My Top 10 Movies of 2017

From travels across the stars and home renovations of biblical proportion, to a different kind of hormonal craving for flesh.

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Another year, another list that I’ll probably regret immediately, partially because I still haven’t seen so so many of the movies I want to see from last year, and partially because I’m sure that I’ll see some of these a second time and demand a recount. I did manage to catch a fair chunk of my hit list though, and some distinct patterns emerged, with a full five sci-fi movies making the list (including three that could be characterized as space westerns), three horror movies, and two maybe-autobiographical dramas about asshole artists. And while I’m sure there are tens (tens!) of gems I haven’t seen, there was plenty of magic I did manage to catch.

10. Valerian and the City of a Thousand Planets (Rotten Tomatoes 49%, IMDb 6.5)

Apparently I made one very good choice in how I watched Valerian and the City of a Thousand Planets: I didn’t bother seeing it in English, instead settling for a German-dubbed showing where I understood maybe 10% of the dialogue. Based on the mainstream reception to the movie, I think the remainder was pretty unnecessary. Valerian‘s visual inventiveness and childlike sense of fantasy joy require no translation, setting its space-agents off from one wacky scenario to another and casting Ethan Hawke as someone named Jolly the Pimp. It was a huge flop, of course, but if someone is still willing to give Luc Besson a hundred million dollars to mess around in space again, I’m there.

Recommended pairing: The Adventures of Buckaroo Banzai Across the 8th Dimension.

9. Guardians of the Galaxy, Vol. 2 (Rotten Tomatoes 93%, IMDb 7.7)

We’ve reached superhero saturation. When 2008 gave us two high-quality comic book movies in Iron Man and The Dark Knight, it felt like lightening striking twice. Now, well, that seems to be the definition of summer movie season. And it’d be so much easier to hate if most of the movies, particularly the Marvel ones, weren’t so damn good. Sure, they’re all products, but Spiderman Homecoming and Wonder Woman were both fantastically polished entertainment, and while they missed the mark a little for me, Logan and Thor Ragnarok managed to play with the formula in some very clever ways. The only one this year to really provide on both fronts was also one of the first. Guardians of the Galaxy Vol. 2 is no doubt indebted to its predecessor, but if the first was a much-needed change-up to the Marvel formula, the second shows how that same formula can be used to give low-budget charm a big-budget sheen. Director James Gunn relishes in some gross-out tendencies and over-the-top violence that would fit in more at a midnight showing. We’re still a far cry here from Batman Returns-levels of auteurism, but dammit, its a hell of a start.

Recommended pairing: Sure, Batman Returns.

8. Gerald’s Game (Rotten Tomatoes 91%, IMDb 6.7)

Man, do I wish the last five minutes of Gerald’s Game didn’t exist. The epilogue to this tense, single-location Stephen King thriller nearly turned me against the movie. But the ninety minutes beforehand can’t be overlooked, providing the single nastiest scene in any movie I saw this year and delicate moments of quiet, visual terror that stuck with me after I turned out the lights. Netflix has been trying its hand at bringing in big names and big budgets, but the best film it produced by far last year was this well-crafted, small-scale nailbiter.

Recommended pairing: The Ring.

7. Raw (Rotten Tomatoes 90%, IMDb 7.0)

Like Valerian above, I wasn’t able to watch Raw in English, settling for French audio and German subtitles, hence the lack of a writeup. But Raw told its graphic coming of age story with such visual flair that it enraptured me all the same. At its base, Raw is an effectively nervy cannibalism story, but it sells it through specific links to sexual awakening, the college experience, and familial role models. And it uses its colour palette and soundscape wonderfully, the former perhaps no more starkly than a moment where a blue-and-yellow painted face has a sudden vicious splash of red added.

Recommended pairing: It Follows.

6. Blade Runner 2049 (Rotten Tomatoes 87%, IMDb 8.2)

Can I just say “It was really pretty” and be done with it? It’s obvious from the trailer that Blade Runner 2049 is visually stunning, adding to the original’s unmistakable sci-fi noir aesthetic with sweeping vistas and a dusty, forgotten Las Vegas, complete with a half-functioning Elvis hologram. But many mistook the original for a solely technical achievement when it came out, only later (after many edited releases) being recognized as a significant work of storytelling as well. At almost three-hours long, Blade Runner 2049 packs in enough sci-fi gristle to chew on that a second viewing is probably necessary for me to form a solid opinion on whether it reaches the same heights. But damn if I’m not looking forward to sinking myself back into it to find out.

Recommended pairing: Her.

5. The Shape of Water (Rotten Tomatoes 92%, IMDb 7.7)

If Pan’s Labyrinth was Guillermo del Toro’s perfect dark fairy tale, The Shape of Water is his adult fairy tale, fully awake with life’s complications but surprisingly and unabashedly fantastical. It delivers visually from frame one and carries itself with a grace that doesn’t immediately scream “fish-man romance”. It’s pulpier elements are carried out with flair (the fact that its an often-violent cold-war noir half the time is a little underadvertised), but it manages to provide real heart to its silent central duo, giving us the Creature-from-the-Black-Lagoon dance sequence we never knew we needed along the way.

Recommended pairing: A full playthrough of Bioshock.

