1. Dunkirk
Dir. by Christopher Nolan
Christopher Nolan is one of the few working directors that manages to appeal to a wide range of audiences whilst creating thought provoking movies. He combines the escapism viewers yearn and demand from movies with complex storytelling and incredible visuals.
“Dunkirk” is yet another example of his outstanding filmmaking skills. Charges with powerful imagery, the film has, in my opinion, a subtle message of mankind’s relationship with nature, as it portrays the evacuation from three perspectives: land, sea, and air. Whilst the absence of dialogue means that no character or actor really has a chance to stand out, Mark Rylance’s Dawson managed to connect with me- the actor brings his mild mannered screen persona, not too different from the one he portrayed in Spielberg’s “Bridge of Spies”, and pump it with a “hands on” approach to what he sees as his personal duty.
It would be unfair to attribute the film’s achievement to Nolan alone- Hoyte van Hoytema has taken Wally Pfister’s role as Nolan’s go to guy when it comes to cinematography. He captures Nolan’s intentions on both a cerebral and emotional level.
Hans Zimmer produced the best soundtrack of the year and one of the best soundtracks ever produced. The audio illusion he created, by using the “Shepard tone” made my viewing experience complete. In fact, experiencing the powerful imagery that accompanies Zimmer’s “Home” on IMAX will remain one of the best movie experiences I have ever had.
A unique WWII epic and the best thing I’ve seen in 2017
Overall Rating: 10/10
2. Blade Runner 2049
Dir. by Dennis Villenueve
So I joined the in "in Villeneuve we trust" bandwagon. He took one of the most influential movies of all time (one that didn't required a sequel) and created a follow up that is on par with the original. Can't wait to see him clean up the mess David Lynch made with "Dune". Villeneuve's "Blade Runner 2049" takes the bleak, grey and cynical world created by Ridley Scott and turns it up to eleven.
The movie deals with a myriad of topics: from environmental issues and subtle hints at historical revisionism to the built-in obsolescence of both technology and humans. It's as complex as its predecessor and virtually every scene confronts the audience with ethical dilemmas.
Harrison Ford's Deckard is analysed over a different type of lens this around. He is more human (yes, I had to include a pun related with the "Is Deckard a replicant?" questions). The performance alone is worthy of an Academy Award nomination in the "best supporting actor" category.
In addition to this, there are two other key aspects that make "Blade Runner 2049" a great movie: -Hans Zimmer's soundtrack is heavily inspired by the work of Vangelis, but still manages to sound new and refreshing. -Roger Deakins' cinematography. Seriously, all Oscar ballots should have a pre-printed cross next to his name "Blade Runner 2049" is a 10/10 for me!
Overall Rating: 10/10
3. The Disaster Artist
Dir. by James Franco
The year was 2011. Whilst enjoying my Summer holidays, a debate started among my group of friends: What was the worst movie ever made?. I recall that it was long debate, one that would compromise friendships. But out of that debate a new event was born. A Festivus for the rest of us. (Thank you, George Costanza). This particular “festivus” is called “Trollfest”, named after the worst movie ever made “Troll 2”, and aimed to “honour” movies that were intended to be serious and good but failed at both. During the third edition of this yearly event we watched “The Room” and the rest is history.
To say that I had high expectations for “The Disaster Artist” is a euphemism. Yet James Franco’s movie managed to surpass them with a comedy that addresses the importance of friendship, celebrates the commitment to artistic vision and surprisingly work as a “feel good” movie. Franco managed to capture beautifully the persona of the enigmatic and untalented Tommy Wiseau. For those who have read the material that inspired the movie and watched “The Room” it is satisfactory to see Tommy Wiseau finally succeed- even if it’s 14 years later.
A celebration of movies and the murky side of Hollywood and creativity.
