Top 10 Films of 2017

It's that time of year again where I reflect on all the films I've watched and reviewed to tell you my ten favorites. I made an effort to see a majority of the films released this year, but naturally I missed out on some for various reasons. This year I saw and reviewed 71 films in total, but I'll still publish my thoughts on anything I missed once I see it. In my ranking, I'll have a couple sentences to sum up my thoughts on each film and why I feel it earned a spot on my list. I have reviews uploaded for each one, so if you're interested and haven't done so already, you can read my more in-depth thoughts by clicking the blue title once you're done perusing my list. 

I'd also like to preface my list with a few things for you to consider as you read. First of all, this is my subjective list. Not an objective one. That list would probably look a lot more like the list of Best Picture nominees coming next month, and quite frankly, I don't think any of you are interested in seeing those same exact films appear here. These are the ten films that stuck with me most when the year was all over for an abundance of reasons I'll get around to explaining in a second. Another thing regarding my list is that this is MY list. You're likely and liable to disagree with some of my picks, but that's because film is subjective and speaks differently to everyone. Also, it's a high distinction to be an Honorable Mention. Those films are the ones I struggled leaving off the list, but feel deserve some sort of shot-out, so don't think that I disliked a film because I put it in there. The final thing I'd like to say is that just because something is left off my list doesn't necessarily mean I hated it... I just liked these other films even more when all was said and done. 

Top 10 Films of 2017

Honorable Mentions (Alphabetical order): The Big Sick, The Disaster Artist, Dunkirk, Get Out, I, Tonya, The Killing of a Sacred Deer, Lady Bird, The LEGO Batman Movie, and Spider-Man: Homecoming.

10. Wonder Woman

In spite of a lackluster villain, a third act that's not quite on par with the rest of the film, and the baggage of being part of the larger DCEU, Wonder Woman defied all odds to emerge as one of the year's most entertaining blockbusters! Gal Gadot shines here by imbuing all of Diana's best qualities, Chris Pine stands out as a charming love interest, Patty Jenkins did an exceptional job directing her first big budget project, and Rupert Gregson-Williams' score is absolutely electrifying. I know there's been some backlash from a vocal contingent, but I genuinely feel it featured some of the year's most exciting action scenes and took huge strides forward in properly depicting a female superhero. 

9. Three Billboards Outside Ebbing, Missouri

Three Billboards Outside Ebbing, Missouri is one of the year's strongest films for so many reasons, but it stood out to me because of how well it balanced the extremes of dark comedy and drama while discussing the adverse effects of anger. It also didn't hurt that it was well-written, well-directed, and features plenty of powerhouse performances.

8. Wind River

Of all the films released this year, Wind River was probably the biggest surprise for me. I was hoping it'd be good of course, but I had no idea Taylor Sheridan would leave such a harrowing impression. Like the icy Wyoming landscape presented to the viewer, Wind River is cold and unforgiving with a message audiences will have a hard time forgetting.

7. Coco

Pixar never ceases to amaze me with their ability to tell such emotionally-driven stories through the visual medium of animation. Coco stands as an exemplary reminder of everything the studio is capable of whenever they set their hearts and minds to it. Coco's not only one of the best of the year, but one of their best original films to date thanks to all it had to say on the importance of family and culture while also ensuring audiences enjoyed themselves.

6. War for the Planet of the Apes

Trilogies don't always land on solid ground with their third installments, but War for the Planet of the Apes cemented the Ceasar trilogy as one of the greatest cinematic trilogies ever made. It was epic, emotional, and never lost sight of the series' values. Andy Serkis delivers one of his best motion-capture performances yet while the WETA visual effects team presented some of their best work ever. After it was over, I couldn't fight the desire to bow down and hail Caesar.  

5. The Shape of Water

The Shape of Water is such a beautiful film in so many ways. It's got an attractive aesthetic, important messages to impart, and most impressively, it tells a surprisingly deep love story without either of the two love interests uttering a word. It's simply one of those films that reminded me why I ever fell in love with cinema.