4. Star Wars Episode VIII: The Last Jedi (Rotten Tomatoes 90%, IMDb 7.5)

The Last Jedi is the only movie on this list I had the opportunity to see twice, and it turned out to be a very important second viewing. At first, I took The Last Jedi to be narratively innovative but lacking in big moments or a sense of adventure. But the second time, it struck me that I was looking for big moments in all the wrong places, because we get tons of them, from the way the film uses silence to a beautiful, haunting effect, to the incredibly striking paths of red sand under layer of salt leading to a line of AT-ATs that have never looked more imposing, or the sheer audacity and thoughtfulness of its arc for Luke Skywalker. The chemistry of the leads that carried The Force Awakens is what I expected to keep carrying this trilogy, and The Last Jedi shows that this generation has so much more to offer.

Recommended pairing: The Road Warrior.

3. Phantom Thread (Rotten Tomatoes 91%, IMDb 7.9)

Phantom Thread, being a film about silk and lace, has a quiet and delicate look from the outside. But it quickly proves to be much more, succeeding as a chamber drama about social power struggles but also as damn funny entertainment that you want to crawl into and live inside for a while. Also, its as much about breakfast as it is about fashion, which is a surefire way into my heart.

Recommended pairing: mother!

2. Get Out (Rotten Tomatoes 99%, IMDb 7.7)

Get Out is the perfect horror movie for an alternate-universe 2017 where the new cycle isn’t swamped by barely-disguised white supremacy, where it was pretty easy to live in the suburbs and assume that we were basically in a post-racial society. Get Out‘s commentary is still slick and highly relevant, but perhaps less subversive than it would have been in that other timeline. Regardless, the commentary is what everyone who saw Get Out was well primed for. What I was less prepared for was how masterfully Get Out is crafted, legitimately scary and consistently tense. Jordan Peele got his training in parody, but Get Out is incisive and original.

Recommended pairing: The Invitation.

1. mother! (Rotten Tomatoes 69%, IMDb 6.7)

mother!‘s divisiveness must have been expected in the editing room. If you don’t find its wavelength immediately, it’s either a confused mess or an over-obvious sledgehammer. For whatever reason, mother! grabbed me early and didn’t let go, providing by far the most visceral response I had to a film this year. Part of the fun was teasing out each and every analogy it lays out (very, very bluntly), but this distracted me just enough that when its final act came crashing down, I was unexpectedly carried away by the sheer mayhem of it all. It’s an incredibly forceful tour de force from Aronofsky, and love-it-or-hate-it, its the least compromising wide release in many years.

Recommended pairing: Phantom Thread.

Honourable mentions to the synchronized mayhem of Baby Driver, the slow-motion disaster of The Beguiled, the cocaine-fueled fun of American Made, the sheer oddity of The Killing of a Sacred Deer, the underrated crowd-pleaser Battle of the Sexes, the Southern gothic Mudbound, and whatever was going on in Colossal.

I still really need to catch up on lots, but at the top of my list are Good TimeThe Big SickThe Villainess, Lady Bird, Call Me By Your Name, The Florida Projectand A Ghost Story. If there are any you want to champion, yell at me in the comments!

Oh, and all reviews, 2017 or otherwise, can be found here.

I really, REALLY enjoyed Phantom Thread

A beautiful, hilarious movie about egoism, dresses, and breakfast

Hey everybody, just an FYI, Phantom Thread is very very good and if you have a chance you should see it. Oh I know, that trailer makes it look like a pretty dry British drama about dressmaking. If you didn’t catch that the director was Paul Thomas Anderson, of Boogie Nights and There Will Be Blood fame, you’d be forgiven for writing it off as the beautiful, sparse, dull Oscar bait of the year.

But guys, for real, go see Phantom Thread.

First off, there’s a very strong argument to be made that Phantom Thread is the best romcom of the year. It’s mannered enough to be a bit of a surprise, but it’s a viciously funny piece of work. Daniel Day-Lewis’ performance is allowed nowhere near the glorious scenery chewing of There Will Be Blood or Gangs of New York, but rather *just* unhinged enough to give the whole piece some bite. Also, his name is Reynolds Woodcock, and people mention the “House of Woodcock” in haughty huffs often, and its never not funny.

Oh yeah, there’s also the “rom” part. This movie is billed as a chamber-drama battle between Woodcock and his mistress Alma, and it very much is that. But even as their duel of manners escalates from toast-scraping and putting too much butter on the asparagus to, well, more nefarious means, there is an undercurrent of care beneath it. This is a twisted love story as far as love stories go, but it is very much a romance. In a strong way, it’s a mirror of this year’s mother!, which explored living with a man who holds their work to a higher importance than their home life, but instead of making the woman in the relationship a reactionary character (necessary for mother!‘s wackadoo metaphor), Phantom Thread is just as interested in Alma’s agency, and even more interested in what each character gains from the other rather than them individually. Throw in Cyril, Woodcock’s sister and partner/fixer, for Alma to jockey for power against and casually utter lines like “I’ll go right through you and it’ll be you who ends up on the floor, understood?“. Cyril is the best.

Oh, and speaking of toast scraping, as much as this is a movie about dresses and romance, it’s also a movie about breakfast. It’s a love story that starts with an order at a countryside diner. It’s a movie that taught me what Welsh rarebit was. It’s a movie where the sound design poured into a spoon hitting a saucer should’ve been nominated for a goddamn Oscar (the wondrous score by Radiohead’s Jonny Greenwood thankfully was). The dresses are very good, don’t get me wrong, but the catering is excellent.

A

Phantom Thread (2017)
Directed by Paul Thomas Anderson
Starring Daniel Day-Lewis, Vicky Krieps, and Lesley Manville
Rotten Tomatoes (91%)