Halloween Review

Starring:

Jamie Lee Curtis

Judy Greer, Andi Matichak

Will Patton, Virginia Gardner, James Jude Courtney, Haluk Bilginer

After John Carpenter's classic Halloween in 1978, nine sequels, prequels, and reboots were made, each appearing less and less successful both critically and financially. The mistake that all of these films made was that they treated killer Michael Myers as the focal point, assuming that he was the one the audience wanted to know more about. He was assumed to be the lynchpin that drove the franchise. It's been forty years and finally someone realized that Laurie Strode, the protagonist once played by the original "Scream Queen" Jamie Lee Curtis, is the emotional core of this always ill-fated struggle between good and evil. This 2018 iteration of Halloween chooses to erase every film before it, a decision that was embraced by the entire film community and indicated the true fatigue of the franchise. But this version has roared the box-office to life unlike any horror sequel before it, and been the first in the series to garner true praise since the original. 2018's Halloween sees an aged Laurie Strode, her spirit the only tangible thing remaining, take on Michael Myers for one last battle. On paper, it is essentially the same film as the original except Laurie is prepared this time. Much like Laurie, I was prepared. I was prepared to love this movie. I am a huge fan of the original. I did enjoy it, but it left me wanting more. Halloween both respects Carpenter's original and makes the same mistakes as its terrible sequels. Jamie Lee Curtis gives a powerful performance that tricks you into believing the entire film will follow suit, yet the same pitfalls exist within Michael Myers that have been present time and time again, only this time with no excuses. Halloween is a good film, but it is held back by these mistakes.

Our introduction to Laurie Strode is when two journalists decide to interview her about Michael Myers' prison transfer. This is where the film first surprised me, as I expected to see Laurie as a bitter women hell-bent on getting her revenge. This is not what we're given, as Jamie Lee Curtis plays Laurie as a woman deeply troubled with PTSD, obviously still reeling from the assault she endured at Myers' hands. She has become the "town nutcase" broken by two divorces, alcoholism, and the loss of her daughter to the state. When Michael Myers is transferred in the early hours of the morning, she camps out all night in her car, clinging to a rifle and crying her eyes out. She is stuck in this trauma and the only way to relieve it is to eliminate the cause. Her struggle with Michael is seen as cathartic rather than angry, and it is clear that this is a very different horror narrative than the films we have become used to. Jamie Lee Curtis is an excellent actress, and she has unfortunately not given a great film performance since Freaky Friday over a decade ago. Halloween is as much a return to form for Curtis as it is for the franchise.

The most noticeable problem in Halloween comes with its depiction of Michael Myers. In the 1978 original, Myers was credited as "The Shape" and set the example for slasher films. He had no lines, and was just an ordinary man antagonizing a young woman. Myers mask made it seem as if he could be anyone. Yet forty years later, he is a horror icon, and the film unfortunately cannot bring him back to what he once was. Myers is inhuman, and murders innocent people — a stark contrast to his first appearance, yet reminiscent of the ridiculous twists and turns the series has endured. One of the refreshing aspects of the high-concept horror renaissance is that it has been mostly devoid of gore. Films like The Conjuring, It, and A Quiet Place substitute shocking gore with terrifying atmosphere. Yet Halloween is one of the goriest movies I've ever seen. It is made even sadder that the series can be so progressive in its depiction of Laurie, yet misses the mark when it makes Myers a bloodthirsty killing machine. To make matters even worse, the film is peppered with odd and awkward humor that is a staple of B-level horror films. That isn't an endearing compliment. One of the credited writers is comedian Danny McBride, and I believe this is a mistake that someone should have forseen. His humor is at times funny but it does not mix well with the high-concept horror that the story of Laurie and Michael exists in. Factor that in with the poor depiction of Michael, and it is as if Jamie Lee Curtis is in a different movie than nearly everyone else working on Halloween. 

Though I think Halloween is a very flawed film, it is the type of movie where the good greatly outweighs the bad, even if the less desirable qualities resurface often. The film's climax is the kind of extended silent terror that harkens back to when horror was about more than just jump-scares. The significance of Laurie's final confrontation with Michael Myers makes the scene even more intense, and the payoff is spectacular. Much like the original Halloween, the film simply ends when the conflict does, and does not attempt to tie things up with a bow. However, I worry that Halloween will get a sequel and double-down on the things that hold back Michael Myers rather than build upon the exciting new direction with Laurie. As the horror world experiences a renaissance, I can only hope that this re-emerging franchise ends up on the right side of the history books.

Rating:

A Star Is Born Review

Starring:

Bradley Cooper, Lady Gaga

Sam Elliott, Dave Chappelle, Andrew Dice Clay, Anthony Ramos

There's a scene near the end of Bradley Cooper's A Star Is Born that sums up the very nature of the film. Bobby (Elliott) is explaining to Ally (Gaga) what Jackson Maine (Cooper)'s perspective on music is. He says:

"Music is essentially twelve notes between any octave. Twelve notes and the octave repeats. It's the same story told over and over, forever. All any artist can offer the world is how they see those twelve notes. That's it."

This is the fifth version of A Star Is Born, and as franchise fatigue weighs heavy on Hollywood, it would not be a stretch to assume this film follows a similarly repetitive formula. Bobby's line is not only indicative of the nature of music, but also the nature of the story at hand. Why do we keep returning to a tragic story of addiction set to the backdrop of fame? As entertainment changes drastically over decades, what is the core that drives the tragedy of the Maines? In his directorial debut, Bradley Cooper has offered the world his vision of those "twelve notes", and has crafted a film that stands out among the other four iterations yet remains true to the classic tale. It is at times a sweeping romantic drama, and at other times a rousing musical. But it is at that "core" where the darker elements of A Star Is Born always lie, and this 2018 adaptation explores the horrors and tragedies of addiction in a way I have never seen on the screen before. Bradley Cooper had a difficult balancing act in front of him, and he succeeds nearly every obstacle in driving home Jack and Ally's story.

