Compared to last year, I’ve been doing a far better job keeping up with this year’s cinematic output, largely thanks to my increased use of Micro Reviews. So far, I’ve seen 44 films from 2017 and reviewed 39 of them. I’ve seen the majority of 2017’s prominent blockbuster films (the ones that interested me and/or received critical praise), though there are a few noteworthy films I missed for various reasons. I missed seeing War for the Planet of the Apes in theaters, and I actually did so on purpose—not because it didn’t interest me, but because I lack proper knowledge of the series as a whole. At this point, I’ve seen only two Planet of the Apes films—the 1968 original and the 2011 reboot—and until I’ve seen the rest (particularly Dawn of the Planet of the Apes) I feel my lack of proper knowledge will lead to an inadequate review. Eventually, I will get down to watching the whole series, but until then the likelihood of me watching/reviewing War for the Planet of the Apes this year is slim to none.
A film I will eventually get to review, however, is Cars 3. Cars 3 marks the first instance since Up that I missed seeing a Pixar film in theaters. Once again, the reasoning was not from lack of desire, but because of a project I was working on called Cars Month. The idea was to review every Cars-related film and short during the month of June before ending with a Cars 3 review. As with many of my big projects, the situation got out of hand, I wasn’t able to complete all the reviews by Cars 3’s release, and the whole thing just fell apart. Now, mark my words, I still plan on completing such project by either this year or the beginning of 2018, with Cars 3 remaining the definite end point.
Then there’s the situation involving my number 1 film on this list, Paterson. A 2016 leftover, Paterson took me by complete surprise with its amazing overall quality. Paterson deserves a full review, yet I have something more…complex in mind that revolves around the film’s own format. Until I finalize and release such project, Paterson will remain this list’s mysterious number 1 spot.
In regards to the list, these are the top 10 films (plus five honorable mentions) I’ve seen from February 2017 to August 2017. Only 2017 releases (plus any 2016 leftovers) are permitted for inclusion. Because January primarily consists of the previous year’s Oscar contenders, I regard it (film wise) as the previous year’s end rather than the next year’s beginning. The reason I make a mid-year list is to give satisfying yet overlooked films a chance to shine before the (supposed) Oscar season bombardment. The reasoning I post such list two months after the actual mid-year is to include the summer blockbuster season’s latter half, in addition to having extra time for viewing 2016 leftovers and/or missed 2017 releases at home.
Now then, LET'S BEGIN: (links are provided in each film's title to their review).
"Creativity is abundant in regards to Skull Island’s fauna, the variety they come in, and the methods they use to attack. The story and characters are neither trite, frustrating nor disruptive to the film’s creative environment. The characters are an enjoyable bunch—even the antagonistic ones—though a lot of that has to do with their casting choices: being played by big named, skilled actors such as Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson, and John C. Reilly. The actors’ natural chemistry make their characters likable from the get-go, and I actually grew rather invested in John C. Reilly’s—who provides a solid dose of lighthearted, effective humor throughout—character arc (which ends on a surprisingly touching conclusion)."
"Lego Batman has a ton of references to both classic and current Batman lore: from past movies, to quite possibly every A, B and C-list villain Batman’s ever encountered (which The Joker suggests are 'probably worth a Google'). My favorite references are towards the 1960s Batman TV show and 1966 movie. It makes sense a comedy Batman film would make nods towards the original, campy Bat-satire, and there are a lot of nods—from the infamous Bat-shark repellent, to the transitioning sound and visual action effects, to a literal live action clip of Batman’s groovy dance moves from episode 1 (all that was missing was a surfing reference, though I may have missed it within the magnitude of background material)."
"It’s difficult to write the likable asshole character. Wilson is a likable asshole. The man says stuff that would usually get one punched in the face…and it does, in fact, get Wilson beat up on a few occasions. Yet the remarkable manner in which Wilson’s portrayed and handled makes it clear his words are never meant to damage, but rather help. It may not seem helpful to call someone an asshole, or insult their intelligence, or call them a 'toxic soul-draining vampire', but with Wilson there’s always a reason, and if you listen to him, there may come a positive development in your life. Wilson succeeds in making its title character likable despite his abrasive, blunt nature, with the plot balancing its theater masks enough to prevent the film from becoming too cynical or tragic."
