Top 13 Movies of 2017
Oscar weekend is here!
As promised, the public gets an exclusive look at the year’s best films through my eyes — whether they asked for it or not. As a self-proclaimed amateur cinephile, I’m a sucker for lists, breaking down films, and making bold statements.
Traditionally, I list all the films I see each season challenging myself to rank ’em. What you see below is the best I could put together in terms of meaningful discoveries the movies offered us.
2017’s cannon was absolutely superb and deep as any year you’ll find.
AAANNNDDD
Returning for a fourth consecutive year is, ‘Wife’s Words’!
Marissa, my wife, drops in to give her hysterical and unfiltered feedback. Don’t worry, she hates most of my movies…it’s exhausting.
For the sake of context:
I saw 42 new movies this year; Marissa saw 7.
Without further ado, the definitive list…
13. Girls Trip
Raunchy, fun, and hysterical.
Let’s be real, 2017 was more-than-sort-of-awful — but Tiffany Haddish single-handedly saved it for all of us. This fun title was the best elixir for pausing the pain and jumping into a deliciously dirty pool of hilarious antics. Judge me if you must, the golden-showers over the French Quarter about made me choke on my popcorn and fall off the couch from tear-filled laughter.
Girls Trip was every bit as good as any other mainstream blockbuster of the season and deserves placement in the pantheon of Awesome Raunchy Comedies alongside Bridesmaids, The Hangover, and Superbad.
WIFE’S WORDS: “Grab your girlfriends, and give this a watch. You can probably ignore the rest of the movies on this list.”
12. The Shape of Water
How on earth did this steal 13 Oscar nominations?
Yes, the film was visually stunning. Conceptually, the narrative was potentially brilliant. Sally Hawkins was stunning and Michael Shannon gripping and criminally underrated per usual. But that’s about it as far as appropriate superlatives go. No matter how hard I wanted it, the film simply didn’t produce emotional or empathetic moments.
The Shape of Water is an adult fantasy that can’t decide if it’s more noir or fairy tale — and the fusion doesn’t quite gel. It’s certainly worth a watch, original (sort of), and deserving of a few production design + acting award noms — but it is by no means the standard of which 2017 should be defined. My guess is this may be the “Scorsese Moment” for director Guillermo del Toro’s. Scorsese won his elusive Oscar for the wrong film, when he should’ve received it two or three times prior. GdT gave us Pan’s Labyrinth in 2006, one of the century’s greatest films and by all measure the title for which he should’ve won Best Director. But alas, we’ll be forced to watch him win it this year for a pretty good but lackluster title…Unless Jordan Peele sneaks in.
WIFE’S WORDS: *heavy sigh* “…Too weird for me.”
11. A Ghost Story
A Ghost Story is the best movie of the year you probably haven’t seen. Once again proving Rooney Mara — with all her diverse and unconventional choices — to be one of Hollywood’s most talented. Her heart-breaking fragility is a masterclass in less-is-more acting.
One of the most deeply sad yet imaginative and boldly existential films I’ve seen. Immediately after finishing it, I could tell it would haunt me for all the right reasons. Signs of fine film. And oh so deliciously imaginative and original.
WIFE’S WORDS: “Okay, I’m kind of intrigued by this…whatever this is. What I don’t understand, it’s 2018 — why is a person walking around with a sheet over his head? I could’ve made that costume out of bedsheets!”
*For the five of you that caught this film, read Nick Olsen’s think piece.*
10. Wonder Woman
Superhero fan or not — this movie mattered. Wonder Woman was, by every standard of the genre, a near flawless film and a much-needed breath of fresh air in the blockbuster arena. Patty Jenkins found a way to humanize a larger-than-life icon of 75+ years while still waving the banner of kickin’ tail and takin’ names.
The Best Picture field was expanded to 10 mainly due to outcry of The Dark Knight being left out in 2008. Since then, Oscar has largely ignored the big-budget bright-spots except for Avatar (Gag!).