For many, the first thing A Star Is Born must do is convince the audience that Lady Gaga can be taken seriously as an actress. Her performance as The Countess on American Horror Story: Hotel did not resonate as much as Jessica Lange's performances in earlier seasons. As Ally, Gaga quickly sheds away any doubts you may have had. Some of her most memorable scenes are the musical numbers but we already knew she could sing. It is in the subtleties and layers she adds into her performance, and the growth she is able to portray in Ally that make her a great actress in this role. It's visible in the way she changes her tone while talking to her father. It's in the annoyance evident on her face as she spars with her manager. Ally is a simple character; an audience stand-in, yet Gaga makes her more than that. She adds body language and complexity to make Ally stand out. If you think of Gaga's evolving art and videos, it seems like Ally and A Star Is Born fit into her pantheon as her "next step" and not a transformative performance in the slightest. Could she pull off another performance like this, or is this she great in this film because it so closely mirrors her past? Only time will tell.

If Gaga is the one we're all watching, it's Cooper that hammers the story home. It's stunning that he was able to pull off such a feat. The man at one time most recognizable from The Hangover now has directed, co-produced, co-written the screenplay, gave his career-best performance, sang and played the guitar, and co-wrote the music of A Star Is Born. None of this is lacking, and I have not the slightest clue how he pulled it off. As Jackson Maine, Cooper is a drunken superstar addicted to pills. Addiction is the film's true message, and Cooper does not shy away from the more gruesome and gut-wrenching consequences. While his addictions to alcohol and drugs are the most apparent, he is also addicted to fame as well as addicted to the dependence he enjoys at the hands of his brother, Bobby and Ally. He lacks responsibility and utilizes this dependence to keep them around. Yet the chemistry between Gaga and Cooper is so raw and believable and he never comes off as the villain in his own story, nor does Ally. In a clichéd film, blame would need to be placed. In A Star Is Born, Jackson's negative qualities are well recognized as results of a debilitating addiction, and the audience is always rooting for the couple to find a way out of their fix.

The less than ideal qualities of A Star Is Born really lie in its pacing. The film is nearly two and a half hours long, far too long for a drama and more reminiscent of a Transformers film. I wish I could say everything felt necessary, but an overconfident manager of Ally comes off as a stale caricature that stands out among the three-dimensional ones — and not in a good way. You get force-fed the classic "Change your appearance" storyline that's been recycled time and time again. This is where the repetitive idea of A Star Is Born almost takes shape. The film's starts off with a bang, wasting no time to introduce Jack's alcoholism and Ally's talent. Jack first encounters her in a drag bar, (a nice nod to Gaga's roots in the LGBT community) where she delivers a stunning performance of Édith Piaf's "La Vie en Rose" (in the original French!) and it sold me from the very start. It is easy to see how he fell in love with her voice. Though the start of their chemistry is awkward, it is very realistic. As she gets increasingly famous, the film feels a little stereotypical in its cautionary tale of fame. Like I said earlier, the message is not anything new, but it works as a catalyst to get plot points moving. For a script so strong in its dialogue, it's lacking in plot movement in these middle scenes. Characters get on planes, get in cars, and travel around in a way that would make your head spin if you actually tried to think of the logic.

Lastly, I'd like to make note of the soundtrack. "Shallow" is clearly the standout, and don't be surprised if it wins the Oscar for Best Original Song, or maybe even a Grammy. It combines the best of Gaga and Cooper, and is as emotionally resonant as it is simply a well-crafted piece of music. The final song, titled "I'll Never Love Again" lends Gaga her most powerful scene in the film. No one who sees that performance would argue that she is deserving of an Academy Award, as it looks more and more likely that she has a chance to win one. Gaga's other solo efforts as Ally are great, though there are some misfires in her (to quote my mother) "Britney Spears" songs, though they were supposed to be lacking in quality. That was their role in driving the story. If you were to take Gaga's thirteen songs, it would arguably create her single best album. My favorite thing about the music is that it never seemed like a stereotypical "musical" in the style of La La Land or Singin' in the Rain. Characters didn't break out in song and the music was spread out enough and contained in a sense that made this a drama about music rather than a musical. Cooper and Gaga effectively captured the stadium feeling of live music, and it truly captured a snapshot of what a concert is like.

A Star Is Born is a film that sweeps you off your feet and spits you out feeling cold. It is in no way, shape, or form a feel-good movie, but it is an important story. It has been told over and over and each generation presents a fresh take. In a couple decades, we'll probably see the next version of the ill-fated relationship of the Maines. It's the kind of story we can't get enough of because though the times change, addiction remains a constant problem that we have to address. Hopefully, A Star Is Born is able to introduce this to a new generation of fans.

Rating:

9/10 Stars

Crazy Rich Asians Review

Starring:

Constance Wu, Henry Golding

Gemma Chan, Lisa Lu, Awkwafina

Harry Shum Jr, Sonoya Mizuno, Chris Pang, Jimmy O. Yang

Ronny Chieng, Remy Hii, Nico Santos, Jing Lusi, Pierre Png, Fiona Xie

Ken Jeong, Michelle Yeoh

Contents:
Opening
The Rebirth of the Romantic Comedy
Wealth
New Money vs. Old Money
Family & Heritage
Beauty & Pitfalls
In Conclusion
Rating

It has become evident that 2018 is a watershed year for diversity in film. February's Black Panther shattered records and made $700 million in the United States alone, making it the third highest-grossing film in American history. It was Hollywood's first attempt at an almost all-black cast headlining a major blockbuster. Historically, those types of films play to a small yet vocal niche African-American audience. But Black Panther became a cultural phenomenon, and it became clear that it did not simply slip through the cracks. The film proved that no matter the ethnicity of the leads, all demographics will show up to a great movie.

How does this connect to Crazy Rich Asians? A romantic comedy-drama based off of a best-selling novel by Kevin Kwan, Crazy Rich Asians centers around Rachel Chu and her romantic relationship with Nick Young. Rachel is a Chinese-American economics professor who travels to Nick's home in Singapore for his best friend's wedding, gradually becoming aware that his family is one of the wealthiest in the world. As a result of the wealth and cultural disparities, she finds her heritage clashing with his family's. Like Black Panther, this is a predominantly (entirely) Asian cast and is set in Asia with a plot surrounding and celebrating Asian heritage. It opened to around $25 million for the weekend, a far cry from Black Panther's $200 million. But the following weekends, it dropped by margins by single digits. These are holds that liken it to the kind of success Black Panther, Wonder Woman, and similar phenomena experienced, even if its start was smaller. Never again can anyone claim that Asians cannot headline a film. When it closes, Crazy Rich Asians will be within reach of the latest Star Wars film, which is a feat no one saw coming. Recall what I said earlier about Black Panther. "...all demographics will show up to a great movie." So that would indicate that Crazy Rich Asians is inarguably a great movie, right? Yes, not only is Crazy Rich Asians "crazy important" to filmmaking and culture, it is an incredible depiction of class, wealth, identity, and heritage set against a stunning backdrop. Such a monumental achievement could not be paired with a better film.

