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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!

 

 

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SCREENWASH CINEMA REVIEWS – SEPTEMBER 2017 – including: IT, WIND RIVER and KINGSMAN 2

SCREENWASH CINEMA REVIEWS – SEPTEMBER 2017 – including: IT, WIND RIVER and KINGSMAN 2

**MINIMAL SPOILERS**

I’m a tad tardy on my cinema reviews for last month mainly because I have been writing a couple of short script projects to be filmed. One is a sharp little horror story called Flatmates and I’m looking to shoot in November. The casting has been going well, after which I will rehearse and film on HD video. The other is a follow-up to our Star Trek fan film Chance Encounter (2017) released earlier this year online, which has now has over 40,000 views on YouTube!!  Not quite Gangnam Style or dancing cats on a piano but pretty good nonetheless to have one’s work viewed that much.

Anyway, enough of the filmmaking hobby momentarily to switch back to the film reviewing pastime. Below are reviews of three excellent genre films, plus a little reprise of my opinions on Aronofsky’s two hours of hell that was Mother (2017). As usual they are marked out of eleven in tribute to This is Spinal Tap!

IT (2017)

Stephen King is clearly a genius. To be able to maintain creativity and longevity as a writer, plus give birth, as it were, to any number of iconic narratives, characters and events is a testament to his massive energy and talent. When I was young one of the scariest things I ever saw on TV was the horror serial Salem’s Lot (1979), which was about vampires taking over a small town. His book Carrie (1976) was also adapted into one of the best horror films of the seventies too. Moreover, the ‘80s TV and cinema screens were peppered with King’s work notably: The Shining (1980), Stand by Me (1986) and the under-rated Pet Semetary (1989).  In 1990, Tommy Lee Wallace directed a mini-series of IT, with the terrifying Tim Curry as Pennywise the Clown. IT proved to be an excellent horror story until the – faithfully sticking to the novel of course – ridiculously silly ending.

Stephen King's It Trailer screen grab

Flash forward twenty-seven years and Pennywise is back to haunt the dreams, drains and sewer pipes of Derry, Maine, using manipulation and fear to lure teenagers to their death. Developed by, among others Cary Fukunaga, the film was eventually directed by Andy Muschietti and has deservedly become a big box office hit. I say deservedly because, while it is not a particularly amazing cinema offering, it is a highly entertaining genre horror film. As an experienced Stephen King cinema and TV viewer all the staples are there such as: geeky-small-town-outsider-kids; abusive tough-guy-bully types; negligent parents or appropriate adult; monstrous beings hidden in the shadows; plus coming-of-age teenage friendship and love.

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The clown in this case is portrayed with fiendish joy by Bill Skarsgard and there are some fantastic stand-out scares. My only criticism is, and this is my fault being over-familiar with King’s work, is that with the recent Super 8 (2011) and over-hyped Stranger Things (2016), I felt as if I had seen it all this before. I also felt they crammed too much into the two hours and some of the character emotion was lost at times. However, the cast of kids are excellent in their respective roles, the horror set-pieces are brilliantly staged and King’s iconic bad guy Pennywise makes it well worth the cinema admission fee alone.

(Mark: 8 out of 11)

 KINGSMAN: THE GOLDEN CIRCLE (2017)

The first Kingsman: The Secret Service (2014) film was one of my favourite genre films of the past couple of years. It showed a clean pair of spy heels to the, occasionally brilliant but overlong Bond disappointment Spectre (2015); while at the same time confirming Taron Egerton as an actor with great star potential. Having done the business at the box office then Jane Goldman and Matthew Vaughan have once again written and directed an explosive, funny, pacey and adrenaline-filled spy spoof sequel.

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In this story, Eggsy / Galahad is back with Merlin (Mark Strong), battling with the United States counterparts The Statesmen, against Julianne Moore’s perky, yet deranged, Americana obsessed drug baroness. The Statesmen are represented by such heavyweight acting talent in Jeff Bridges and a cracking turn from Pedro Pascal as the hilariously named Jack Daniels. Channing Tatum pops up too but he is lightweight compared to the effervescent Pascal. Poppy’s fiendish plot is actually quite a decent motivation for the story and the subplot involving a Lazarus-type-return from a major character from the first film is well developed.

Kingsman-The-Golden-Circle-1st-Day-Box-Office-Collection

To be honest the story is just the bare bones to hang a series of fantastic set-pieces, car chases, shoot-outs and fights, as Eggsy and his kick-ass team once again attempt to thwart the end-of-civilisation as we know it. My main criticism is the film is probably too long with an unnecessary gratuitous sex-driven sequence set in the Glastonbury Festival. It also lacks that sense of characterisation from the first film which had the working class underdog Eggsy battling the upper-class sneers of the over-privileged. Nonetheless, Matthew Vaughan is a great gag-heavy-action-director and the plot has some decent twists and turns throughout making it well worth a watch.

(Mark: 8 out of 11)

MOTHER (2017)

While Darren Aronofsky is a cinematic artist of the highest level, I connected badly with this two-hours-of-hell-excuse-for-entertainment. My full review can be found here but, in a nutshell, this is what I thought of it:

“It was an awful, pretentious heap of a film which exists as an entertainment void both nihilistic and dull. Because this film abuses the privilege and patience of the audience delivering a technically brilliant but overall clichéd, first-world-problems-poet-with-writer’s-block-world-murdering-art-fan-hating two hours I will never get back.”

Mark: 3 out of 11 (for the film)
Mark: 9.5 out of 11 (for Darren Aronofsky)

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WIND RIVER (2017)

Taylor Sheridan has carved himself a fine reputation for writing very solid character driven genre films such as Sicario (2015) and Hell or High Water (2016). Wind River (2017) is his first writer-director effort and it is a fascinating study of: grief, murder, racial tension and dark humanity. Sheridan is adept at choosing specific areas of America with which to place his stories. Sicario reflected on the war on drugs, located betwixt the violent border of Mexico and the U.S.A. Hell and High Water illustrated the financial ruin of the sub-prime mortgage crash and its effect on West Texas. In his latest screenplay Sheridan focusses on the Indian Reservation territories of Wyoming and the people who inhabit the stark wintry landscapes.

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The quietly impressive Jeremy Renner, as Cory Lambert, takes most of the acting plaudits as the respected, expert tracker and estranged family man. He is an individual who, while in perpetual control on the external Reservations and snowy terrain, finds himself crumbling internally due a horrific event from his past. Renner is ably supported by his Avengers co-star, Elizabeth Olsen, who imbues the rookie FBI agent with a steely determination, despite her lack of experience and confidence. The portrayal of the Native Americans I feel was sensitively presented as their lives are further marginalized by corporate America as its venal greed destroys the environment and humanity within the area. While this is a beautifully looking film there is a dark murderous heart within the stunning vistas and natural beauty.

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Sheridan again confirms he is adept at combining social commentary with an impressive crime plot.  Moreover, throughout the film he also bleeds in a compelling study of grief as well as a subtle critique of patriarchal capitalism and its’ destruction of the Native American’s land and people. Yet, the message could arguably have gone further in its criticism; however, as he proved with his prior screenplays Sheridan prefers subtext and a rising tension rather than polemics. Quietly, Sheridan is building an impressive filmic body of work and Wind River manages to be a thrilling police procedural drama, empathetic character study and socio-political examination of American corruption; all amidst the cold, harsh and white-washed landscapes of Wyoming.

(Mark: 9 out of 11)