Jakob’s 10 Notable Films for 2017
| by Jakob Conkling
I feel I’ve never seen an adequate number of films to declare of “best of” until at least half way into the next year. As of writing this, I haven’t seen many of the films I’ve been anticipating in 2017, such as The Shape of Water, Phantom Thread, and Baywatch. Rather, here are 10 films that stood out to me (and focusing—with one exception—on films not reviewed on the podcast) for better or for worse in 2017… |
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A Dog’s Purpose
Worst film of 2017 This story of a dog’s soul inhabiting various breeds is saccharine drudgery. Marketed as a family film, have fun dealing with your crying children, moms and dads! The movie believes reincarnation makes numerous dog death less traumatic for kids (and pet-loving adults). WRONG! Melodramatic, sappy, manipulative trash; I hope Dennis Quaid wishes finds a real life shrink ray from Inner Space so he can disappear from the public eye for staring in this. This film’s only redemption is that it can never be worse than Kevin Spacey-turned-cat in Nine Lives. |
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The Great Wall
Most entertaining bad movie of 2017 Matt Damon speaks in a baffling, generic European accent not heard since Kevin Costner’s in Robin Hood: Prince of Thieves. Costume design inspired by the Power Ranger’s colorful armor. Willem Defoe looks as confused as I was about why he was on set. There is a whole wing of the military dedicated to fighting monsters via bungee jumping (with inelastic rope???). And the evil creatures having a weakness so bizarre, you’ll be asking, like the Insane Clown Posse, “Magnets? How do they work?” |
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Valerian and the City of a Thousand Planets
Best first five minutes in a 2017 movie Luc Besson’s Valerian is a galaxy-sized mess but features an awe inspiring first five minutes. Set to David Bowie’s “Space Oddity,” various nations of Earth come together on an international space station, and then are joined by aliens across the universe. It’s full of the optimism and discovery space travel can arouse. Truly, it is a moment of genius that balances out this very uneven film from its most embarrassing moments (any scene featuring Rihanna as a shape-shifting burlesque dancer). |
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Batman & Bill
My favorite documentary of 2017 Liked the caped crusader, documentarian Don Argott seeks justice. While everyone knows about Batman’s credited creator, Bob Kane, there was another. Behind the scenes, Bill Finger contributed the most iconic elements to the Dark Knight. Finger died alone in poverty and, reportedly, buried in a potter’s field. Argott’s journey for an eligible heir to bring suit against DC Entertainment to have Finger’s name added to the creator byline is full of twists and reveals in this engaging journey for recognition. |
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The Founder
Best anti-commercial of 2017 I was expecting another (alleged) heartwarming, inspiring ad for a giant corporation the way Saving Mr. Banks tried to convince me Disney knows best and was the savior for a financially struggling artist. While Michael Keaton brings a lot of charm with his portrayal of down-on-his-luck, milkshake-mixer salesman Ray Kroc, the actor is equally capable of depicting the sinister turn Kroc takes as he steals the McDonald’s brand from the brothers who conceived the fast food restaurant. Forget about the high calorie count in its food, this dark tale of capitalistic greed preying on naive innovators should keep you away from purchasing that next Big Mac. |
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I Don’t Feel at Home in This World Anymore
The best Sundance film that went straight to Netflix in 2017 Having starred in violent thrillers Blue Ruin and Green Room, Macon Blair’s directorial debut reframes those movies’ violence and tension into a dark comedy. Melanie Lynskey plays Ruth who undergoes an existential crisis after her house is robbed. She befriends Tony (Elijah Wood), a religious, heavy metal loving, ninja-weapons enthusiasts. The two go about reclaiming Ruth’s stolen property; but, their attempt at vigilante justice goes horribly wrong. Funny, violent, quirky, tense, bittersweet. The film hits the right beats to balance its various tones to create a comedic thriller. |
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Get Out
Best 2017 film reviewed on Now Playing Patrons have heard my thoughts (along with Arnie’s and Stuart’s). A smart and tense social commentary on race in America, Get Out isn’t only relevant but also a masterfully crafter horror-thriller. Sketch-show-comedian-turned-director Jordan Peele obviously loves horror and has studied the greats in this story that warns us about the dehumanizing effects of racism even if the stereotypes are positive. Reviewed on the podcast or not, this film deserves to be recognized on any top movie list. |
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A Ghost Story
Best 2017 movie based on It’s the Great Pumpkin, Charlie Brown I only slightly jest. Looking at the poster of Casey Affleck dressed as a ghost—wearing a sheet with eye-holes cut out—I thought I was in for an indie comedy. Rather, this is a poetic story of the living haunting the dead. The camera holds on images until you stop asking what their narrative purpose are and, rather, focus on what you feel in each moment. Never have the folds and frayed edges of a bed sheet portrayed so much loss and sorrow. Director David Lowery channels Terrance Malick and Stanley Kubrick with this slow paced, beautifully framed journey through time and the cosmos.