The Rebirth of the Romantic Comedy

If you read my ranking of the best films of 2018 so far, you may have noticed my praise for Netflix's Set it Up. That film breathed a fresh new life into the romantic comedy. It abandoned all stereotypes and told an organic story that happened to be a rom com. To many, Netflix has become the home of the rom com and a theatrical film hasn't really made an impact since 2009's The Proposal starring Sandra Bullock and Ryan Reynolds. Those are two humongous movie stars who were at the height of the powers in 2009. Crazy Rich Asians stars relative unknowns Constance Wu and Henry Golding. When Set it Up hit Netflix, critics (and myself) were stunned, and sung its praises. None of us expected that Crazy Rich Asians would further revitalize the rom com. I referred to Crazy Rich Asians above as a romantic comedy-drama, rather than a straight-up rom com. I think this is an important clarification. The Proposal lacks any real serious themes (I invite arguments). And while Set it Up is a fantastic film, it also is lighthearted and not set in a serious world. Crazy Rich Asians has its funny moments and at times can be laugh-out-loud hilarious. But at its heart, it is a real depiction of relationships both romantic and familial, and demands that you take it seriously. Nonetheless, the romance aspects of this film and its shocking triumph will be studied, and I would not be surprised if we see many serious romance films next year trying to capitalize on this success.

Wealth

It would be very easy for Crazy Rich Asians to fall into a crass display of wealth. After all, these people are "crazy rich" and essentially in the top 0.00001%. This is the kind of wealth that no one can relate to, and that is an obstacle the film has to overcome. The Young family has a balancing act to accomplish — their wealth could be portrayed in such a ridiculous fashion that it's played for laughs, or it could be so glamorous that it sparks intrigue in the sense that tabloids do. Both of these are at play here, but a third option is also present. The wealthy characters are so relatable that their net worth does not define them. The Young family, at their core, is not defined by their money even if their outward appearance suggests it. Little time is spent on how they achieved such success and how they spend it. One of the early laughs is the description of a priceless ancient gong. Rachel asks "Why would they want to buy a rare Cambodian gong?" to which a family member remarks: "Because they can." This could easily become the running gag but the film's script balances it very carefully, never fully diving into their lifestyles, yet refraining from keeping them at an alluring distance. But the most fascinating aspect of the Young's wealth is the timeless new money vs. old money debate, which I will expand on.

New Money vs. Old Money

Our first introduction to who the Young family really is occurs at a dinner party with Rachel's Singaporean college friend Goh Peik Lin (played hilariously by Awkwafina) and her family. Their family is also crazy rich, but it's new money. The Youngs are old money; seeds that have been sowed over generations and generations. This debate is probably best exemplified in F. Scott Fitzgerald's The Great Gatsby, with Tom and Daisy representing old money and Gatsby representing the new. Unlike that story, the two never come to a head. There is no confrontation between families, because they simply do not exist on the same plane. Rather, the viewer sees the Youngs and their lifestyle and is able to personally distinguish what makes the two families different. I thought this was an incredibly mature and realistic depiction, and it made the point crystal clear without unneeded drama.

Family & Heritage

If there were an antagonist, it would be Nick's domineering and terrifying mother Eleanor. But like many other features of the script, things are not so black and white. Eleanor explains to Rachel that she was studying to be a lawyer and gave it all up to raise her family. This idea of a traditional Asian family is compared to the contemporary American one. In Asia, a parent molds their children to be exactly what they want them to become. In America, parents encourage children to find their own happiness. Eleanor remarks that this must be too "old-fashioned" for Rachel to understand, yet she dismisses the notion. Much is at play in these combative scenes between the two women, and it is clear that this is the central conflict. Rachel is not an Asian woman in Eleanor's eyes. As Rachel's own mother says in an early scene, "Your face is Chinese, you speak Chinese, but in here (pointing to her head), not Chinese". The comparison of an "unrefined banana" (yellow on the outside, white on the inside) is played for laughs but could not be more accurate to this traditional Asian perception of an Asian-American. Nick's entire family struggles to come to terms with Rachel's background and lack of a wealthy background, even if he himself does not care. Since Eleanor is the film's makeshift villain, this idea could come off as "old-fashioned" in the sense that it requires a swift change. Yet this is not black and white. It is just a different viewpoint, and an exception could be made even if it takes time. These characters are human and fallible. Mistakes are made in their pursuits for what they think is best. In the film's conclusion, Rachel and Eleanor give each other a look, and I did not get the idea that Eleanor suddenly approved of Rachel with this acknowledgement. This is a realistic film and that kind of approval would be impossible to achieve overnight, and would be out of character for Eleanor.

Beauty and Pitfalls

The wedding scene is one of the most beautiful in any movie I have seen. The sheer glamour in the arrangement of sets and costumes paired with stunning music, cinematography, and a climax in the characters' stories make it a whirlwind of cinematic perfection. And remember, the viewer is not invested in the story of the bride and groom, yet somehow their romantic celebration feels powerful through such excellent execution. Many times throughout the film, clever shots and music set this film above other romances. Asian versions of Madonna's "Material Girl" and Coldplay's "Yellow" and a memorable depiction of text-gossip in the opening elevate this to something special. When Rachel and Nick first arrive in Singapore, we are treated to a romantic montage; a staple of the genre. Yet the backdrop is a rural Singaporean marketplace and local food, and it is an early insight into this culture. Crazy Rich Asians is trying to break cliché while sticking to a standard script.

I said that the wedding is an important climax for many characters in the film, and this is where the film's only glaring flaw lies. There is a B storyline featuring Nick's cousin Astrid and her cheating husband, and it is the only place where the dialogue and story fell into eye-rolling territory. Astrid represents a complex emotional center, but her outward appearance is nothing short of the richest and most expensive tastes. As a performance, Gemma Chan did a fine job, but the character was just the un-relatable billionaire stereotype the main storyline avoids. Her emotional speech seemed like something out of a Lifetime movie and a baffling credits scene likewise showed that she was the weak link of Crazy Rich Asians. There was a tenderness explored in Astrid and her scenes with Rachel, and she symbolized a dangerous descent into material possessions. The lack of exploration in this theme and the lack of interest in her failing marriage, despite how important it seemed, turned me off to the character.

