Personally, I've always
looked forward to year end listicles mostly as a means to remind myself of
everything I've gone through in the past year. And for me, 2017 was a big year.
So in compiling this list, it quickly dawned on me that in my haste, I had neglected
to write about any movies this year. Big fail.
In the interest of time and condensing my opinion where it's clearly not needed, here is a lightning round tweet-sized review of some of this year's movies, followed by my favorites of 2017.
- Get Out - I admire more than I like. Its concept is infinitely interesting, but Jordan Peele lacks that extra gear to elevate the story to something truly unforgettable.
- I, Tonya - Powerful and enlightening. Not unlike its titular character, it's captivating and sharp but also a bit unwieldy and over the top.
- Star Wars: The Last Jedi - More meta than I expected, this chapter tosses a lot of old stuff out and new stuff in. It's brazen and top-tier entertainment, easily one of the best films in the Star Wars universe.
- Justice League - Basically the worst movie of the year. High expectations, talented individuals, and no vision whatsoever.
- Logan - The perfect send-off for Hugh Jackman's Wolverine character. And a pretty damn good movie in its own right.
- Logan Lucky - Soderbergh hasn't lost a step in taking material that sounds silly on paper and elevating it to something more charming and memorable than it ought to be.
- Thor: Ragnarok - Quirky and colorful, Marvel's latest continues to evolve the brand in style but not so much in substance. It's all beginning to blur together.
- John Wick: Chapter 2 - A surprisingly intriguing expansion of a movie universe that felt like a one-hit wonder. Excited for Chapter 3.
- Atomic Blonde - Jumbled and confusing, the story is disappointing despite Charlize Theron kicking serious ass.
- Wonder Woman - Aside from a few minor stumbles, Wonder Woman is a home run.
- War for the Planet of the Apes - A great conclusion to one of the best and most overlooked trilogies in recent years. Andy Serkis FTW.
- The Killing of a Sacred Deer - An exercise in stamina and a slow descent into a dark place. Pretty good. Not particularly fun.
- Fate of the Furious - It's cars vs. other cars vs. a submarine. Don't overthink it.
- Kong: Skull Island - Surprisingly boring for a movie with mutant dinosaurs and a giant ape. Already forgotten everything about it.
- Baby Driver - I'm convinced Edgar Wright can direct the shit out of anything. Pedestrian story is elevated by great cast and Wright's singular vision.
- The Disaster Artist - Funny and resonant, Franco's movie about the making of Tommy Wiseau’s cult film is a bizarre reflection on Hollywood ambition and personal hubris.
2017 Top 5:
#5 mother!
From his very first movie, Darren Aronofsky (Requiem for a Dream, Black Swan, Noah) has been nothing if not true to himself. This might sound like a slight, but I mean well. Movies now are all too often products of corporate group-think, patched together to maximize branding and appeal. Lost in this algorithmic approach is a clear artistic vision or creative merit. Aronofsky’s mother! has garnered a wide spectrum of reactions -- perhaps one of the most divisive movies since Lars Von Trier's Antichrist. Suffice it to say in typical Aronofsky fashion, mother! is grotesque, unnerving, and way over the top. But that doesn’t mean it’s without artistry or intrigue. I would gladly take a film like this, made with purpose and creativity and passion, than the next superhero slug-fest.
From his very first movie, Darren Aronofsky (Requiem for a Dream, Black Swan, Noah) has been nothing if not true to himself. This might sound like a slight, but I mean well. Movies now are all too often products of corporate group-think, patched together to maximize branding and appeal. Lost in this algorithmic approach is a clear artistic vision or creative merit. Aronofsky’s mother! has garnered a wide spectrum of reactions -- perhaps one of the most divisive movies since Lars Von Trier's Antichrist. Suffice it to say in typical Aronofsky fashion, mother! is grotesque, unnerving, and way over the top. But that doesn’t mean it’s without artistry or intrigue. I would gladly take a film like this, made with purpose and creativity and passion, than the next superhero slug-fest.
#4 The Big Sick
Up until this year, I
had mostly known Kumail Nanjiani as one half of the bickering engineers on Silicon
Valley, a show that largely kept its humor good-natured but sometimes
reveled in leveling ethnic jokes at Nanjiani’s character. One part real-life
memoir, one part romantic comedy, The Big Sick captures an indelible mix
of humor and heart, while carving out a new landscape for non-white leads to
live beyond stereotypes. That the story is so ripe for discussion comes second
to Nanjiani’s unmistakable charisma. Movies like this, crafted with a distinct
voice that speaks to something specific yet also universal, should be
celebrated.
#3 Lady Bird
I've been a fan of Greta
Gerwig (Frances Ha, Mistress America) for a few years now, but have
always felt she had more to offer than strictly as an actress. Billed as writer
and director of Lady Bird, Gerwig finally hits on that raw combination
of honesty and hostility that can only come from personal experience. Somewhat
biographical, Lady Bird is at once about nothing of matter yet
everything of consequence. It's a love letter to a lost time and a forgotten
place, a remnant as poignant as it is important.
#2 Dunkirk
Over the years, I’ve
spent countless hours writing and talking about Christopher Nolan, an artist
who I’ve more often admired as a writer of stories than a director of
movies. In 2017, it’s as if he heard my complaints. Dunkirk may have the
least dialogue of any modern blockbuster; its story may be the simplest of any
Nolan movie. And the movie’s dramatically better for it. Tense, efficient, and
captivating, Dunkirk may be one of Nolan’s best movies yet. And a
welcome sign of what may come for him in the future.
#1 Jim and Andy: The Great Beyond
Netflix has slowly built
itself up as a formidable creator of original content in the last few years.
Yet most of their best work is still known in serialized forms - easy to binge,
just as easy to forget. I suppose Jim and Andy is technically a
documentary; but like any great story, it transcends categorization. Ostensibly
about Jim Carrey’s devoted portrayal of the late comic Andy Kaufman on the set
of Man on the Moon, Jim and Andy quickly escalates into a
revealing look not just at the dedication to one’s craft, but at Jim Carrey
himself, his career, and the very notion of identity. Funny, bizarre, and
thoughtful, Jim and Andy hits on something much deeper than I could have
possibly predicted.