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Detroit
Best film of 2017 most have an opinion about based on their politics before even seeing it Political. Polarizing. Inflammatory. If you’re inclined to ignore this film because you think you know what it is, I ask then to focus on the craft. Katheryn Bigelow has created one of the tensest hours in film as she retells the Algiers Motel Killings during the 1967 Detroit 12th Street Riot. I would hope that anyone could watch this film and walk away with a little more understanding of why people of color have a seemingly innate fear of police authority. Fifty years later and these real life events feel more relevant than ever. |
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Three Billboards Outside Ebbing, Missouri
Best acted film of 2017 There’s good reason Frances McDormand and Sam Rockwell received Golden Globe nominations for their acting in this film about horrible people trying to cope with loss and hard times in the unhealthiest of ways. Even Woody Harrelson and Caleb Landry Jones (who plays the opposite of his menacing character from Get Out) are at the top of their game. Writer-director Martin McDonagh knows how the audience expects this movie to play out and, therefore, zigs when we expect it to zag to create an unpredictable, emotional story of damaged characters. |
Jakob Conkling is a movie critic on Now Playing Podcast. Read more of his reviews in the Now Playing Podcast book–Underrated Movies We Recommend
Arnie’s Top 10 Films (and Bottom 1) of ’17
by Arnie Carvalho
2017 was a bit of a rough year for blockbusters, but I did see some all-time great films. As archived per my ratings on Letterboxd, here are the 10 best new films I saw this year.
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In January this year DC superheroes seemed doomed. Other than the Christopher Nolan Batman trilogy, these heroes couldn’t catch a break. Warner Bros’ new Justice League universe of films stumbled repeatedly. But, apart from all that, the filmmakers at LEGO created the best DC superhero film since Nolan’s The Dark Knight with The LEGO Batman Movie. Batman, voiced by Will Arnett, has an emotional character arc but the film never forgets to amuse as it teaches. The lampooning of other Batman movies, plus the inclusion of so many Batman baddies, and bad guys from surprising places, it’s a solid POW of enjoyment that bests both Wonder Woman and Justice League as best DC film of the year! | ||
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It’s a great time for kick-ass women in movies. The epitome of that seems to be Furiosa, Charlize Theron’s one-armed warrior in Mad Max: Fury Road. Theron continues her streak with Atomic Blonde–a cold-war era period piece spy film. Theron plays MI6 agent Lorraine Broughton. On the surface she’s “Jane Bond”, but when the fights begin she pulls out fight moves that would take Bond out with one kick. The action is balanced with great performances from Theron, James McAvoy, and Sofia Boutella, and scored to a slew of ’80s New Wave hits. The fights and the story make this the movie I wished Kingsman: The Golden Circle had been. | ||
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Stephen Soderbergh’s Ocean’s Eleven holds a special place in my heart for being the epitome of the ensemble heist movie. But I don’t need to wait for next year’s Ocean’s Eight to experience that same thrill–Soderberg recaptured that magic with Logan Lucky. The movie follows a group of blue collar criminals who plan to rob the Charlotte Motor Speedway. The able cast keeps our allegiance with the criminals, and the plot has more turns than the Speedway itself. The script is tight and the characters fun. Forget Ocean’s Twelve or Thirteen—this is Soderbergh’s best follow-up to Ocean’s Eleven. | ||
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The Room is widely considered the worst film ever made–a Rocky Horror for the 21st Century. When a film is that obviously broken, where is the fun in picking it apart? Can there be a bigger punchline than the film itself? James Franco clearly proved the answer to be “Yes.” Disaster Artist starts off like many movies of wannabe actors dreaming of becoming stars in Los Angeles–but one of these wannabes is the mysterious and strange Tommy Wiseau. In that way the first half of the movie feels like a comedy-drama. But when Tommy has the idea to write, produce, and fund the picture himself the laughs truly begin. Rarely is Tommy the butt of the jokes (pun intended), but his actions, borne of ignorance, are funny just the same.