In Conclusion

The last time an American film had a predominantly Asian cast was in a modern setting was in 1993's The Joy Luck Club. We have discussed the sad realities of African-American representation in film for years, yet Asians have similarly had a hard time making it to the big screen. Crazy Rich Asians' success has hopefully proven once and for all that Asian talent can sell tickets, and like I said earlier, make Star Wars money. 

I hope that my constant talk of its important financial success does not give the impression that I am praising this type of success alone. Much like the theme of the film, it's easy to get caught up in dollar signs and fancy titles. Crazy Rich Asians' quality is not due to its box-office success. Rather, it has become so successful and shattered the glass ceiling for Asian talent because it is of such immense quality.

You cannot miss this film. See it in support of a community that has struggled to find representation. See it because it's an important conversation we need to have. See it because it celebrates culture different than our own. But see it because it's simply a fantastic movie, and deserves your attention.

Rating:

9.5/10 Stars

Top 10 Movies of 2018 So Far...

In early 2019, I will rank the best of all the movies I have seen the previous year. This time, however, I have chosen to also include a list of the best films to come out between January and the end of June. This is subject to change at the end of the year, as some films hold up better than others. But this is where my opinion stands as of right now. I'm embarrassed to admit that I missed Hereditary in theaters and have yet to see it. If buzz is to be believed, that will probably impact this list by 2018's end. Some movies I've already seen in July, such as Ant-Man & The Wasp and Sorry to Bother You aren't eligible because they weren't released in the first-half. As for movies like Annihilation, Deadpool 2, and Ocean's 8... they almost made the cut, and might still make it onto my year-end list when I rank the best 20-25 films. Now, without further ado...

#10.  RBG and Won't You Be My Neighbor? (Tie)

When it comes to my end-of-year list that I'll publish in early 2019, these two won't make the official cut, as I exclude documentaries. However, I had to include both in this list to try and persuade people to go out and see these incredible portraits of American figures.

In RBG, I was moved by a touching tribute to Supreme Court Justice Ruth Bader Ginsburg, and one that truly shows what a brilliant mind she is, as well as showcase her relentless spirit in interpreting the U.S. Constitution. It strays from what could have been a political agenda to simply show where she came from and champion how remarkable Ginsburg is to women and Americans everywhere. It's impossible not to feel empowered walking out of RBG.

Similarly, Won't You Be My Neighbor? paints a beautiful portrait of Fred Rogers and his unlikely stardom as the host of Mister Rogers' Neighborhood on PBS, though it's tinted with sadness. The film makes a remarkable effort to demonstrate Rogers' philosophy towards children (and likewise, his effect on adults) and throw out the argument that we have strayed from it. He was a man who preached through the television, and told us to be kind and admit our mistakes and embrace our vulnerabilities. Now that he's gone, we're left only with the vision of who we could have been, and who we can be if we adhere to his teachings. But Won't You Be My Neighbor? doesn't really push this agenda, it's just the necessary questions Rogers' show and personality present to an audience looking back at his legacy. 

Both of these documentaries are inspiring depictions of two important figures in American history, so I found it fitting to put them together. They make for one great documentary double feature.

#9. Set it Up

If you know me, you know that I'm not a fan of Netflix original films. Aside from Mudbound, most lack qualities that a theatrical film holds. They often seem like expensive TV movies, undeserving of my attention when so many great films are in theaters. Set it Up is a romantic comedy about two overworked personal assistants of two horrible bosses in the same building. They team up to try and matchmake, setting their bosses up to try and get some time off. It's a charming "will they / won't they story" about their bosses, and it turns it into a "will they / won't they" for the assistants themselves, and spins a clever story about the great relationship employees can have with their bosses, and how life can be downright awful with a bad one. The dialogue is great, and it's absolutely the best romantic comedy to come around in years. I normally hate the genre for it's tropes and stereotypical blandness, but Set it Up turns the whole genre on its head because it throws the rulebook out the window. This may be the best film Netflix has to offer, and that's no exaggeration.

#8. Jurassic World: Fallen Kingdom

Though Jurassic World was a monster hit, I really don't think it's a great movie, and I know that I'm not in the minority. However, I have a great time whenever I watch it, and have enjoyed it countless times. I enjoyed that Fallen Kingdom was not as bland a story as the first film, and attempted to carry a stylistic vision of director J.A. Bayona (The Impossible, A Monster Calls). It was the dinosaur horror movie I've always wanted, and it legitimately packed plenty of deserved scares. It's not without its flaws, like some ridiculous plot points to set up a sequel and an ultimately worthless title. Yet at the end of the day, it's an entertaining film that merits thoughtful attention. I was captivated, emotionally moved, and on the edge of my seat, and isn't that what we want from these popcorn blockbusters, rather than more of the same?

#7. Avengers: Infinity War

Fanboys may be shocked that this is so low, but hear me out. Infinity War really isn't a movie, it's an event. If you haven't seen every single Marvel movie and are invested in the masterful storytelling of the MCU as an entity, this movie means nothing to you and you get nothing out of it. If I were to rank event movies, this would challenge The Force Awakens for #1. The stakes are real and the gravitas I felt for the entire film and the shock felt at its bleak ending are unmatched for someone who has grown with these characters over a decade. Yet as a standalone film, it's not the best that Marvel has to offer because it has so many characters and moving parts. Because of this, not every storyline and character works, no matter how hard they try. Thanos is easily the best character and best villain, and his strangely sympathetic arc is an example of Marvel's willingness to subvert expectations. But in bringing him to the forefront, a few characters and arcs suffer, namely Peter Dinklage and Thor's quest for an axe. Theyjust don't hold the same weight as other storylines and feel dull as a result. The film is great for fans, and the first viewing was an experience unlike any other, but as a film, I'd be kidding myself if I argued that this is the best Marvel had to offer this year.