Regardless, Wonder Woman is a triumph of a movie that makes Superheroes feel inspirational, relevant, and grand in a sense of delicious entertainment. Watching Diana lead the charge into no-man’s-land was arguably the year’s most inspirational moment in cinema. I’m so glad my daughter will only know a world where this movie exists. It deserves a place at the banquet table.
WIFE’S WORDS: “I wanna see this movie because, Girl. Power. But honestly, it looks kind of boring, and not my jam.”
9. The Big Sick
The ballots are in; the votes counted. It’s official: The Big Sick is the 21st Century’s BEST Rom-Com. (Sorry Punch Drunk Love, you’ve been de-throned.)
How could so much be said without losing its consistent voice? How could such tragedy be so humorous? How could such randomness be true? How could a Rom-Com make this much of a cultural impact?
I’m not sure, but Emily V. Gordon and Kumail Nanjiani’s screenplay flirts with perfection. And low-key Ray Romano was kind of brilliant. If you’re living under a rock and haven’t caught this one yet — hop on Amazon and stream it now. It’s socially relevant, wonderfully written, and memorable for all the right reasons.
WIFE’S WORDS: “I’m really irritated you watched this one without me. You should know better by now.”
8. The Work
A punch-in-the-gut stripping away every last ounce of superficiality. To call this documentary visceral would be an understatement. The Work is a glimpse into the divisive world of the prison system — and the grueling work of rehabilitation and coming back to feeling. Director Jairus McLeary treats us — the viewers — as though we are active participants in this ground-breaking therapy session. Blending average-Joe-outsiders with the likes of Bloods and Crips inside Folsom’s system was an unflinching and primal tour-de-force of which I was not prepared.
The Work is an emotionally honest experience that is difficult to swallow, but vital in its importance. This one’s not for the faint-of-heart.
WIFE’S WORDS: “I don’t know what to think about this…I think I would probably actually like that if it weren’t for the gravelly-singing-guy.”
7. Three Billboards Outside Ebbing, Missouri
2017’s most polarizing title will likely take home the top prize.
Three Billboards is an excellent film; and every bit worthy of it’s Best Picture nomination. IMO, most of the backlash surrounding this flick is a little heavy-handed. I get it, the subject matter is lighter fluid for hot-take culture; but I’m not convinced the Martin McDonagh set out to speak social commentary. My hunch is he penned a script ripe with deeply imperfect characters and dared to explore their ugly shades of humanity. Perhaps timing is everything. In a year where the top titles all had something momentous or universal to say, TBOEM falls short in that light. McDonagh traded in the societal mirror for absurdist dark comedy with a dash of realism.
Regardless, I can’t argue with Frances McDormand and Sam Rockwell’s inevitable Oscar wins. They both brought it. And the film gave one of the most striking single-scenes of the year with Rockwell’s window rage. But at day’s end, the credits rolled and I instantly shed the skin the film cloaked me in. 2017 is a year marked by cultural significance, bold conversation, and shattering glass ceilings. And TBOEM was a great film with little lasting power.
WIFE’S WORDS: “I remember watching this trailer already and saying I wanted to watch this movie with you. But alas, you ditched me…again. Nice to see where I stand in this relationship. Movies take priority. Butthole.”
6. Blade Runner 2049
CONFESSION: I worship at the alter of Denis Villeneuve. The dude is a genius and can take my money any time.
The Master Denis V. dared to tackle a — potentially needless — -sequel to one of the most brilliant and influential films of all-time; wrap-it-up in a glorified Pinocchio narrative; and gift us a larger-than-life monument of psychological, visual, and cinematic perfection. Basically, Blade Runner 2049 was a sequel I wasn’t aware we needed until I watched. It stands out as a masterclass in Sci-Fi and philosophical film making.
Yeah, it’s so niche you practically choke on it. If you’re not a fan of the original Blade Runner or Denis V. — you can skip it. Don’t sleep on Gosling though! He’s gorgeous and chiseled from marble and awesome; but the guy is one of the more talented actors working today. He’s at the top of his game here.
