2017: A Year in Review

Despite a number of scandals in 2017- there were also some great pictures. We saw the emergence of great directors such as Jordan Peele and Sean Baker. Several prominent new female stars threw their names into the ring such as Gal Gadot, Daisy Ridley, and the wonderful Sally Hawkins. Oscar season will be tough to predict this year!

Top 10 Films of 2017

1. Blade Runner 2049 (USA, Dir: Denis Villeneuve) 

It took 30 plus years for Ridley Scott's masterpiece 'Blade Runner' to get a sequel. When it arrived people were crying tears in the rain! Denis Villeneuve delivered a visual feast for his viewers along with a riveting and broad story. Again asking what it means to be human, Blade Runner purists were given the perfect reward for their time and patience. With a perfectly cast Ryan Gosling to anchor this movie, few could have expected the triumph this movie was. If you needed proof that Villeneuve is now one of the true greats, look no further. As Gaff once said, "They've done a man's job sir!" 

2.  Get Out (USA, Dir: Jordan Peele)

This year's most thought-provoking piece, Jordan Peele's debut was a something truly special. Against the Black Lives Matter movement and the growing concern of racism in America, Get Out was horrifying on many levels. With a stunning turn from British actor Daniel Kaluuya, Peele managed to make a film that is equally creepy and hilarious. Few others movies in 2017 had a premise quite as unique as this. 

3.  Three Billboards outside Ebbing, Missouri (UK/USA, Dir: Martin McDonagh) 

Irish director Martin McDonagh once again manage to hit levels of dark hilarity in his tale of revenge. Featuring the always reliable and strong Frances McDormand, Three Billboards was a movie that gave us great belly laughs alongside pure emotion. With great support from Woody Harrellson and Sam Rockwell- McDonagh gave us a multitude of unlikable characters for us to gradually warm too. It also made us think about how far you would go to avenge a loved one? 

4.  The Shape of Water  (USA, Dir: Guillermo Del Toro) 

Guillermo Del Toro has always been a visionary director, but The Shape of Water showed his pictures also have a big heart as well. Bringing us cinema's most offbeat romance, Del Toro was aided by a brilliant silent turn by the excellent Sally Hawkins. Unlike many of Del Toro's recent efforts, this one was more story focused and he gave us a tale that tugged at the heartstrings. Already an awards season favourite, this will be firmly tipped for glory. 

5. Dunkirk (UK, FR, USA, NL, Dir: Christopher Nolan) 

Few directors could have brought the Dunkirk evacuation to life quite like Christopher Nolan. Firmly emphasizing the constant danger the soldiers on the beach faced, Nolan had hearts racing throughout as Hans Zimmer's score ticks like a stopwatch. His refusal to use visual effects gave this movie a great authenticity. Just hearing the sound of real spitfires was worth admission alone. Newcomer Finn Whitehead was the very face of the young British soldier and through this performance, the horrors of war were brought forward. 

6. The Killing of a Sacred Deer  (EIRE, UK, USA, Dir: Yorgos Lathimos) 

Viewers may have been utterly confused and emotionally scarred this effort from Greek director Yorgos Lathimos. With the bizarre, often odd dialogue and the violent undertones, this one cinema at its most original. Colin Farrell and Barry Keoghan made for a glorious odd couple whose friendship slowly turns into something far more sinister. Lathimos always succeeds in pushing cinematic buttons and in The Killing of a Sacred Deer he showed us the extreme's he can take us to.

7. Call Me By Your Name (ITA, USA, BR, FRA, Dir: Luca Guadagnino)

Quite possibly 2017's most heartbreaking effort, Italian Luca Guadagnino gave us the pain of first-time love. Timothee Chalamet was a breakout star in this movie and through his excellent natural performance, he wore movie's heart on his sleeve. Making full use of the gorgeous Italian backdrop, Guadagnino's movie felt like a neverending summer vacation for us all. Armie Hammer also showed us there is far more to his ability than being supporting fodder in big films. Bring tissues in bulk for this one, you will need them by the end. 