#6. Isle of Dogs

The messages in Wes Anderson's latest film Isle of Dogs are by not new. The film explores the relationship between man and dog and a dog's devotion to its master. These are themes in the most basic of American classics such as Old Yeller and Where the Red Fern Grows. It tugs at the heartstrings like most dog movies before it. If it weren't for Anderson's inventive script and design, it could easily written off. This film is absolutely gorgeous, and much like Fantastic Mr. Fox, the use of Anderson's impeccable symmetry and the beauty of these dogs make for a visually arresting film. Then there's Anderson's always-witty script, and incredible voice performances from Bryan Cranston, Jeff Goldblum, Scarlett Johansson, Edward Norton, and Frances McDormand to name just a few. While it favors whimsy and style over realism, Isle of Dogs is the kind of charming movie that's impossible to not fall in love with. It's not his best, but Anderson is one of the only directors left whose every project demands attention. He doesn't disappoint here.

#5. Game Night

Game Night is the ultimate surprise. No one saw it coming, and not enough people saw it in theaters. It's a "high-concept" comedy, meaning that the plot and themes drive the story rather than character development. While a zany Rachel McAdams and a fantastic supporting cast of B-level comedy actors definitely help, it's the convoluted and crazy story that makes Game Night so engrossing. The black comedy about a group of friends dragged into real mob affairs during a murder-mystery game night is hysterical, but it's even funnier because it's smart. Too often movies get a pass for dumb, silly humor that gets a quick laugh. This isn't to discount that brand, as I'll laugh at Kevin Hart every time. But there's a payoff in a hard-earned laugh. Game Night is actually trying hard to create organic and realistic humor, and turn convention upside down. The reward is one of the smartest comedies of the last decade, and one that I could not recommend enough.

#3. Incredibles 2

Expectations for a sequel to The Incredibles were fourteen years in the making and incredibly high. I was skeptical going in, as the first film holds a very special place in my heart. But then again, part of the build-up to this film was how special The Incredibles is to so many. I was pleasantly surprised that director Brad Bird crafted a sequel that rang true to the social undercurrents of the superhero genre while still retaining a crowd-pleasing aura. I've seen it twice and both times felt the intensity of the final act in my chest. While Incredibles 2 is a little predictable and overuses some tropes in its driving narrative, I was so engrossed in the characters and story that I ultimately forgave its mistakes. It's a beautifully animated film, and one that could easily have asked simply for us to turn our brains off and enjoy. But Bird and Pixar presented a film rich with gender role commentary and realistic problems affecting family dynamics and wove them into one of the most enjoyable and re-watchable films of 2018.

#4. Love, Simon

Love, Simon is another film that I would have never expected to be as good as it is. What seems like a fairly standard high school romance that should be riddled with clichés is one of the most original stories of the year. It's essential in the sense that it is the first LGBT high school romance, but there are so many more reasons to see it. It's quite possibly the most accurate film about what high school is in the 2010s. Then there's its almost perfect channeling of John Hughes classics, funneled through a current teen landscape to create a whimsical tale that harkens back to 80s films like Ferris Bueller's Day Off, Sixteen Candles, and The Breakfast Club, but still feels current. Anchored by a great performance by Nick Robinson in the titular role, and a great supporting cast of newcomers, Love, Simon may not be one of your first picks, but it's one you cannot afford to miss. Love, Simon could have easily been all message, and it delivers on being a faithful and resonant LGBT film. But it reaches for more. It is relatable to anyone of any age, race, or sexuality, and tries to send home a message that separates it from the crowded pack of young-adult fare. The result is a film that almost nails every target tries to hit, which is an achievement given Love, Simon's huge plate.

#2. A Quiet Place

A Quiet Place is a mainstream film that feels like an indie classic. Centering around a family in the near-future, where the Earth is seemingly inhabited by blind and bloodthirsty creatures who hunt anything that makes noise, A Quiet Place is a tour-de-force in horror film. Director John Krasinski (Jim from The Office) ditches comedy and replaces it with a deft hand for scares. Krasinski realizes that the horror genre has often been used as a vehicle for important messages and pathos (most recently, Get Out) and presents us with a strong underlying message of how we parent. Who better to share this message with than his real-life wife, Emily Blunt? A very pregnant Blunt and Krasinski try desperately to protect their young children from the beasts, albeit in very different ways. And A Quiet Place isn't shy about portraying which parent's method works, prompting interesting discussions I've had with many who have seen the film. Even more incredible is that the film is nearly silent. The characters mostly interact through ASL. The technique is definitely tricky to pull off, and I give credit to all involved for creating an atmosphere in the theater in which every person was terrified to make a sound. No one dared pick up their popcorn. This fueled anxiety for when the monsters would strike. Also, it's great if a horror movie is actually scary without relying on gore and shock, and A Quiet Place was genuinely terrifying. Even more satisfying — the film never tries to answer why the monsters are here. A Quiet Place values art over story, and it does not get caught on the hang-ups of the genre. It's here to evoke a powerful reaction, not necessarily a visceral one, and Krasinski has no interest in explaining his work.

#1. Black Panther

Here's a film that we all seem to get behind, and it's for good reason. Black Panther is second to none. It's a rare film that utilizes its blockbuster platform to convey extremely significant social messages to the largest audience possible. Before its release, I heard whispers in the film community that Black Panther was unlike any superhero film before it, and some critics even claimed it would strike at the heart of American culture in the same way that Roots did when it aired on television. I scoffed at that comparison, but completely understand looking back. Though it is set in a fictitious African nation, the problems Wakanda faces are all too relevant in the world today, and director Ryan Coogler (who previously helmed Fruitvale Station and Creed) uses the fictional narrative to push forward problems and ideas that are very real. Wakanda struggles with its identity. Its technological superiority and immense wealth benefit little more than itself, and a strong argument is made for whether a country with resources should help those in need. A strong feminist message exists in the Dora Milaje; Wakanda's entirely female royal guard. And then the most prevalent message lies in black identity. T'Challa struggles with the decision to use Wakanda's resources to help blacks around the world, never having seen the struggles and persecution they are submitted to outside of Africa. Michael B. Jordan (in a nomination-worthy performance) is the stand-in for those still bitter at slavery and decades of oppression at the hands of the white man, and those with a desire for justice through revenge. Jordan's character of Killmonger is a villain painted in shades of grey. His motivation is clearly from a place of pain and suffering, and one that we all know is very alive in our country. Very rarely does a hero interact with a villain, realize the villain is (mostly) right and then modify his actions to interpret his ideas. Black Panther tackles a lot, and succeeds with flying colors in every area. A Shakespearean-like narrative, beautiful costumes and sets, a score and soundtrack by Kendrick Lamar that is true to both African culture and the hip-hop roots of culture today, and so much more is present in this film. Black Panther is a movie unlike any in recent memory. It has layers upon layers, and is a film I believe will eventually be taught in film school. I normally favor indie films when the year ends, but Black Panther is a masterpiece. It goes to show that when you put artistic talent in blockbuster territory, they're not sell-outs. And Ryan Coogler is here to stay.

