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2017 – MY FAVOURITE TWELVE FILMS OF THE YEAR!

2017 – MY FAVOURITE TWELVE FILMS OF THE YEAR!

There were some fantastic films this year and here are my favourite TWELVE. These are the ones I enjoyed the most from a cinematic, entertainment and emotional perspective. They are not necessarily the critics’ favourites, so for example, Moonlight (2017) is not on the list because I thought it was brilliantly directed but arguably over-rated as a story. Similarly, La La Land (2017), was an incredibly imaginative film from a stylistic and musical point-of-view but lacked emotional impact. But hey, as The Dude once said, “That’s just my opinion, man!”

Please note that they include films I have seen at the CINEMA in 2017, including the London Film Festival. Obviously there are some omissions but that’s either because I did not see them yet – Call Me By Your Name (2017), Mudbound (2017), God’s Own Country (2017) – or did not enjoy them as much as others. Please let me know if I have made glaring omissions in case I missed them at the cinema and should stream them. Indeed, last year the brilliant Hunt for the Wilderpeople (2016) was one I missed at the cinema, so I was grateful to catch up with that on Netflix.

For your information my favourite films I saw at the cinema in 2016 were:

FAVOURITE TWELVE FILMS SEEN AT THE CINEMA IN 2016 (in alphabetical order)

ARRIVAL (2016)

BONE TOMAHAWK (2015)

CAPTAIN AMERICA 3: CIVIL WAR (2016)

DOCTOR STRANGE (2016)

THE HATEFUL EIGHT (2015)

MANCHESTER-BY-THE-SEA (2016)

MEN AND CHICKEN (2015)

THE NICE GUYS (2016)

RAW (2016)

THE REVENANT (2015), ROGUE ONE: A STAR WARS STORY (2016), ROOM (2015)

FAVOURITE TWELVE FILMS SEEN AT THE CINEMA IN 2017 (in alphabetical order)

A GHOST STORY (2017)

“. . .this film transcends cinema conventions and delivers one of the most poignant and melancholic experiences of the year.”

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BABY DRIVER (2017)

“. . . Wright brings such a balletic rhythm, musical verve and kinetic drive to the movie it becomes simply irrepressible.”

BLADERUNNER 2049 (2017)

“. . . It’s like Denis Villeneuve managed to combine, with the writers and designers, an indie-Hollywood-art film installation.”

BRAWL IN CELL BLOCK 99 (2017)

“. . . Brawl in Cell Block 99 rips into the dark underbelly of the criminal landscape leaving us in no doubt to the destructive nature of the American dream.”

COLOSSAL (2016)

“. . .In a summer which will bring us blockbusters galore they will have to go some way to match Vigalondo’s Colossal for originality, humour, heart and Seoul (sorry!)”

THE DISASTER ARTIST (2017)

“. . . Franco’s Wiseau is his greatest performance to date. The fact he directed the film too is also remarkable as he got the pitch of parody and drama just perfectly.”

DUNKIRK (2017)

“. . .the film belongs to the masterful direction of Christopher Nolan who, in delivering 106 minutes of pure dramatic exhilaration, demonstrates he is more than just a genre filmmaker.” 

FENCES (2016)

“. . . Viola Davis more than matches Denzel Washington’s grandstanding and Rose’s heartfelt speech is a stunning retort to her husband’s continual tirades.”

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INGRID GOES WEST (2017)

“. . . Overall, this was just #brilliant #dark #funny #sad!  Aubrey Plaza is the shining light of this very satisfying black comedy.”

SILENCE (2016)

“While moving at a meditative pace Silence possesses some wonderful cinematography, brilliant direction, sterling performances and a brooding score.”

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017)

“. . . this is an excellent cinematic experience funny, shocking and moving; only possible because of the expert script from a great writer.”

WAR FOR THE PLANET OF THE APES (2017)

“. . . one of the best cinematic experiences in 2017 as story, style, technology and emotion all work together to bring a fitting end to one of the best film trilogies of recent years.”

