THE BEST AND WORST OF 2017: GLIMPSES OUTSIDE THE COMFORT ZONE

Another year has come and gone, and as of this writing I’ve only seen 43 of the year’s movies.  At times in the past some fellow movie aficionados have admonished me for not “seeing enough crap.”  I suppose that’s fair.  And yet I can’t help feeling a certain virtue.  I try to see movies that interest me or movies that cross the event horizon of public consciousness or movies that simply trigger that Pavlovian urge to sit in a dark theater for a couple hours.  Which means I mostly see things I like or for which I have a natural proclivity.  And somehow I still see just enough “crap” to recognize it as such.  I fear if I saw too much “crap” I might start giving it the benefit of the doubt.  Also I read.  A lot.  [Side Note:  If you like “hard” science fiction, stop what you are doing and read Cixin Liu’s mammoth Three-Body trilogy.  It will blow your mind.]  All this is to say that I have better things to do than waste my time on lousy movies if I can at all help it.

My favorite movies this year featured outsiders in main or major roles.  Almost every character in THE FLORIDA PROJECT lives on the fringe of society.  In GET OUT a black boyfriend spends a nightmarish weekend with his girlfriend’s wealthy white family.  And THE SHAPE OF WATER’s protagonists include a mute janitor, her black co-worker, a gay neighbor, a compassionate Soviet agent, and a humanoid sea creature.  In movies from the early ‘60s (the era when the movie is set) few of these characters would even attain supporting stature.  The latter two would likely be the villain and the monster, respectively.  Instead the movie’s monster is a U.S. government agent (normally our ‘60s ostensible hero).

The best films of 2017 remind us that we can discover courage, understanding and resilience in unexpected places.  Perhaps we would do well to move beyond our normal comfort zones, both on screen and off.  We might be surprised and heartened but what we experience there.  Speaking only for myself, pleasant surprises and happy accidents are two of my favorite things in art and in life.  Here’s to more in 2018.

Thanks to everyone who has been willing to engage with me and the movies throughout the year.  It’s always a pleasure to speak passionately and intelligently with such thoughtful and honorable people.  For this, I can only offer my most profound gratitude and humility.

Finally, thanks to my supportive family and friends.  I’m lucky to have you.

  

Brian Pope

March 3, 2018

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THE BEST OF 2017

THE TOP THREE
(in alphabetical order)

THE FLORIDA PROJECT  Set in “The Magic Kingdom,” a transient hotel on the outskirts of Disneyworld, Sean Baker’s raucous film explores America’s indigent underbelly through the eyes of 7-year-old Moonee (a riveting Brooklyn Pierce) and her struggling ex-stripper mother (an excellent Bria Vinaite).  Kindhearted hotel manager Bobby (a tender Willem Dafoe) acts as beleaguered parent to the kids and emotionally stunted adults in his reluctant care.  Funny, frustrating and, ultimately, heartbreaking.

GET OUT  Writer/director Jordan Peele taps into the cultural zeitgeist with this pitch black social horror comedy, upending conventional wisdom about race relations in America.  Black boyfriend Chris (Daniel Kaluuya) and white girlfriend Rose (Allison Williams) visit her progressive parents (Bradley Whitford and Catherine Keener) at their remote family estate, but he finds the demeanor (and presence) of black servants unnerving.  The truth, once revealed, is even more outrageous than imagined, but Peele’s arch tone never wavers.

THE SHAPE OF WATER  At a top secret government lab, mute janitor Elisa (Sally Hawkins) becomes infatuated with a mystical sea creature (Doug Jones) captured by a ruthless federal agent (Michael Shannon).  She plots to free him with the help of artist Giles (Richard Jenkins) and fellow janitor Zelda (Octavia Spencer).  Director Guillermo del Toro’s gorgeous fantasy mashes together the disparate genres of espionage thriller, fairy tale romance, and social drama to create a meticulously crafted and heartfelt love letter to the movies.

THE BEST OF THE REST OF THE TOP TEN
(in alphabetical order)

BLADE RUNNER 2049  Heretical as this may sound, director Denis Villeneuve improves upon Ridley Scott’s visionary but flawed 1982 cult film with this overlong but visually and thematically rich meditation on identity.

BRAD’S STATUS  Mike White turns a father and son tour of colleges into an awkward comedy drama about the problems of privilege.  Austin Abrams is terrific as the son, and Ben Stiller gives his best performance in years.

THE DISASTER ARTIST  An affectionate recounting of the relationship between enigmatic Tommy Wiseau (James Franco) and actor Greg Sistero (Dave Franco) and the creation of one of the worst movies ever made.

LADY BIRD  This prickly coming-of-age comedy and unsentimental mother/daughter drama highlights Greta Gerwig’s unique and quirky cinema voice.  Saoirse Ronan and Laurie Metcalf are absolute knockouts.

LOGAN  After slumming in uninspired X-MEN and WOLVERINE sequels Hugh Jackman finally shows his acting chops in this violent, resonant elegy that does for superheroes what THE WILD BUNCH did for cowboys.

MUDBOUND  Set in rural Georgia just after World War II Dee Rees’ richly observed film follows two returning soldiers (one white, one black) who must navigate the bonds of brotherhood against ingrained Southern racism.

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI  Too uneven in tone to take completely seriously, yet Martin McDonagh’s film about vengeance, guilt and futility is difficult to shake, as are the indelible performances of Frances McDormand and Sam Rockwell.

Runners-Up of 2017
(in alphabetical order)

THE BIG SICK

I, TONYA

PATTI CAKE$

THE POST

RAW

Honorable Mentions: BABY DRIVER; BEATRIZ AT DINNER; CALL ME BY YOUR NAME; JOHN WICK: CHAPTER 2; PERSONAL SHOPPER; PHANTOM THREAD; STAR WARS: THE LAST JEDI

THE WORST of 2017
(in alphabetical order)

DARKEST HOUR  By turns tedious and ridiculous, Joe Wright’s film torpedoes Gary Oldman’s prodigious thespian effort which sinks to the bottom of the English Channel.

ROMAN J. ISRAEL, ESQ.  Even Denzel Washington’s integrity and intelligence can’t save a film that doesn’t know what it’s saying or how to say it.

WILSON  Daniel Clowes adaptation of his graphic novel about a misanthrope fails completely in its translation to the screen, wasting the talents of Woody Harrelson and Judy Greer.