You don’t need to have seen The Room to understand the comedy of The Disaster Artist — but it helps. Either way, the film is a sensitive and funny portrayal of perhaps the most enigmatic figures in Hollywood. Hear Now Playing’s full review of The Room now. The full The Disaster Artist review will be out 1/31! |
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Blade Runner is one of the all-time great sci-fi movies, and great noir detective films. There was great skepticism in my mind if 35 years later any follow-up could match the original. Blade Runner 2049 doesn’t quite hit that mark, but it is close.
The plot centers around new Blade Runner K, played by Ryan Gosling. On his latest mission K uncovers a trail that may indicate he may be the first child ever born to a supposedly-sterile replicant. And not just any replicant–Rachel, the love of Rick Deckard (Harrison Ford reprising his role from the original). With this plot 2049 takes the subtext from the original, the never answered “is Deckard a replicant” question, and makes it the plot. Is K a new messiah for replicants, or is he all-too-human? More, 2049 deepens the series’ mythology. We learn replicants are not androids, there’s no circuitry inside those bodies, they are simply genetically engineered and constructed beings. “If you cut them, do they not bleed?” This makes the “retiring” of replicants even more cagey, for how human are they? Do they have a soul? 2049 also has a love story that mirrors the original–our protagonist in love with a machine. Only now, like in Her, it is his personal assistant. It begs the question of what love means, and is love strictly human. With a visual style that echos the original while making it to heights of nearly-unreal color and a score that, while not being by Vangelis, is a suitably atmospheric replacement, Blade Runner 2049 is a feast for the eyes, ears, and mind…be that mind natrual-born or created. |
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I’m seemingly one of the few who remembers the 1990 TV-miniseries It as being a dull, sometimes laughable, failure. Trailers for this new theatrical It had me thinking it would repeat the mistakes of the past. I simply couldn’t envision, even from trailers, how a supernatural clown played by Bill Skarsgård could be scary.
I was dead wrong. It was a suspenseful, terrifying horror film. It’s ’80s setting did make it seem like a Stranger Things clone, but unlike that Netflix series It never pulls It’s punches. Skarsgård is indeed chilling as Pennywise the Clown, and while his screen time is minimal, his presence permeates every frame of It. Aided by solid performances by its young cast, It restored King’s cinematic legacy to glory (let’s just all forget about The Dark Tower) and has me salivating for the 2019 conclusion! Now Playing will review It (2017), It (1990) and the It sequel upon its release September 6, 2019. |
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In an era of YouTube celebrities and Instagram professionals, people measure their self-worth through “likes” and retweets. Doctors have recently discovered that social media is not just a psychological addiction, these online interactions and responses trigger a dopamine high. Getting your post “liked” can chemically make you feel as good as a hug.