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Other films I enjoyed that were very close to the list:

DETROIT (2017), GET OUT (2017), THE GIRL WITH ALL THE GIFTS (2016), HACKSAW RIDGE (2017), THE HANDMAIDEN (2016), THE KILLING OF A SACRED DEER (2017), THE LOST CITY OF Z (2017), OKJA (2017), SPLIT (2017), THOR: RAGNAROK (2017), WIND RIVER (2017)!

Anyway, I really enjoyed last year’s cinema offerings and here’s to a happy and positive 2018!

MOVIE REVIEW: COLOSSAL (2016)

MOVIE REVIEW: COLOSSAL (2016)

**CONTAINS MINIMAL SPOILERS**

Having watched Alien: Covenant (2017) and Guardians of the Galaxy: Vol. 2 (2017) in the last few weeks at the cinema, it’s been a bit of an alien-monster-sci-fi month so far. Both of those films were very entertaining genre/franchise movies with loads of action, suspense and decent enough performances and set-pieces to make them well worth the admission fee. Of course, they also used established formulas and known properties to propel their narratives and the movie Colossal (2016) too draws upon Japanese movies or ‘Kaiju’ subgenre; which in itself was influenced by the atomic age and Hollywood monster movies of yesteryear. Colossal, however, transcends the monster genre to become something surprisingly more human altogether.

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The filmmaker Nacho Vigalondo wrote and directed one of my favourite time-travel films ever called TimeCrimes (2007). In that an ordinary guy gets caught in a paradoxical nightmarish loop of murder and temporal intrigue, delivering a film rich in devious plotting, mind-bending structure and also strong thematic subtext. Similarly, Colossal is equally ambitious employing intelligence and powerful concepts as Anne Hathaway’s lost-in-life-thirty-something finds her consciousness somehow connected to a Godzilla like beast wreaking havoc in South Korea. If you’re thinking that’s a bit weird isn’t it – then you are correct! However, Vigalondo has crafted one of the most original cinema experiences I have had all year.

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Safe to say this has one of those fantastical-let’s-go-with-it plot turns in the first act which establishes the films’ quirkiness very quickly and runs with it superbly. Anne Hathaway provides the films’ emotional heart with a terrific performance as an alcoholic-unemployed-party-girl who seeks to escape the hedonistic night and day life which is slowly destroying her. On top of her addictions she is kicked out by her cloying and controlling boyfriend, portrayed with overloaded smug by Dan Stevens.
Heading back home to the place she grew up in is seen as a way of escaping and gaining control. Indeed the move from the city to a small town is a staple of many lo-fi indie comedies and dramas but when a monster attacks Seoul, the film suddenly mashes up the genres to fascinating dramatic and comedic impact.

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Admitting defeat in life, Gloria has nothing but an empty place to reside and very little to cling onto emotionally. That is until Jason Sudeikis’ Oscar, a childhood friend, gives her a job and furniture and most importantly, an ear to listen to. Sudeikis is amazing in his role as the complex Oscar as he sees, in Gloria, a chance to rekindle a past unrequited love. However, while the two connect the story goes in an unexpected direction and his motivation really pushes the narrative to surprising places. But what about the monsters I hear you ask?  Well, without giving too much away the human story of Gloria and Oscar is cleverly reflected by the destruction in Seoul as Vigalondo pushes both emotional and cerebral buttons very successfully.

Lastly, thematically speaking this film is a very rich. The subtext is all about human beings gaining control over the external forces, internal weaknesses and those people who bully you and try to mould your existence.   While it may be tonally uneven in the latter half of the film, as it veers from comedy to high drama, this merely adds to the overall charm and unconventionality. In a summer which will bring us blockbusters galore they will have to go some way to match Vigalondo’s lower-budgeted Colossal for originality, humour, heart and Seoul (sorry!) (Mark: 9 out of 11)