8. Lady Bird (USA, Dir: Greta Gerwig) 

The best-reviewed film of the year, Greta Gerwig's debut behind the camera was one to remember. Saoirse Ronan was the perfect star to portray a young woman still coming into herself. Laurie Metcalfe gave the most complex turn as a control freak mother trying her best to keep a family together. Heavily inspired by Gerwig's own childhood in California, this movie had a wonderful realism to it. Set against the difficult economic's of Bush's 2002 America, Gerwig gave us a story that pulled us in all directions. 

9. The Florida Project (USA, Dir Sean Baker) 

An indie darling this year, Sean Baker's film had the most gritty feel to it. Set in a dilapidated Orlando neighborhood, the exploits of six-year-old Moonee (Brooklynn Prince) were some of captivating innocence. The hard-bitten reality of the money struggles is often crushing and her mother Halley (Bria Vinaite) resorts to illicit means to survive. Baker along with Prince emerge as major new talents and this is movie that left both critics and audiences reeling afterwards. 

10.  God’s Own Country (UK, Dir: Francis Lee)

The best piece of British cinema the year had to offer, Francis Lee gives us a love story in the gruffest British style. Romanian Alec Secareanu and Brit Josh O'Connor made for a perfect pair of conflicted lovers. O'Connor, in particular, plays his character with such intensity that his struggle to accept his emotions is spellbinding. Lee showed audiences that love is always in the last place we look. The windswept Yorkshire Moors never looked so inviting. 

Best of the Rest

11. Baby Driver (UK/USA, Dir: Edgar Wright)

Cool and thrilling in equal measure- Edgar Wright gave us a movie of pure fun. With a star-making turn by Ansel Elgort and a thrilling soundtrack, heists never looked so great on screen. Jamie Foxx was also onboard as the resident psycho which was just one of many impressive supporting turns. This movie made car chases a thing of beauty- just look further down. 

12. Logan (USA, Dir: James Mangold)

The final installment of the Wolverine saga was the one we'd been waiting for all along. Unafraid to show a more violent side, this one was a fitting and poetic tribute to a character who deserved on go out strongly. Also, there are few things more delightful than Patrick Stewart dropping F-bombs! 

13. The Big Sick (USA, Dir: Michael Showalter) 

The depiction of the real-life romance between star Kumil Nanjiani and wife Emily V. Gordon was one of the most touching portrayals. Nanjiani alongside the always watchable Zoe Kazan and Holly Hunter emerged a new talent both in front and behind the camera. It also tapped into family tradition and the desire to rebel against what you know. 

14. Hello Destroyer (CAN, Dir: Kevin Funk) 

Showing the devastating effect of when a young man is thrown on the scrap heap- this was Canada's strong film of 2017. Jared Abrahamson to devastating effect showed us a young hockey player abandoned by people he loves after one horrific incident. Its sparse feel and minimal dialogue only intensifies the isolation of our hero. 

15. War for the Planet of the Apes (USA, Dir: Matt Reeves) 

As finales go, few could have been more glorious than War! Andy Serkis confirmed his status as the go-to man for motion capture and Woody Harrelson played his Colonel as an old-school villain with surprising depth. With many brilliantly executed set pieces, this piece was as much about thrills as it was about the future of the human race. Caeser is a character who deserves his own spin-off. 

Male Star of 2017: Colin Farrell

In the past, many have always questioned Colin Farrell's ability. In 2017, he showed his true acting colors. Suitably charming and dangerous in Sophia Coppola's 'The Beguiled', Farrell's John McBurney was a lady killer come wounded animal. His best work proved to be in 'The Killing of a Sacred Deer' where his father character is soon faced with every man's worst nightmare. Farrell is now one of Hollywood's underrated talents and hopefully will see him rewarded come award season. 

Female Star of 2017: Daisy Ridley

Its a tough job looking cool with a lightsabre, but Daisy Ridley managed it with ease. Officially the new hope of the Star Wars franchise, Ridley provided 'The Last Jedi' with the tough and go-getting presence it so badly needed. She also got to show her acting talents outside this universe in 'Murder on the Orient Express'. In a middle of the road picture, Ridley made the most of limited screen time to befuddled Kenneth Branagh. One of the most exciting new British actresses on the block, Daisy Ridley is at one with the force. 

Best Director: Jordan Peele- Get Out

Ok, hands up who thought that one half of comedy duo 'Key & Peele' could have made a movie like Get Out? In his first feature film, Peele had the kind of debut few directors dream of. Showing a confidence behind the lens and unafraid to tackle difficult subject matters, Peele should definitely be among the nominees come Oscar time. His ability to blend sheer tension along with a more goofy side marks him out as a special talent. 