Side-note:

(If you need any more convincing, my mother absolutely hates Marvel movies. We dragged her to Black Panther and she loved every part of it. It's a movie for everyone, and one for the books.)

Ready Player One Review

Starring:

Tye Sheridan

Olivia Cooke, Lena Waithe, Philip Zhao, Win Morasaki

Ben Mendelsohn, T.J. Miller, Hannah John-Kamen

Simon Pegg, Mark Rylance

Who better to helm Ready Player One than Steven Spielberg? Inarguably the most famous director of our time, Spielberg has been making quiet films as of late. Lincoln, Bridge of Spies, War Horse, and The Post are all awards bait period dramas. But Spielberg is largely known for his work in the 70s through the 90s, in action and sci-fi classics like Raiders of the Lost Ark, Jurassic Park, Close Encounters of the Third Kind, E.T. the Extra Terrestrial and Jaws. It's safe to say that Spielberg and his films are very ingrained in our pop culture. Ready Player One marks his triumphant return to blockbuster fare, and it's largely a success. In Ready Player One, the OASIS is a futuristic virtual reality experience in which players can escape their boring lives and be whatever they dream. It's filled to the brim with references from 70s and 80s pop culture, as citizens long for happier times. The film centers on Wade Watts, who uses his avatar Parzival to try and find the "Easter Egg" left by the OASIS' late creator James Halliday, which gives the winner complete control over the OASIS. Also on the trail is IOI, a tech company who hopes to win the egg and shut down the OASIS to have complete control over the tech-heavy economy. Because of how all-encompassing the OASIS is in its scope, Parzival and his friends encounter a myriad of figures and settings from some of the most iconic movies, video games and TV series. From Battle Toads, to King Kong, and from Akira to Saturday Night Fever, the nostalgia factor of Ready Player One is off the charts. I had to see it twice simply because the nostalgia of the initial viewing clouded my judgement. Upon the second viewing, I determined that Ready Player One is an incredibly well-made movie, and a return to form for Spielberg, but the over-reliance on nostalgia leads to some deep pitfalls and errors that not even Mecha Godzilla and The Iron Giant can fix.

Good Nostalgia & The First Task

It's great to see some of our favorite characters and references in Ready Player One, albeit for short seconds. Ready Player One is full of references and few of the callbacks play large roles in the story. On our first foray into the OASIS, we get glimpses at Marvin the Martian, Hello Kitty, Sonic the Hedgehog and Minecraft. But these are just brief and fleeting. However, Halliday's first task gives some old favorites some serious screen time. The first challenge is an elaborate race. The cars are references from Speed Racer, to the A-Team van, the Batmobile and obviously, the DeLorean from Back to the Future. In the race, obstacles include the T-Rex from Jurassic Park and King Kong. Seeing old favorites interact with the story is really exciting, and contributes to the thrill ride. The first task included some of the best visual effects I've seen. Everything moved at a lightning-quick pace, yet all the visuals were crisp and clear. The setting was very claustrophobic and I felt like I was in the middle of the race, and the stakes felt very real.

James Halliday

In my opinion, Ready Player One's biggest asset is Mark Rylance and his brilliant performance as James Halliday. Rylance previously won the Oscar for Best Supporting Actor for his role in Spielberg's Bridge of Spies, and is continuing a great working relationship with the director. Halliday is the heart and soul of the story, much moreso than any video games or film references. In the film, Parzival, Artemis and the team are trying to figure out the mystery behind the game's creator, and essentially the most brilliant man in the world. Halliday is an icon in this world, revered by the OASIS users. Rylance chooses to make Halliday a nerd, and yes, his quirkiness amounts to some laughs, but it's the soul that pulls you in. There's a tragedy to Halliday, seen in his inability to pursue his true love and his crippling social anxiety. The man is larger than life in the scope of this story, yet Rylance is able to breathe humanity into him, and it allows him to become accessible. The most meaningful scene in the movie is when Parzival wins the final challenge and gets to talk with an avatar of Halliday. He remarks upon how the OASIS has crippled society and how the world is too reliant on it. But there's a sense of unrelenting pride in what he created, and the fact that Halliday carries the weight of these conflicting emotions is so well done. He's dead for the entire movie, yet he still managed to be my favorite.

The Shining (Second Task)

This is probably because I'm a huge movie fan, but the second task sent me into overdrive. The second task is to enter the Overlook hotel from Stephen King's The Shining, and find Halliday's long-lost love amid the scramble. This sequence features the blood pouring from the elevator, the twin girls, the woman in Room 238, and of course, Jack Torrance and the axe (sadly, no Jack Nicholson). Even as they entered the task, the movie theater's windows were foggy, mimicking the air conditioning. But topping it all was the slow pan to the famous photo of the guests, but instead of Jack Nicholson at the center, it's Halliday and Kira. The entire just immersed me right back into King (and director Stanley Kubrick's)'s world and it was amazing to behold. This is the future of video games, and if there is a gaming experience in which I can enter my favorite movies, sign me up.

The Distracted Globe

Another scene that took my breath away was the part in The Distracted Globe, a nightclub in the OASIS. This is distinct from the last two, because it did not rely on my nostalgia. Visually, this was the peak. Parzival and Artemis arrive at the Distracted Globe, mistakenly believing that it holds the answer to Halliday's second clue. In the Globe, dancers are suspended midair while New Order's "Blue Monday", an 80s synth classic, plays in the background. The song perfectly adds to the detached nature of Parzival and Artemis' "will they won't they" relationship as the two are catapulted through the air. The visual of Artemis' red dress as it dissolved in the air was particularly stunning. Then to top it all off, Parzival switched it up and played "Stayin' Alive" by the Bee Gees (a personal favorite song) and the area exploded in personal dance floors from Saturday Night Fever for each of the patrons. The entire scene was so distinct among the clamor of the sometimes deafening assault of nostalgia that it stood out.