Overall Rating: 9/10
4. Get Out
Dir. by Jordan Peel
2017 was a great year for the horror genre. At least three entries managed to revitalize a category that has fallen victim of the formulaic trap. Penned and directed by Jordan Peel, a comedian whose horror references were a hit with pop culture enthusiast such as myself (a brilliant nod to “The Shining”). Again, “Get Out” epitomizes what I believe movies are all about: a reflection of a period and place and the very same people that populate that space.
Jordan Peel’s screenplay takes a story audiences have seen before (think of the 2005 thriller “Skeleton Key”) and gives it a unique twist. Whilst it is presented as an apolitical piece, “Get Out” takes a stab at extreme political correctness of the left and pokes fun of the stereotypes and racism that are generally assumed to be perpetuated by some members of the conservative right.
Daniel Kaluuya shines in this horror satire and his performance as Chris Washington is instantly relatable regardless of the viewer’s gender, color or creed. But it’s Jordan Peel who deserves the sole credit for delivering a brilliant movie.
Overall Rating: 9/10
5. IT
Dir. by Andy Muschietti
In a time where every horror movie relies on a single commodity:cheap scares, "It" is in a league of its own.
The movie is the most faithful adaptation of a Stephen King novel- it never sets aside the themes covered by the author in his book: the sense of loss and mourning, the challenges of adulthood and even racial tensions. "It" is way up there with the original version of "Carrie" and "The Shining" when it comes to horror movie excellence.
It's so rare that a horror movie (or most current movies, as a matter of fact) delivers the goods when it comes to character depth and development.
On top of it, the soundtrack is simply amazing (unlike the soundtrack of a certain Netflix show that wants us all to believe that American kids in the 80's only listened to British indie rock) and there are plenty of easter eggs that will put a Pennywise-like grin in every movie buff's face (subtle references to a certain "clown" from the Batman series and a brief homage to Freddy Krueger). I highly recommend "It"!
Overall rating:9/10
6. Three Billboards Out Of Ebbing, Missouri
Dir. by Martin McDonagh
In a Missouri town, a mother decides to act in the face of the local police's inability to find her daughter's murderer and rapist, renting three huge posters at the entrance to the settlement in which she asks for explanations, stirring up the local community. The premise sounds more than adequate, almost extreme, to this era of #MeToo.
Frances McDormand revisits her muse of the North American rurality, one that was first shared with audiences in “Fargo”. This time around she’s on the other side of the law, the perfect role for the prolific actress to demonstrate her acting range. Sam Rockwell and Woody Harrelson deliver solid performances as the authority figures, both complex in their own way and dealing with their personal demons.
The script is populated with twists and turns, driven mainly by human condition which confers McDonagh’s movie a realist tone- the search for truth and justice seen from the eyes of Midlred, the main character.We are in the presence of q clear frontrunner for Best Actress, Best Supporting Actor and Best Original Screenplay at this year’s Oscars.
Whilst, I failed to see or understand the “dark comedy” element that some reviewers pointed out, I quickly embraced the tragic search for redemption and I do plan to revisit Ebbing, Missouri in the near future.
Overall Rating: 8/10
7. The Post
Dir. by Steven Spielberg
In “The Post”, Spielberg delivers a true character driven piece that becomes even more relevant in today’s “fake news” age. What is so unique about the movie is its unbiased political analysis, as it points the finger to both left and right- a feat that is remarkable considering it addresses the leak of classified documents from the perspective of The Washington Post, a newspaper that was once dubbed “Pravda on the Potomac”.
Meryl Streep and Tom Hanks shine as expected, aided by the smart dialogue crafted by Liz Hannah and Josh Singer. Both Streep’s Kay Graham and Hanks’ Bradlee invite the audience to take part in their choices: compromise friendships for the sake of professional integrity whilst avoiding to publish a sensationalist piece around the subject of the US’s long term involvement in the Vietnam War.
Not eclipsed by the star power of the leads is Bob Odenkirk’s (from “Better Call Saul”) Ben Bagdikian, who steals the show as true old school reporter- like Woodward and Bernstein on steroids.