Scene of the Year: Baby Driver- opening sequence 

This opening car chase in Edgar Wright's thriller was everything you could want a beginning scene to be. Soundtracked to 'Bellbottoms' by Jon Spencer Blues Explosion, this chase sequence is slick, unpredictable, breakneck and best of all, rousing! Elgort's Baby looks like a youthful Steve McQueen behind the wheel and this scene easily challenges Bullitt for one cinema's great chase scenes. 

A Disturbance in the Force: Review of Star Wars: The Last Jedi

Star Wars: The Last Jedi

Director: Rian Johnson

By Alex Watson

Life in the galaxy rolls on and in the hands of Rian Johnson it still feels thrilling. Keeping the twists and turns coming thick and fast, there is also a heavy emotional core to Star Wars: The Last Jedi. Characters are forced to look inside and make some tough internal choices. Some Star Wars fans might gripe over its feel along with its more humorous and heavy-hearted approach. But you can't deny there is potential here and finally, this new batch of characters are beginning to come into their own.

The Resistance led by General Leia Organa (Carrie Fisher) is being forced to fall back against the might of the First Order. Low on numbers and morale, the only hope they hold is for Rey (Daisy Ridley) to convince reclusive Jedi Luke Skywalker (Mark Hammill) to return. Meanwhile, Kylo Ren (Adam Driver) is also fighting his own personal battle against his own conscience. 

Johnson wastes no time thrusting Star Wars: The Last Jedi into light speed. Starting with a thrilling dogfight which sees hotheaded but heroic Poe Dameron (Oscar Isaac) take on the First Order fleet and permanent sneer of General Hux (Domnhall Gleeson). This side of the story provides the unpredictable thrills of the story. Dameron along with former First Order trooper Finn (John Boyega)  and newcomer Rose (Kelly Marie Tran) are on a mission to disable an enemy tracking device. Dameron in this story emerges as the new Han Solo in the making- charismatic yet immature and brave yet ballsy. Always drawing the wrath of new commander Vice Admiral Holdo (Laura Dern), Dameron is both indispensable and a wild card all in one. The Kylo Ren/Ben Solo side story also holds its own as the conflicted Jedi is pushed and pulled by Supreme Leader Snook (Andy Serkis once again rocking motion capture) to embrace his evil side. Rey can still feel the human side of him but is he past the point of redemption?

The real heart of this picture comes from the unlikely alliance of Rey and Luke Skywalker. At first glance, this would seem like the movies Achilles heal. Not only does it succeed but it is by far the movies most glorious aspect. After the lightsaber hand over at the end of Force Awakens- Johnson makes this scene an unlikely moment of hilarity. Skywalker wears the ghost's of the past in this flick- scarred by his failure of his nephew Ben he at first stubbornly refuses to help Rey. However, the new protege never backs down and a caring and strong bond forms. As talented as she is with a lightsabre, Luke also greatly fears the influence of the dark side. Also during this time, a mysterious connection arises between Rey and Ren which could potentially alter the course of either life. Johnson during this sequence brings a tender touch which could bring big things in later movies. Of course, who won't enjoy the nostalgia of watching Luke board the Falcon after so many years?

While the Star Wars: The Last Jedi has plenty of ideas that hit, there also some that just fall flat. During an overly long sequence to rich planet Canto Bight, Johnson's movie comes a little unstuck. This whole plot device just feels added to draw out the mileage and becomes little more than a wild goose chase. Was the introduction of Benicio Del Toro's codebreaker DJ really necessary? This trickster comes and goes while making little impact or weight to the story. This is easily the strongest Star Wars effort since Empire Strikes Back, but Johnson is all about the changing of the guard. Seeing Carrie Fisher on screen for the last time will bring a tear to some eyes. Luke Skywalker along with many others are present but by no means are the focal point of the story. Some fans may not like the more jokey side or the almost video game like approach during the battle scenes. But you cannot deny that this franchise is at once with the force again.