4. Logan

I grew up watching Hugh Jackman's Wolverine for seventeen years. He's genuinely one of the best cast comic book movie characters ever... Knowing he was leaving the role for good was saddening in and of itself. However, Logan was everything Hugh Jackman's sentimental send-off needed to be. It was raw, emotional, and character driven all the way through. It upended the comic book genre by going the way of the Western and it worked extraordinarily well. I'm not even a huge fan of the character of Wolverine, but I consider it to be the greatest comic book movie ever made, and the only one aside from The Dark Knight to truly be deserving of major awards contention.

3. Baby Driver

In a year filled with sequels, reboots, and comic book adaptations, Baby Driver was something entirely original from the brilliant mind of Edgar Wright. It had a tank full of heart, humor, and unpredictability that made it stand out as something truly special amongst the hub-bub of summer blockbusters. I can't say it enough, but this film floored me. Wright's determination to meticulously match the diverse soundtrack full of rockin' tunes with all the insanity occurring onscreen is commendable alone. The fact he managed to pull that off while telling an engaging story about such charming characters only goes to show he's not a creative force to be reckoned with.

2. Blade Runner 2049

Few directors can consistently deliver intellectually and emotionally stirring work, but Denis Villeneuve kept up his streak with Blade Runner 2049. Blade Runner 2049 is simply a masterwork in more ways than one. It's one of the most beautiful films I think I've EVER laid eyes on thanks to Roger Deakins, it features my favorite film score of the entire year from Hans Zimmer and Benjamin Wallfisch, and it expands its world in organic ways while telling a fascinating story. I'm absolutely positive Blade Runner 2049 will become an influential source for many up-and-coming filmmakers.

1. Star Wars: The Last Jedi

Star Wars: The Last Jedi split the fanbase right down the middle, and surprisingly wound up being one of the year's most divisive films. You all know where I stand by now, but I was completely taken aback by the rift between fans. It's weird because I watched something that was utterly astounding on so many levels, while others talk about it like they saw something straight out of a trash compactor. Writer and director Rian Johnson dared do to be different and deconstruct Star Wars like no one ever had, and I think it paid off in spades.

'The Shape of Water' Review

Nominated For: Best Picture, Best Director; Guillermo del Toro, Best Actress; Sally Hawkins, Best Supporting Actor; Richard Jenkins, Best Supporting Actress; Octavia Spencer, Best Original Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, Best Production Design, Best Sound Editing, Best Sound Mixing, and Best Original Score.

Won: Best Picture, Best Director; Guillermo del Toro, Best Production Design, and Best Original Score.

The Shape of Water washes audiences ashore in the year 1962 to follow Elisa, a mute janitor currently cleaning a top secret research facility. One day, security officer Richard Strickland arrives to the government lab with a mysterious monster in tow from South America. As Elisa encounters the aquatic creature in her day-to-day work, she forms a bond with the beast and decides she must free the wrongfully imprisoned Amphibian Man for the sake of its survival. 

Guillermo del Toro dives into telling an unconventional story as both writer and director, receiving an assist from Vanessa Taylor in regards to screenplay. Del Toro is a visionary director who's perhaps most well known for writing and directing Hellboy, Pan's Labyrinth, Pacific Rim, and Crimson Peak. While I've only seen two of those films, I can say I'm quite familiar with hearing del Toro's name mentioned by cinephiles as a promising choice of director for countless peculiar projects. From the trailer alone, I could tell this film was coming from del Toro based on the picturesque production design and strange sensibilities of the story. My interest was peaked, but I didn't quite know what I was in for... Then the film stunned the festival circuit with standing ovations and took home many of the top audience awards... That was followed by a stream of critical acclaim and nominations out the wazoo in various critic circles and the Golden Globes... At that moment, I knew The Shape of Water had to be something special... and boy, was I right. 

