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. 

Sign O' The Times: Review of Three Billboards outside Ebbing, Missouri

TIFF EXCLUSIVE

Three Billboards outside Ebbing, Missouri

Director: Martin McDonagh

By Alex Watson

Walking home with the Viewer's Choice prize at the 2017 Toronto International Film Festival, Martin McDonagh's Three Billboards outside Ebbing Missouri was a worthy winner. Blending some wicked dark humour with such raw emotion makes this an unforgettable experience. A stand-out cast lead by the amazing Frances McDormand brings this tale of small-town vengeance brilliantly to life.

Mildred Hayes (Frances McDormand) is a grieving mother whose daughter was previously raped and murdered. Angered at having no arrests made over seven months since the murder, Mildred resorts to a drastic action. She arranges to have three billboards advertising her disgust at the police's lack of effort towards finding the killer. Doing this immediately increases tension in the town, particularly for Chief Willoughby (Woody Harrelson) and dim-witted officer George Dixon (Sam Rockwell).

Three Billboards outside Ebbing, Missouri is an experience so unique that it's difficult to describe. Anyone who has watched McDonagh's first two features 'In Bruges' and 'Seven Psychopaths' will be aware just how skillfully he blends sheer belly laughs with heartbreaking realism. Mildred Hayes is what drives the movies rage, a mother simply out for vengeance in a cruel world. The whole case and the apathy surrounding it has driven her to her last nerve. There was no DNA and no witnesses so the case when cold pretty fast. McDonagh's script is excellently written and those expecting a straightforward affair are in for a surprise. The identity of Angela's killer is the furthest thing on the mind of this film. Channelling her anger into standing up for herself amidst town rage, Mildred is just hoping to keep her daughter's fate in the public eye.

It has to be said, McDonagh is a master when it comes to expressing character flaws. Mildred is our heroine but she never once attempts to play herself as likeable. A cussin', punch throwing and permanently furious woman, messing with her is ill-advised. Then there's the added problem of her abusive ex-hubby Charlie (John Harkes) whose new 20-year-old mistress is a never-ending source of amusement. Willoughby while an honest down to earth man is also nursing an inner torment that will soon become a life and story changing turn. There is a sense of injustice to her targeting this man personally as he cannot physically make her killer appear. However, there is a wonderfully blunt scene in which he confesses his big secret, only to be hilariously shrugged off. Dixon is the movie's ticking time bomb, an incompetent and homophobic officer, the writing is on the wall from the moment we meet him. Constantly harassing local ad-man Red (Caleb Landry Jones), you can sense that soon enough he will do something dumb. Continually browbeaten by his domineering mother, McDonagh superbly switches character arcs midway and turns this dumb cop into an unlikely hero.

Continually throughout Three Billboards outside Ebbing, Missouri we find ourselves questioning what we see. Are the actions Mildred takes really the right ones? Should she just let this one go and leave town? Is George really the big jerk that we imagine? What about the cold and sinister stranger who pays a visit to Mildred's shop? This movie is one where we are never sure whether to laugh or cry, McDonagh invests such a poignant feel in this picture but it also hits upon some bitter truths. Life isn't fair and each character feels they've been hard done by in life. All the petty squabbles to get even only increase the tension and hilarity. What would have happened if Mildred hadn't said her fateful last words to her daughter? Every time we think we know a character, McDonagh smartly blows out the water again. In this town, no one is free from sin but no-one is below settling scores either.

Frances McDormand emerges as the front-runner for the best actress Oscar. After this kind of performance, few others will be able to deny her. A whirlwind of suppressed rage, only McDormand can play angry this brilliantly. Her tongue is so acid it would probably make a Xenomorph from Alien retreat- during one brilliantly acted scene she savagely cuts her local priest down to size. McDormand shows just why she is one of Hollywood's elite talents and this kind of role is her bread and butter. Woody Harrelson equally deserves credit for his quiet brilliance as the frustrated Willoughby. Few actors can stare someone down quite like this man, but it's how he masks his characters inner fears that marks him out. Sam Rockwell is a revelation as the drunken and impulsive George Dixon. A man who truly hates how his life has turned out, Rockwell somehow finds charm among the hostile and casual hate this character spews. His transformation in the movie's final act is nothing short of remarkable.

Three Billboards outside Ebbing, Missouri is one of those films that makes you fall in love with cinema again. Martin McDonagh is a director who never fails to make us sit up and pay attention. It may have beaten I, Tonya and Call Me by Your Name to the big prize but no other film deserved this honor quite as much.