Whilst satisfactory, the movie falls short of exposé genre excellence: One can’t help but feel that movies like Alan J. Pakula’s All The President’s Men and Michael Mann’s The Insider offer a far darker and gritty approach, one that’s needed when dealing with a subject of this nature.
Still, Spielberg has successfully expanded his range, which a lot to say coming from a director who has succeeded in so many different genres and created a zeitgeist driven film that requires a second and third viewing. One of the best movies from 2017.
Overall rating: 8/10
8. I,Tonya
Dir. by Craig Gillespie
“I, Tonya” joins the exclusive ranks of movies where you actually root for the anti-hero. Whilst I was familiar with the Tonya Harding story, the movie provides an interesting background view into her life outside of the spotlight and media attention. “I, Tonya” works as both a biopic and a sound analysis of America’s obsession with fame and celebrities. Ironically, the movie allows Margot Robbie to cements her Hollywood status as a serious actress, a journey that started back in 2011 with the “Mad Men” ripoff, “Pan Am”. Her screen presence is enhanced with the anger and motivation she channels as Tonya Harding.
But the real star of the movie is Allison Janney’s LaVona, easily the best supporting performance of the year. She is the vehicle that nurtures Tonya’s resentment and anger and gives the story the soapy elements it deserves and needs and contrasts with the glossy ambience in which the leading characters operate during a large portion of the movie. Her raw performance showcases working class anger in a way that could only be found in a 1970’s Bruce Springsteen album.
It is hard to classify “I,Tonya”: a mix of mockumentary and soap opera, a dramedy and a biopic. To manage all these genres is a tough task, much like performing a triple axel (the references I picked up from this movie…) and that’s where we find the major flaw in Gillespie’s movie. Still, it is a fun and entertaining movie whose imperfections are covered by sublime performances.
Overall Rating: 7/10
9. Battle Of The Sexes
Dir. by Jonathan Dayton and Valerie Faris
I had the pleasure to attend this year's BFI film festival and to watch a preview of the upcoming movie "Battle of the Sexes". The movie met the high expectations I had, delivering a faithful portrayal of the iconic tennis match between Bobby Riggs and Billie Jean King.
Emma Stone and Steve Carell's uncanny resemblance of King and Riggs makes the movie as they are immersed in a clichéd 1970's pastiche that lacks a powerful soundtrack as a companion ("American Hustle" did a better job in this department.
The only two flaws in this dramedy is the lack of tension in the third act and the waste of a good (not great) supporting cast that includes Elisabeth Shue, Bill Pullman and Alan Cumming. The movie could have easily added an extra 30 minutes to further explore Riggs and King's private life and "outside the court" battles.
On a positive note, Sarah Silverman steals every scene she's in. Easily, one of the best supporting performances of the year.
An enjoyable movie, that works both as comedy and drama that never aims to be more than what it was originally set out to be: a pop culture portrayal of a key event of the feminist movement that resonates with today's world
Overall rating:7/10
10. Downsizing
Dir. by Alexander Payne
“Downsizing” makes a compelling case for a misleading trailer. It suggests you are about to watch a utopic comedy. The fact that it stars Jason Sudeikis, Christoph Waltz and a brief appearance by Neil Patrick Harris appears to validate that hypothesis. But the movie quickly escalates into something different. “Downsizing” is a cruel examination of a wide array of themes around different social realities – too many to be contained and dissected in a two hour movie.
The highlight of the movie is Hong Chau’s Ngoc, perhaps the most grounded character in “Downsizing” and the true heart and soul of the movie. It’s her character that serves as the perfect juxtaposition to Payne’s visual-driven storytelling and the one who allows for Matt Damon’s Paul character development.
Although, nowhere near as satisfying as “The Descendants” I feel that the movie may require a second viewing to be fully appreciated. Its merits lie in the originality of the screenplay and Payne’s execution.
Overall rating: 7/10
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