Honorable Mentions: (In Alphabetical Order)
"There’s some very potent material in Aftermath. The characters are Aftermath’s strongest element—fleshed out, well-written, emotionally believable in addition to relatable. Combine this with the film’s plot—exploring the emotional, psychological, and physical effects on its opposing characters and family—and Aftermath ends up giving some powerful insight into the human psyche. I love when stories divert from having a 'bad guy' to ultimately blame, rather examining both sides in an equally empathetic manner—giving the audience a chance to understand and sympathize with both standpoints."
"I appreciate that each Guardian gets their own subplot and ample screen time, with no one feeling purposeless. Drax the Destroyer is the film’s highlight, with the character speaking his mind and saying stuff that everyone’s thinking, but wouldn’t dare say out loud. The comedy is even better than the first’s, with more memorable lines and scenes that were both witty and/or hilarious."
The Top Ten:
"As a thriller, Get Out is noticeably effective. The entire film has a consistent, unsettling vibe even during its more mundane scenes—with several, light jump scares sprinkled in-between to effectively utilize the tension. The horror elements don’t truly appear until the finale, yet when fully revealed, are both really clever and genuinely horrifying (there’s nothing more terrifying to me than the 'I have no mouth and I must scream' scenario). Aside from that and a few minor gripes, Get Out succeeds on both a cinematic and storytelling level. The film’s atmosphere, music and pacing all effectively complement the chills, thrills, twists and comedy. Get Out is a thoroughly entertaining, refreshing spin on the thriller/horror genre—more than accomplishing what it set out to do."
"Logan contains thoroughly engaging, spectacularly gruesome action scenes—some of the best combat sequences I’ve seen in film this decade. The scenes get creative with their violence as well, such as when the Professor experiences a telepathic seizure—paralyzing everyone in the area except for the Adamantium-coated characters. The scene is exhilarating to watch as Logan gradually advances (slowed down by Charles’ psychic output) towards the surrounding enemies—all frozen and looking utterly terrified as the Wolverine begins impaling them one by one, helpless to stop his assault. Despite its faults, the positive aspects in Logan are really good—some of the best I’ve seen in any X-Men film. Logan is one of the best X-Men films to be made, a great way to conclude(?) Hugh Jackman and Patrick Stewart’s iconic roles, and a successful R-rated superhero film."
"I really appreciate a film like this. It gets right to its nonsensical premise—no setup, no backstory, no logical explanation, just a story about a guy who builds a giant, magical, deadly cardboard maze because he was bored. The film is bursting with creativity—unbound from the rules of science and logic, free to do whatever it pleases. From an overview, its key strength is its charming nature, with the film’s darker elements never overtaking its well-meaning nature. Dave Made a Maze is sweet, funny, incredibly creative, and ends up being unexpectedly endearing."
"Christopher Nolan knows how to make epic theatrical experiences. His films practically require a theater viewing to fully appreciate, with Dunkirk being the most prominent example. Is Dunkirk Nolan’s best film to date? Subjectively, I say no (at least 5 of his previous films I consider superior), yet it is, so far, Nolan’s best film to see theatrically. Dunkirk is a grand experience of hell and hope, with sound playing an essential role. It’s a film I thoroughly urge you to see in theaters (IMAX if available), as I cannot see it being as effective if viewed at home."
"If there’s one major element that stands on par, if not surpasses the 1991 version, it’s the 2017’s interpretation of the Beast. Dan Stevens does a fantastic job as Beast, giving him a distinctive elegance and sophistication that, while not absent from the original, was downplayed in favor of the Beast’s more comedic and ferocious characteristics. The 2017 version initially has trouble finding its footing: it’s pacing is off at times, and follows the original a bit too closely. Yet by the time Beast appears in the film, Beauty and the Beast finds its own ground—still following closely to the 1991’s plot, yet with a refreshing atmosphere created by its actors (namely Dan Stevens) and their altered/additional moments. When viewed by its accomplishments through singular elements, the remake is a remarkably well-made film—succeeding in all the areas Cinderella’s remake falls short."
