies could go for an R rating and still be massively successful, Logan followed suit and fully embraces the liberties that became available. In the very first scene Logan is protecting his car from a gang of thugs intent on stealing his tires and the fight that ensues is unlike anything we’ve seen from Wolverine before. Skulls and bones are being sliced, blood is splattering all over the place, and Logan swears like a sailor with every blow he’s dealt. However what makes the action feel so different from what we’re used to extends far beyond the blood and gore. Here Mangold does away with the rapidly edited, distantly shot action that the Marvel blockbusters tend to favour. Here the fighting is up close, intensely choreographed and much more raw and organic. When Logan gets hit, he feels it.

What makes Logan truly special though is not just the action, but also the characters and the story they tell. Logan is an old man now and Jackman plays him as a wearied soul, haunted by past traumas and losses and reluctant to ever fight again (not unlike Clint Eastwood in Unforgiven). He has grown disillusioned with the ideals he once believed in, especially now that the man who originally inspired him is little more than a raving loony. Professor X has gone senile and Stewart is loving every second of it as he rants and raves about the place while Logan tries to care for him. Keen is also great in her turn as Laura, a silent role that requires her to be as expressive as she can with her looks and gestures. All three play their role with such resolve, comedy, pathos and humanity that Logan reaches beyond what we’ve come to expect from the superhero genre and provides something altogether deeper and more stimulating.

Jackman was there when the cinematic superhero craze started, and now here he is 17 years later where the fatigue has set in for many audiences. Who better then to use as a model for the consideration and analysis of the genre and how it has evolved? There is a complex morality that comes with the superhero mythos, full of grey areas and contradictions, that goes largely unexplored (or perhaps underexplored) by superhero movies for the most part but which Logan fully embraces. The movie takes a fundamentally cynical view towards the superhero myth, establishing that the whole thing very much as a myth, the kind that only exists in children’s comic books or movies like Shane. Even after all the heroics he accomplished as Wolverine, Logan has gone on to lose everyone he cares about and none of the problems he solved or the people he’s saved have really mattered. Things have gone to hell and people have gotten hurt despite (and sometimes because) of what he’s done. And yet there are still some who believe in him and who believe that what he does is important and is for the better. The deconstruction of the genre is a fascinating one that at once dispels the myth of the superhero while also reaffirming it.

Between Logan and Deadpool, it looks like the game is very much changing for the superhero movie. As much as I enjoy the popcorn quality of the Marvel and DC movies, there is an undeniable fatigue that has set in. These franchises have adopted a certain business as usual sensibility that hasn’t exactly made them less enjoyable to watch (not for me anyway) but somewhat less fulfilling. It is for example difficult to feel that anything is really at stake in the Marvel and DC films when all of their actors are contracted to appear in future titles. It’s also true that these movies often spend so much time setting up future stories that you never really feel like you’re watching an actual story unfold. The superhero films are also falling victim to their conventions which, unless done very well, can feel tired and predictable (as it can with any genre). This is why movies like Logan are needed to shake up the genre, explore new directions and possibilities, and go deeper than any has gone before. What’s more, Logan is quite simply a great film with a profound story, excellent action, and a marvellous performance by Jackman.

★★★★★