Bad Nostalgia & The Third Task

The problem with a movie that is so centric on nostalgia is that it sometimes uses it as a crutch. The third task is 50/50. It's centric on the video game Adventure which sports the first Easter Egg in the developer's name hidden in a level. The nod and connection to Halliday and his own Easter Egg is a really nice touch. However, the third task is also when Parzival calls upon all the OASIS players and the nostalgia becomes very overwhelming. It's essentially just a game of "I Spy" with pop culture references. At about the time when the Iron Giant was knocked into lava by Mecha Godzilla and gave the thumbs-up from Terminator 2: Judgement Day, I was taken out of the movie and rolled my eyes. It was a gross amount of references, and while I appreciate their place in the movie, I was much more invested in the film's original story.

The High Five

As far as the actual living characters go, I wasn't a huge fan of the High Five. Ready Player One is a concept movie, and its strength lies in the concept, not necessarily in the little pieces. Unfortunately, this movie makes the main characters a little unnecessary. Parzival's aunt dies and I didn't feel bad for him at all, his character was that thin. Artemis on the other hand, she was essentially just a gamer's dream, and while she had some great lines, she didn't have a lot to do in terms of acting. Aech was by far my favorite of the High Five, and showed promise, but they sidelined her and just had her drive the van, essentially cutting short her screen time. The problem with events happening in the OASIS virtual reality and in the real world is that we're treated to people wearing headsets in a bumpy van when we really want to see what's inside their heads.

Nolan Sorrento & IOI

I'm a huge Ben Mendelsohn fan. He's easily the most consistent part of Bloodline, a very uneven show and is frankly one of the most consistent parts of any project he's involved in. Ready Player One is no exception, and he excels in a villainous role. However, the group behind Sorrento is a flimsy antagonist. IOI is the same cookie-cutter evil corporation, simply suited for this apocalypse. Their motivation is economic and government control, which is unoriginal. One of the side-stories (if it can even be called that) is Sorrento's personal feud with one of his subordinates. The feud was supposed to give IOI a little more humanity, but IOI and their generic, faceless Sixers are derivative. I actually really loved Sorrento until the end, when he chokes on shooting Parzival. He knew he was going to get arrested and had nothing to lose, and had shown no appreciation of video games or any kind of human emotion. That amount of evil was what made me love Mendelsohn's performance, so not only is Sorrento's bluff completely out of character, it's simply stupid.

Conclusion

In conclusion, Ready Player One is a very good film. I had a lot of fun seeing it both times, and I didn't even catch most of the references until after. Even then, I am not a huge video game fan so many appearances mean nothing to me. At the center of Ready Player One is a very beautiful and moving story about a creator with conflicted feelings about what he's created. I did not expect an emotional connection from this film, and Mark Rylance's Halliday definitely packed a wallop. The only problem is that you have to dig to get that message. At times it surfaces, but at most you must unpack tons of nostalgia and flashy scenes to find it. Ready Player One is a great movie, and I am one who can see past the alluring nostalgia. I just hope other people appreciate it for the original story and not the generic and unoriginal pieces that surround it.

Rating:

Love, Simon Review

Starring:

Nick Robinson

Katharine Langford, Alexandra Shipp, Jorge Lendeborg Jr.

Keiynan Lonsdale, Miles Heizer, Logan Miller

Jennifer Garner, Josh Duhamel, Tony Hale, Natasha Rothwell

When I first saw a trailer for Love, Simon, I remarked that it looked like a regular, bland young adult adaptation. The only thing that made it unique was a gay protagonist. It seemed gimmicky, and I quickly wrote it off. However, the reviews for Love, Simon were so extraordinary, it inspired me to read the novel Simon vs the Homo Sapiens Agenda, of which the movie is based, and I saw the movie the day after finishing the book. Love, Simon is about a closeted gay teenager in a Georgia high school, and his relationship with a mysterious similarly closeted student at his school that he meets online. The film deals with issues such as self-acceptance, coming out, the messiness of relationships (romantic, friendly, and familial) and identity in high school. The film is a beautiful love letter to the LGBT youth but hits so many more marks. I would argue that Simon and his story are relatable to everyone who has ever been in high school, regardless of sexual orientation. Everyone can relate to loneliness and the quirky horrors of navigating high school with some sort of problem or secret. I was shocked to find that Love, Simon transported me back to my high school, and presented the most authentic and realized version of a 21st century high school that I've ever seen. It's like an updated version of the John Hughes classic. The odd thing about Love, Simon is that it's basically a perfect movie. Yet on paper, this would never seem to be an artistic and challenging film.

Simon's three best friends are played by Katherine Langford, Alexandra Shipp, and Jorge Lendeborg Jr. Langford has the biggest role and the biggest arc, likely because she's hot off of Thirteen Reasons Why. This is the first thing I have seen her in since Thirteen Reasons Why, and it reaffirms her talent in my eyes. I was also pleasantly surprised that her star-making role in that show, especially one as commanding as hers, didn't threaten to overshadow Simon. Her character of Leah was very reserved, and she was a worthy counterpart to Simon. Alexandra Shipp played Abby, and showed acting skill that far exceeded what I saw of her in X-Men: Apocalypse (her Storm was absolutely awful) and Jorge Lendeborg Jr, though a newcomer, still impressed me. The foursome of teenagers reminded me a lot of the friends I had when I was in high school, and the often changing dynamics between us. Simon's friends are overly dramatic and have angsty confrontations, but it all feels authentic rather than a stereotype. There are a few other high school students who have bigger roles, but it's Langford, Shipp, and Lendeborg Jr that really sell the student experience, and it makes the high school seem believable. And at the center of the film is Nick Robinson as Simon. Long gone is the terrible Jurassic World performance (so terrible his character was written out of the upcoming sequel) and here to stay is a movie star. That's right, Robinson exudes so much charm and wit as Simon, that I'd liken his rise to Ansel Elgort in The Fault in Our Stars. Love, Simon is a film that works at every possible level, so there is room for Simon to be a flat character and still, the rest of the movie would work around him. Yet Robinson injects Simon with beauty and depth; with sadness and realism, and the result is one of the most affecting YA protagonists I have ever seen in film.