Firstly it feels amazing to see Mark Hammill once again holding a lightsabre as Luke Skywalker. Turning in a career-high performance, Hammill reminds us why this character is so special. Playing a more jaded and afraid version of Skywalker, he shows a man unable to let go of the past. Oscar Isaac emerges as the new king of cool for this franchise. Poe Dameron is a man who plays by his own rules but is also the leader the Resistance desperately needs. John Boyega once again is superb as Finn and matches Isaac for strength of character. Daisy Ridley, however, is the real ace in the deck in Johnson's movie. Effortlessly looking cool with a lightsabre, Ridley is the picture's backbone. Able to handle the difficult of upstaging Skywalker, Rey is very much the franchises future Jedi master.

Star Wars: The Last Jedi brings new hope to the galaxy- just a shame Johnson won't be returning for episode 9.

All Aboard: Review of Murder on the Orient Express

Murder on the Orient Express

Director: Kenneth Branagh

By Alex Watson

Agatha Christie has never looked so stylish. Kenneth Branagh gives his audience an enjoyable ride in Murder on the Orient Express. Showing some neat visuals and generating some lovely moments of mystique on board the cramped rail coaches. But despite sporting a wonderful heavyweight cast- we can't escape the fact that the needed tension is disappointingly absent. Branagh adds style and finesse- but this fails to really add anything new to an already well-covered story

After successfully solving a mystery in Jerusalem, world-famous Belgian detective Hercule Poirot (Kenneth Branagh) decides to take a mini holiday on board the Orient Express. While onboard, suspicious American businessman Samuel Ratchett (Johnny Depp) is stabbed to death. Although wishing to stay out of it, Poirot is the only man on board who can find the killer. This will be his most challenging case yet because all the passengers seem to have their own past demons.

Murder on the Orient Express is a very beautiful looking movie- thanks in part to the colorful and scenic photography by DP Haris Zambarloukos. Branagh definitely has the look of the era down and he is clearly having a ball playing the egotistical but brilliantly minded detective. Nailing down the more tricky aspects of his persona (including his obsession with having two perfectly symmetrical eggs)- Poirot is a nemesis for any criminal. When the passengers are loaded onto the train in Istanbul, the tension begins to build wonderfully. Ratchett emerges as a rather crass and bullying figure who is beginning to fear for his life. The passengers nervous and scornful looks they pass at each other give sparks of mystery.

When the big moment hits- the air seems to go out of the picture. The suspense seems to feel flat and although the legendary reveal is still clever, in this adaptation it just feels predictable. The cast that Branagh has assembled is wonderful to watch, but great names such as Judi Dench, Derek Jacobi, Daisy Ridley, Michelle Pfeiffer, Penelope Cruz, Josh Gad and Willem Dafoe are confined to bit parts. As the mystery unravels there are some fine moments of emotion on display. Josh Gad, in particular, comes up with some fine acting which gives depth to a complex character. Poirot already seems to have an idea of who the killer is, but knows he must tread carefully. The claustrophobic setting of the train carriages is still nerve-wracking in places. With the train derailed by a snow drift, Poirot knows every step he takes could be dangerous.

Classic mysteries like Murder on the Orient Express are rarely seen in today's film world. Although Branagh still gives us a great middle of the road thriller, you can't help feeling that this tale feels dated. Already well adapted for film and television, Branagh is unable to bring any new to proceedings. Any newcomers to this story will be able to guess to the big finale from a mile away- partly because Poirot gives red herrings throughout. Although there are some missteps its a picture that still entertains and on the visuals and star power alone, this is a good journey onscreen.

Kenneth Branagh does an interesting new spin (and new mustache) as the famous Belgian Poirot. A more physical version of this character, Branagh is unafraid of doing more heavy lifting that sitting around. He wonderfully shows the more quirky side to this character and is unafraid to give light to his arrogance. However, TV's David Suchet remains the perfect Poirot. In the supporting ranks, we are given some performances to savour. Michelle Pfeiffer, in particular, is glorious as the conflicted Caroline Hubbard. Derek Jacobi still shows he has a presence that few veterans as the tricky Edward Masterman- his character alone deserved more screen time.

Murder on the Orient Express is a mystery that is still rightly regarded as a classic. However, despite Branagh's best efforts, it doesn't feel any newer on screen.

