I love a good listicle. Don’t you? If you don’t, you’re probably lying and trying to hastily close that tab containing Buzzfeed’s “Top 25 Pictures of Mashed Potatoes that Look Like Taylor Swift.”
So I’m gonna do that thing I do where I tell you stuff I liked from this year, and you’re probably going to disagree with me. Feel free to slag off on me in the comments.
TOP FILMS of 2017:
I won’t order these, but these are my faves from 2017. They shift up and down depending on my mood and the rising of the tide.
John Wick Chapter 2
WORLD. BUILDING. I don’t think I have ever been so thoroughly impressed by the escalation of storytelling and mythos in a film franchise as I was with Chapter Two of JOHN WICK. Yeah, I’m thinkin’ he’s back…with a meticulously developed exercise in world-building and narrative invention the likes of which action cinema rarely seeks to attain.
I legitimately believe this might be the only X-Men branded film I will be able to watch in ten years time and still be able to enjoy. There is something about the central films; a baggage that I can’t get over. James Mangold’s LOGAN is the only entry in the franchise so far that aspires to anything beyond surface level drudgery. While there are elements of the main series that work well, I feel like they play things just a little too safe. LOGAN relies on tropes, yes, but in service of subverting them in interesting ways. I admit that that same subversion relies on lesser films in order to provide the necessary context, but the finished product stands on its own enough to outshine its origins. Heh. Origins. Now that was a terrible film.
Gal Gadot could stab me in the leg with a rusty pair of pliers and she’s so goddamn enchanting that I would probably thank her for it. WONDER WOMAN could have been a massive misfire. But instead it was the first solid entry for a DC character since 2012. Not to mention it essentially became a beacon of hope for young girls the world over who have been clamoring for female representation in superheros beyond Scarlett Johansson’s barren “monster” uterus and Harley Quinn’s hotpants.
Can Edgar Wright go back in and digitally replace Kevin Spacey with Christopher Plummer? Because I loved this movie beyond reason and I hate that further viewings are going to be marred by that flubby bag of human garbage. Putting aside the problematic element of a serial predator in a prominent role, the film is excellent in every respect. If it doesn’t snag multiple awards for editing, there is no justice in the world and that is God’s gospel truth.
Interstellar left me cold. I’m sorry but TARS and Anne Hathaway’s ugly crying did nothing for me. I appreciated the attempt at thematic weight but Nolan forgot that everything in space is weightless, just like the film ultimately wound up being. But its okay! DUNKIRK understands actual human emotion in a way that some of Nolan’s other films truly do not. The structure of the film is ingenious and the violent ramping of tension makes it one that stands apart from the glut of WWII films that have tried to engage the viewer on a visceral level and failed miserably.
I know what you’re thinking; “but it didn’t have NEAR enough child orgies!” Well, I’m sorry that it didn’t clear your bar but this is, for me, the definitive Stephen King horror adaptation. Sure, Shawshank and Green Mile are all-time masterpieces but when has King’s HORROR ever been so adequately portrayed on film? Pet Semetary? Are you kidding me? This is the real deal. What I’ve been waiting for since I was fifteen. This is the good stuff. This is the opposite of whatever the hell THE DARK TOWER was. This is dope.
Star Wars: The Last Jedi