This idea is taken to its extreme in Ingrid Goes West, a dramatic comedy starring Aubrey Plaza as an aimless young woman obsessed with Instagram, and the perfect lifestyles portrayed in that media. We watch as she tries to shape her life as many people shape what they share online. It’s a manipulative car-wreck from which I couldn’t look away. Plaza shows a dramatic range I’d not seen in her mostly comedic filmography, and it enabled me to root for her while knowing tragedy is inevitable. It helps that most movie-goers will be able to relate to her obsessive phone-checking. It’s a film that has a message I endorse, and performances that rivet. |
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Of the original Avengers‘ movies, Iron Man, Captain America, Hulk, and Thor, the Thor franchise is the one that hasn’t found a footing. It took Ragnarok — the mythic Norse view of apocalypse — to give actor Chris Hemsworth the superhero he deserves. Literally, everything about Thor is wiped away over the course of this film, including his mighty hammer and his homeworld (and these aren’t spoilers–they’re in every trailer). Yet with all the cataclysmic events, Thor: Ragnarok finds its heart in Guardians of the Galaxy-esque humor. Of course the “He’s a friend from work” line was (over)played in the trailers, but from start to finish Ragnarok left me with a smile on my face…and a lead-in to 2018’s Avengers: Infinity War.
Though Guardians of the Galaxy Vol 2 was released this year, Ragnarok was the film that best captured the mirth and magic of 2014’s original Guardians and has become my favorite film in Phase 3 of the Marvel Cinematic Universe. |
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Odds are you’ve seen The Belko Experiment. While the movie only grossed $11 million worldwide, you’ve still seen it. Perhaps it bore the name Battle Royale, or The Hunger Games — movies in which groups of people are trapped in an arena and forced to murder each other. Those who don’t will have their heads blown off by explosives planted on their bodies.
But Belko sets itself apart by adding in a healthy dose of humor. In this movie the setting is an office building in Columbia filled with American employees. The usual corporate alliances and rivalries are stretched to homicidal extremes, with fun results. It helps that our protagonist Mike, played by John Gallagher Jr., bears a striking resemblance in both looks and performance to John Krasinski, making this feel like the best Office series finale ever! With a dose of Cabin in the Woods type world-building, Belko was my single biggest cinematic surprise of 2017. I walked in expecting okay horror–and walked out with a grin on my face having had a great time. That is one successful Experiment |
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If for no other reason than the three-minute continuous, highly choreographed, opening credits sequence scored to “Harlem Shuffle” Baby Driver is the best made, most artistically ambitious film I saw this year. Yet it has so much more going on than just that spotlight scene. The car chases are equally devised (and done almost entirely practically) creating a vehicular dance that is mesmerizing to behold. It’s a musical in which they only sing along to songs they’re playing, and most of the dancing is done on four wheels, but I can’t look away.
The soundtrack has been on near-constant rotation in my life since the movie’s June release. I can’t get enough of it. More, the film has heart. Ansel Elgort’s Baby may be a criminal getaway driver, but his caring for his deaf foster father Joe, his pure love for waitress Debora, and his “one last job” mentality make him a complex, yet relatable, hero. Add in some Edgar Wright humor (the sunglasses scene is pure gold), a stellar cast, and as many plot turns as U-turns, and Baby Driver speeds past every other movie to be my top of 2017.
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And I’d like to give special mention to the absolute worst movie of the year: Transformers: The Last Knight.
The movie was so loud, obnoxious, stupid, and incomprehensible that it makes Transformers 2 look like The Godfather Part II. It’s complete abuse of respected and returning stars like Anthony Hopkins, Tyrese Gibson, Josh Duhamel, and Stanley Tucci is horrifying. And (other than Hopkins at Stonehenge) it’s not even funny-bad, it’s just excruciatingly painful to your ears and your mind. Don’t try to figure out the plot…this film is actually less than meets the eye. Hear Now Playing’s full review of Transformers: The Last Knight
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Arnie Carvalho is a movie critic on Now Playing Podcast. Read more of his reviews in the Now Playing Podcast book–Underrated Movies We Recommend. You can also follow his movie watching on Letterboxd, and his random ramblings on Twitter.
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