The Force Will Be With You Always: Review of Star Wars: The Force Awakens

Star Wars: The Force Awakens

Director: JJ Abrams

By Alex Watson

You cannot express in words just how great it feels for Star Wars to be back on the big screen. JJ Abrams has brought the Lucas universe to life again in Star Wars: The Force Awakens. Sporting the lightsaber battles and the powerful war between the force and the dark side, we have a reason to believe again. Giving us a good selection of our old and loved favourites mixed in with an interesting new batch of players, Abrams ensures there is a new lifeblood to carry things forward.

30 years after the collapse of the Empire, Luke Skywalker (Mark Hammill) has gone missing and has become like a myth spread among the planets. Finn (John Boyega) is a Stormtrooper in the newly assembled First Order who is having a conflict within himself. Rey (Daisy Ridley) is a scavenger on the desert planet Jaaku while Poe Dameron (Oscar Isaac) is the top pilot in the Resistance army led by General Leia Organa (Carrie Fisher). Together each of these characters will come face to face with Han Solo (Harrison Ford) and be witness to the uprising of the powerful First Order Jedi Kylo Ren (Adam Driver).

From the first frame, Star Wars: The Force Awakens simmers into life and the ride from there on is the most fun we have had in ages. Beginning with the First Order forces arriving on Jaaku, we are given a potent introduction to the dark side's new favourite, Kylo Ren. A forceful and lurking threat, Ren is very much a disciple to Vader who has not only been seduced by the Dark Side but absolutely loves it. As a villain though he is possibly one of the most impressive ones that the franchise has produced. Sporting a cold-blooded malice without equal, we get the sense that this one conflicted kid has firmly buried his old past. The new recruits are not given as much depth as we may have liked, but there is room to work with. During Finn's first battle, his horror behind the mask is felt immediately as he reluctantly commits atrocities. Finn is the best-developed lead of the lot and having being groomed as FN-1287 by the Order since birth, he is keen to break free.

Rey comes off less well in this piece and despite being a tough and capable female (along with skillfully piloting the Falcon), there isn't enough depth for this installment. Dameron with limited screen time comes across with an effortless swagger that remind us of a young Han Solo with an X-Wing. The taste may feel undercooked, but give it another installment these three may just transpire into something special. Having Han and Chewie back together again is something very special indeed, "Chewie, we're home!" smiles Han as he reboards his beloved ship. In this episode, the old smuggler is a shadow of his old self and still clings to his old reputation. His wisdom, however, is unbeatable and he becomes almost a surrogate father to abandoned child Rey. Luke is more like a ghost figure than man in Force Awakens and there are Alec Guinness-like echoes all around. Leia thankfully has formed into the leader we always wanted. She is scarred from her constant warring both at home and the past (spoilers to be withheld).

Despite blips in storytelling, Star Wars: The Force Awakens is still a fine piece of work. Abrams never fully explains the intentions of the First Order. They are big and evil and appear to mean business but just what does Grand Master Snoke (Andy Serkis) want? We are given an interesting duel for power between Ren and the sneertastic General Hux (Domnhall Gleason). Both men are wanting different kinds of power which leads to a mini civil war. Their ruthless streak, though, makes them the perfect heir to the Empire. Seeing them destroy several planets in 'one swift stroke' is a chilling prospect. There are some finer things lead that need to be ironed out, such as nailing a great lightsaber finale but there is a new hope surrounding this franchise. Best of all, there is no Jar Jar in sight fans.

John Boyega, Daisy Ridley and Oscar Isaac all prove they belong in this universe with a trio of decent performances. Boyega in particular in able to summon the courage and charm that Attack The Block promised us. Harrison Ford is the real tour de force in this piece and you forget just how well Han Solo fits him. Sweeping in without missing a beat, it feels like the old pirate never left us. Top honours, however, go to Adam Driver. Firmly filling the void that Vader left us, Kylo Ren is the most intriguing the Jedi have had to deal with in some time. A gangly menace desperate to escape his one loving past, Ren is very much a product of the Dark Side. Driver is able to give us a bad guy who doesn't just frighten us, but makes the film sag whenever he is off screen. The groundwork has been laid, now the cast needs to do the rest.

Finally, we get the 21st century Star Wars we have always wanted. Star Wars: The Force Awakens is not only a throwback to the original trilogy, but it is the start of something special. Disney might be taking the reigns now, but the force still lives on.