The Shape of Water is simply a beautiful film in all regards. The sea-foam green and aqua blue color scheme evidenced in Dan Laustsen's striking cinematography and Paul D. Austerberry's attractive era-appropriate production design evokes the guise of an extraordinary underwater environment. The creature design in-of-itself is stupendous, while the make-up, prosthetics, and visual effects effectively integrated with one another to create a convincing creature. The film's not just visually arresting though, as del Toro pours out a story that is sweet, sometimes dark, and surprisingly timely in spite of an antiquated setting. All of which is then reflected in Alexandre Desplat's exquisite score as it's able to sweep you off your feet, strain itself in the tense moments, and even startle you when things get scary.

At the center of it all, del Toro explores a shared connection between a human and creature that's rather reminiscent of the romance in Beauty and the Beast. For some, that may seem a bit off-putting. I had my own doubts that I would actually be invested in such an unusual relationship, but was shocked to see del Toro fully fill that proverbial glass. However, I'm sure there will still be those weirded out by the very idea of such a thing, so it really depends on your willingness to suspend disbelief and reel in the fishy concept. On that note, I feel it's worth warning you that del Toro's grounded fairytale is probably more mature than you'll be expecting. I'm not providing further context than the fact it's rated "R" for sexual content, graphic nudity, violence, and language, so I don't want to hear that you weren't ready.

When it boils down to it, The Shape of Water is all about outcasts. Del Toro's story flows alongside a mute janitor, a merman, a closeted gay man, an African American woman, a kind-hearted scientist, and, sadly, the guy that fits in happens to be cruel, perverted, and racist. They each seek acceptance from others in their own unique way, and their longing looks for wish fulfillment can certainly be soul shattering at times. So naturally, it's comforting to see their desires realized in unique, unexpected ways. With that being said, some portions of the plot are pretty predictable because you've seen other fantasies elsewhere. However, del Toro and the crew have put so much love and care into their craft that the heart of The Shape of Water reverberates endlessly, and so the current still flows in their favor.

Leading the exceptional ensemble, Sally Hawkins works wonders in the role of the unspoken Elisa Esposito. Hawkins communicates an abundance of expression without uttering a word. Her physicality, mannerisms, and screen presence do all the talking, and I seriously think she'll earn an Oscar nomination and maybe even win so long as the tides remain in her favor. Opposite Hawkins, Doug Jones is caked in makeup and prosthetics as the Amphibian Man. Jones is basically the practical equivalent of Andy Serkis. Where Serkis rules the motion-capture acting arena, Jones has been known to impressively act under plenty of prosthetics in the past. Like Serkis utilizes the magic of mo-cap to strengthen his performances, Jones makes the most of his makeup and body suits to craft compelling creatures, and the Amphibian Man is no exception. The fact he and Hawkins were able to extract such a rich rapport from a relationship of a mute woman and a scale-covered creature speaks volumes to their astounding abilities as actors.

Playing Elisa's nice neighbor Giles, Richard Jenkins steals the spotlight in such subtle ways. Jenkins takes what could have purely been a cliché character and excellently imbues him with nuance and a rich essence, leading you to pity the man for facing appalling animosity on account of Giles' sexuality.  

Rounding out the endowed ensemble cast are Michael Stuhlbarg, Octavia Spencer, and Michael Shannon. Stuhlbarg's got another powerhouse performance in his unbelievable year as an actor (he's also been in The Post and Call Me By Your Name), playing the part of a tender, concerned scientist Dr. Robert Hoffstetler. Spencer is a swell supporting presence as Elisa's coworker and friend, Zelda Fuller, elevating an otherwise ordinary role. In my book, it's Michael Shannon who lights up the screen though. Shannon is scary good here, turning Richard Strickland from a scumbag security officer to a driven, malignant force of contempt. Shannon is totally terrifying as the true monster of the tale.

Just like H₂0, The Shape of Water has no definite shape. The Shape of Water takes many different forms as a riveting romance, a sinister creature feature, and an affectionate ode to cinema, but each phase is deeply satisfying on account of its own merit, so the spontaneous compound is quite captivating.

Film Assessment: A