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. 

The Lady in the Water: Review of The Shape of Water

The Shape of Water

Director: Guillermo Del Toro

By Alex Watson

The most unique and offbeat tale this year can offer, Guillermo Del Toro has created something very special. The Shape of Water is a movie unlike any the Mexican maverick has made before. Known for his stunning visuals in movies such as Pacific Rim, Crimson Peak, and Hellboy, this movie is all about heart and soul. With a clutch of wonderful performances to compliment the touching story, this will be an award's season favourite.

Set in Baltimore during the 1960's, Elisa Esposito (Sally Hawkins) is a mute yet big-hearted cleaner at a government science facility. She helps care for her elderly neighbour Giles (Richard Jenkins) and she also has a strong bond with co-worker Zelda (Octavia Spencer). One day a mysterious creature known as 'The Asset' (Doug Jones) arrives along with hard-nosed and brutal security officer Colonel Richard Strickland (Michael Shannon).

Alongside DP Dan Laustsen's bright colored and vivid cinematography, Del Toro display's a delicate touch with his directing. This picture goes above the level of emotion displayed in his masterpiece Pan's Labyrinth and shows us that love isn't just bound by species. Elisa is a character who views herself as an 'incomplete' human due to her muteness but yet she brings little pockets of joy to those who know her. Giles- a gay and rather scatterbrain artist relies on her heavily to get by. At first, a mousy person who doesn't dare rock the boat, the sheer courage she displays, later on, make us adore her. When she first comes across the creature- she is naturally very curious. Slowly, she bonds with it by feeding it boiled eggs and little by little a deep bond is formed. What makes this so poetic is the fact they have to communicate without words. Connecting through music and simple gestures, Del Toro shows how the smallest actions can be the most effective.

Despite the fact, this creature poses no threat to anyone- Strickland is all about protecting national security. This picture's equivalent to Captain Vidal, Strickland is a harsh man armed with an electric cattle prod who always believes that the end justifies the means. Although a family man, the Colonel lives a very regimented existence both in and outside work. He likes to keep his wife quiet during their passionless sex and seems to have little interest in his two children. Inside work, he bullies and terrorizes the creature for little other reason than he can. What is wonderful about Del Toro's The Shape of Water is that each supporting character has their own story to tell. Scientist Robert Hoffstetler (Michael Stuhlbarg) is a man who desires to protect this creature- but yet is also a Russian spy! Giles is a failed artist who is unwanted by both his old company and the attractive male diner worker he desires. Zelda in any other movie would have been the comic relief aspect, but in Del Toro's universe, she's a key player whose devotion to her friend Elisa is unconditional.

Coming together as an unlikely army of protectors, this band of cast off's are determined to protect the Asset with all their might. The growing love between Elisa and this amphibian being is unique because both are considered not completely human. From the beginning she doesn't see this creature as something to be feared- instead, she notices a being that needs to be nurtured. Unable to express her love- there is a beautiful scene in which she imagines singing 'You'll Never Know' which gradually turns into a full-on black and white musical dance number. Credit also needs to be given to production designer Paul Austerberry whose transforms 60's Baltimore into a sparkly place of wonder. His use of teal, in particular, is stunning and his underwater scenes wouldn't look out of place in a Disney picture. Even Strickland at one stage purchases a teal Cadillac- these subtle nods towards nautical themes is one of many fascinating elements this picture possesses.

Sally Hawkins gives a performance of the highest order. Boasting arguably the finest silence turn since Jean Dujardin in The Artist, Hawkins is simply mesmerizing. Excellently projecting her character's inner torment at being unable to express herself- Hawkins brilliantly uses her sign language to both highly comical and extremely devastating effect. Reliable baddie Michael Shannon is once again memorably nasty as the button-down psycho Strickland. Heavy on 'protocol' but unafraid to bend the rules- Strickland is hulking and violent menace whenever on screen. Richard Jenkins stakes his own supporting claim with a wonderful turn as the rejected Giles. A fun reverse on the old cat person spinster character, Giles like Elisa is unloved by the world. Jenkins gives a gentle yet potent supporting turn. Octavia Spencer will most definitely be among the nominees come award season. Zelda is a character that goes deeper than expected, on the surface, she is the typical chatterbox but underneath she has the heart of a lion.

The Shape of Water is a movie that will undoubtedly grace many top 10 and awards lists this winter. Guillermo Del Toro has shown us another beautiful side of his directing, where he goes from here will be fascinating.