WIFE’S WORDS: “I don’t even wanna watch this trailer. I think I’ve already seen it, and by the looks of it — apocalyptic, futuristic, titanicalistic — garbage. I don’t wanna see that movie at all.”
*Shout-out to my buddy, Stephen, who napped in the theater for this one.*
5. Dunkirk
A true masterpiece.
The argument can be made it’s Christopher Nolan’s finest.
It’s entirely possible we’ll look back on this achievement a few decades from now and say Dunkirk was the majestic turning point for historical / war-time film making. In terms of narrative and cinematography — Nolan gave us one of the most immersive and subtle experiences while still earning the tag “EPIC”. Nipping the exposition in the bud and dropping us in the middle of the unrelenting conflict for a tight hour-forty-five was genius level innovation for the genre.
So how is it only the fifth best film of the year? Simply put, 2017 was herculean with its output, and there were four better films carrying stronger cultural significance.
WIFE’S WORDS: “I’d probably like that better than 75% of the other shit you’ve made me watch.”
4. Lady Bird
Chances are, outside of the #2 title, time will favor Lady Bird the most from 2017’s dossier. There’s a reason it broke ratings records all across the interwebs. Greta Gerwig wrote and directed a 21st Century coming-of-age installment of unkempt humorous truth reminiscent of John Hughes and Diablo Cody.
Lady Bird is not just another tale of misunderstood high school hi-jinx. It’s not just another tale of mother against daughter. It’s not just a mix-tape of cliches or kitsch — it’s more than that. Lady Bird is a unicorn of a film managing to be uniquely quirky as it is universal in theme and emotion. There’s no great revelation or “hang-your-had-on-this” moment. But, if we’re being honest, most of the time that’s what self-discovery is. It’s not that one thing that hits us like a square on the forehead. It’s the collection of seemingly unrelated moments that weave together a tapestry of rugged, tattered, beautiful, and eclectic patterns and colors. Lady Bird is as much an authentic romp as it is a revelation to the underwhelming. Shout-out to Saoirse Ronan & Laurie Metcalf for giving maybe the best one-two-punch match-up of 2017. Damn, they were both perfect.
Mark my words, Lady Bird will be a cult-classic for generations.
WIFE’S WORDS: “I realize I don’t care about movies, they’re not important to me — but c’mon, at least tell me about the ones I might like!”
*Watch Gerwig’s anatomy of a scene HERE. It’s delightful.*
3. The Florida Project
No title gave 2017 more authentic humanity.
Most deeply dramatic pieces either leave us in tears, or guide through a slow-swelling of emotional character study that we find ourselves more appreciative of what we saw days after the fact. The Florida Project accomplished both. Sean Baker’s juxtaposition of location, color, and childhood fantasy within the ignored underbelly of those struggling to make it presents hard-to-swallow truth in the same light as American Honey and Moonlight.
Life is hard. Forgotten in the putrid shadow of Disney World, Moonee and her band of barely-making-it rascals turn their less-than-stellar world into their own fantastical land of misfit adventures. And how about Brooklynn Prince?! That brilliant seven-year-old gave arguably the single fiercest performance of the year. This film wrecked me in the moment; wouldn’t let me wash it off for days; and found me wanting a second-viewing a week later.
WIFE’S WORDS: “Didn’t look horrible like Moonshine Rises or Foxtrotdreamcatcher — but I’ve no interest in watching it.”
2. Get Out
A year since its release and still Get Out finds itself among the year’s best and most remembered. There’s not much new here I can share that hasn’t already been captured throughout GO’s run of pop-culture influence and social relevance. But comedic-genius Jordan Peele found a way to transform the horror / thriller genre unlike any we’ve seen since Silence of the Lambs. The layered levels of nuance infused by Peele are borderline masterful akin to the likes of Hitchcock and Demme. And its entertainment value is just as strong as the film’s overall social implications.
If this film made you uncomfortable — good.
If this film alienated you, but still couldn’t look away — good.