"T2 Trainspotting goes for a very different approach than the original, and it pays off. The sequel has far more sympathetic themes towards family and friends—repairing bonds and developing characters. The returning characters are far more enjoyable and empathetic, the newcomers improve upon their replacements, and there’s a very satisfying feeling by the conclusion, all the while not completely fixing the characters’s issues and ending hunky-dory. 20 years was the perfect gap in time to come back and reexamine these characters’s lives (a shorter timeskip, say 5 years, would have been far less potent). T2 is not only a well-made sequel, but an overall superior film that strengthens and improves upon the original."
"Wonder Woman’s comedy is an ideal, appropriately placed mix between the action and drama. The film loves its fish out of water jokes, especially regarding its female lead (who grew up on an all-female island) not understanding early 20th century 'male-female etiquette'. The film’s overemphasis on these jokes may have eventually grown trite, if not for the natural chemistry and comedic timing/expressions of Gal Gadot and Chris Pine, who do a really good job keeping the jokes entertaining, occasionally flat out hilarious, and fresh. I enjoy how the film, without directly stating it, has Diana gradually grow more powerful as she learns to better harness her skills—such as when she utilizes her super strength to leap a cavern and create her own hand grips to scale a tower—going from slightly above average Amazon warrior to super-powered demigoddess. Wonder Woman, amusingly enough, is a symbol of hope for the DCEU: despite all the horror they’ve created, there’s still some good within them. Yet Wonder Woman is also a symbol of hope for female-lead superhero films, which, up to this point (Supergirl, Catwoman, Elektra, etc.), have been utter disasters both critically and commercially. Wonder Woman has proven to be neither, and, as of now, has taken top spot as my favorite superhero film of 2017."
"The Big Sick is a film that gradually progresses into excellence. It starts off a decent, unremarkable romance-comedy with the occasional cute and/or funny moment, but then steadily gains traction as it grows in better comedy, engaging romance, and potent drama. It’s then that The Big Sick hits its middle section, the meat of the story, where the title’s meaning comes into play. I wasn’t aware going in what exactly the title was referring to, but after seeing the film I wholly understand its meaning and why the film is named after such event. It’s the film's 'Big Sick' element where the story’s quality skyrockets to phenomenal levels of innovative concepts and beautifully executed comedy-drama. The Big Sick is a very effective film with really good comedy, really good drama (which should especially be noted as drama is often overlooked in comedies) and several really good performances. It’s a charming, delightful, innovative romance comedy-drama with some downright brilliant scenes and a fantastically executed middle section."
"Personal Shopper is an amazing psychological thriller with some downright terrifying moments (the scariest modern film I’ve seen since It Follows). It’s in Personal Shopper that Stewart delivers her best performance to date. I won’t say she makes the film, because Personal Shopper has so much more to offer, but she definitely has a large part to play in its overall effectiveness. Personal Shopper’s minimalistic soundtrack usage and focus on Stewart’s body language (such as her trembling fingers as Maureen texts the unknown messenger) allows for a very relatable, incredibly natural performance. The big moments where Maureen showcases shock and fear are handled beautifully, yet it’s also the smaller touches—such as Maureen’s hesitancy to talk about her interests in ghosts (which, in turn, showcases her own clashing uncertainty over their existence), to the simplest moment of her pushing away some overly enthusiastic dogs—that turn Maureen into an all-too-realistic character. As strange as it might seem, it’s the latter enthusiastic dogs moment that really stood out for me; it’s an entirely unnecessary moment to the plot that could easily be taken out, yet adds an extra layer of realism to the story as it further humanizes Stewart’s character."
Now onto the Oscar season!!!...in about a month. Just have to get through September first.