If this film followed you for weeks — good.
If this film made you question pre-convceived notions — good.
If this film blew your mind — good.
Get Out is a once-in-a-decade type of film that blew the doors off any sense of expectation or convention. It’s a damn fine film.
WIFE’S WORDS: “This one, man…hmm…This movie. I think I hated it so much. But I think I also loved it a little bit, because I didn’t want to see it — but I couldn’t stop watching it. I literally HAD to watch it all the way to the end. And I was satisfied with the ending — which doesn’t happen all that often — but I really hated it a lot. But it wasn’t the worst movie I’ve ever seen… and I might be persuaded to watch it again, but protest. It did weird things to me.”
*Also, read this oral history of how GET OUT got made.*
1. Phantom Thread
Most will make the mistake of labeling this film a drama.
Most will make the mistake of assuming it’s all Daniel Day-Lewis.
Most will make the mistake of underestimating it’s detailed brilliance.
Phantom Thread is the best film of the year because it created a world in which slipping into a sinister mindset felt natural and humorously cathartic.
Paul Thomas Anderson stitched a brilliant black comedy. Every frame laced with a perverse narcissism that hooked me like a drug. Living in the bubble of Woodcock was seductive and delightful with just a pinch of fearing-for-your-life. Of course, Day-Lewis gives one of the finest performances of the season. But steering the ship were the masterful Vicky Krieps and Lesley Manville. Make no mistake, Phantom Thread is a leading lady’s film. And how Krieps was left out of the nomination discussion is absolutely baffling.
From the marvelous Jonny Greenwood score, to the luscious costumes, to the indelible taste of twisted love — no detail was taken for granted here. PTA proves, once again, he’s the best working director in the game and has gifted us with yet another genre-bending character study that feels ahead of its time.
WIFE’S WORDS: “What’s the point of this?”
JUST MISSED THE CUT:
The Hero; IT; Logan; Mother!; Mudbound; To the Bone.
STILL NEED TO SEE:
Call Me By Your Name; I, Tonya; The Square.
EVERYTHING ELSE I SAW:
Atomic Blonde; Battle of the Sexes; Beauty and the Beast; Boss Baby; Darkest Hour; I Don’t Feel at Home in This World Anymore; Jim & Andy; Justice League; The Killing of a Sacred Deer; King Arthur: Legend of the Sword; Lego Batman Movie; The Lost City of Z; Marjorie Prime; The Meyerowitz Stories (New and Selected); One of Us; The Post; Star Wars: The Last Jedi; Suburbicon; Thor Ragnarok; What Happened to Monday; Wonder; & Wonderstruck.
MOST OVERRATED: The Post
Nothing more than a paint-by-numbers output from Spielberg. Streep was solid, but not necessarily Oscar-nom-worthy in a packed year. And it pains me to admit, but Hanks was *gulp* miscast. There, I said it.
MOST UNDERRATED: The Hero — on Hulu, Sam Elliott will floor you.
To The Bone — on Netflix, a stunning indie title touching on the sensitive struggle w/ an eating disorder.
WORST THING I’VE SEEN IN 5 YEARS: Suburbicon
BEST ACTING: Gary Oldman, Darkest Hour + Brooklynn Prince, Florida Project
BEST DIRECTING: Paul Thomas Anderson (DUH!) + Jordan Peele
Sean Baker deserve an extra shout-out too.
BEST USE OF MUSIC: Phantom Thread — Jonny Greenwood’s score is impeccable and captivating.
BIGGEST SNUBS: Brooklynn Prince for Best Actress; Sam Elliott for Best Actor; Wonder Woman + The Florida Project for Best Picture.
BEST YEAR: Comic Book Flicks!
Pound for pound, this was the best single year for comic book inspired cinema.— (Atomic Blonde, Guardians of the Galaxy 2, Logan, Wonder Woman, Lego Batman Movie, Thor Ragnarok, Spider-Man Homecoming, Justice League)
That’s it — that’s the list. What titles did I miss?
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