The chief selling point for Love, Simon to me was the John Hughes comparisons. John Hughes is a name legendary in the world in film. He's the man who helmed the National Lampoon films and countless classic comedies, but his most famous were those set in high school. The Breakfast Club, Pretty in Pink, Ferris Bueller's Day Off, Sixteen Candles and Weird Science are all some of the most iconic films from the 80s, and of all-time. Love, Simon director Greg Berlanti has somehow captured lightning in a bottle, because he has perfectly created a high school film in the style of Hughes' classics. The world of Simon's Georgia school is an idyllic society. There are no real consequences to actions, everyone gets a happy ending, and the kids all ride off into the sunset. Those were the stories of Molly Ringwald and the Breakfast Club in their outings. Yet somehow, John Hughes was always able to make the stakes feel real, which is how his films resonated with adolescents everywhere. Likewise, Greg Berlanti and the team behind Love, Simon are able to update John Hughes' model and apply it to modern times. It's an idyllic high school experience, far from the possible consequences of coming out and the realistic negativity. But for the entirety of the film, you're sucked right into Simon's world, and he resonates with you despite the blissful and halcyon world he lives in.

One of the most interesting parts of Love, Simon lies in the Spier family. Jennifer Garner and Josh Duhamel play Simon's parents, and the relatability is astounding. My parents are nothing like the Spiers, nor have any I have met. They live in a perfect world that just doesn't fit in society. Yet they still feel accessible. This is because Garner and Duhamel give tiny shreds to their characters; little nuances to the performances that allow the audience to grab whatever piece they relate to and hang onto it. Duhamel plays a father that is a little homophobic towards Simon. But the film creates numerous safeguards to allow this to be a misunderstanding and give Simon and his father a very tender moment. Likewise, Garner plays the very stereotypical overbearing but kindhearted mom. But much like Dad, she has a single very tender out-of-character moment with Simon. It is through the family that Love, Simon is able to throw enough lines to evoke a sense of realism, yet still stay grounded in perfection.

There's just something about Love, Simon that excites the movie-lover inside me. To see a movie that's so perfectly executed and possessing the sheen of the classics was an incredible theater experience. It checks all the boxes. The performances are wonderful, the setting is movie magic, and the score and soundtrack perfectly set the tone. Finally, I'm going to address the LGBT message. The message of gay acceptance does not really matter, while at the same time, it most certainly does. The film is about so much more than a gay boy finding his way, which is why it is so relatable. But the message should still be celebrated. Love, Simon is the first mainstream film to tackle LGBT issues in the youth head-on. And it's a sweeping success. Love, Simon really represents the pinnacle of message movies. The message is relevant and effective. Yet strip it away, and you still have a beautiful story and a wonderful film.

Rating:

The 20 Best Movies of 2017

In this post, I will be counting down the twenty best movies of 2017. I held off until I could see all awards contenders, and any other movies considered great by critics in 2017. I based this list off of a number of factors. These include quality of script, acting, overall enjoyability, and simply what I believe to be the brightest of all the films released last year. Supposedly, this is the same criteria that decides the Oscars, but you will find that my views differ from the Academy's.

#20. A Fantastic Woman
Daniela Vega, Francisco Reyes, Luis Gnecco, Aline Küppenheim, Ampalo Noguera

Winner of the Academy Award for Best Foreign Film, A Fantastic Woman tells the story of Marina, a transgender woman in Chile struggling to achieve the basic human rights we take for granted. When her lover dies, his family denies her the ability to go to his funeral, and fights to take her house, car, and dog away and erase her from their father's narrative. Newcomer Daniela Vega gives a powerful and stoic performance in the lead, and she commands every single frame. The film hammers home a powerful message without preaching a trans narrative. Everyone deserves human decency, and those who deny others are the lowest of the low. This isn't about LGBT rights, it's about human rights.

#19. Ingrid Goes West

Aubrey Plaza, Elizabeth Olsen, O'Shea Jackson Jr, Wyatt Russell, Billy Magnussen

I missed Ingrid Goes West in theaters and discovered it on Hulu, and had little expectation for it. Aubrey Plaza plays a mentally unhinged woman who becomes obsessed with an Instagram celebrity (a career-best Elizabeth Olsen) and travels to California to become best friends with her and steal her life. The film is a brutally honest look into social media and the ways in which we use it, and the ways that it can negatively affect mentally ill folks. I associate Plaza with April from Parks and Recreation, and her chilling performance here will quickly make you forget that image. The image of mental illness is still so stigmatized, and this is a very honest look into the forms it can take in this society. Ingrid Goes West is a sickening story of social media millennials, made more disturbing that it's so accessible in the digital age.

#18. Thor: Ragnarok

Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson

Karl Urban, Taika Waititi, Rachel House, Benedict Cumberbatch, Mark Ruffalo, Anthony Hopkins

Thor: Ragnarok is the first Marvel movie that attempted to demolish the archetype and reimagine what a superhero movie could be. More comedy than even Guardians of the Galaxy, Ragnarok is a bold film, helmed by quirky indie wonder Taika Waititi. The film is hilarious, but still is able to retain the stakes needed for a Marvel film. While the first two outings of Hemsworth's Thor were bland and boring, this one is full of life and energy, and is an unforgettable film. The film is divided between Cate Blanchett's Hela and her takeover of Asgard, and Thor's adventures with the Hulk and Valkyrie in the Grandmaster's arena. Both villains and settings are well-realized and absorbing, but they clash together. There is a disjointed sense surrounding the film, but it doesn't detract from all of its success. Ragnarok is something different an unique, and a welcome change of pace for the MCU.

#17. It

Jaeden Lieberher, Bill Skarsgård, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Wyatt Oleff

Chosen Jacobs, Jack Dylan Grazer, Nicholas Hamilton, Jackson Robert Scott

It was one of the most shocking blockbusters in recent memory. An adaptation of what is arguably Stephen King's magnum opus, it stunned the world with its record-breaking debut. It successfully rode a wave of nostalgia started with Stranger Things (coincidentally, they share an actor) and was a horror film about much more than cheap scares. Pennywise, the titular terrifying clown, is an idea of fear, and It analyzes many ways that children internalize and deal with their fears. So many horror movies miss the mark when it comes to absorbing storytelling along with fear. Supported by some of the best child actors I've ever seen, It follows the current trend of smart horror movies that don't rely on an overuse of jump scares, and is a worthy addition to King's pantheon of horror films.

#16. Star Wars: The Last Jedi

Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis

Lupita Nyong'o, Domhnall Gleeson, Kelly Marie Tran, Laura Dern, Frank Oz, Benicio del Toro

The Last Jedi was easily the most controversial movie of 2017. Either you thought The Last Jedi was the greatest film in the Star Wars canon or you thought it was a pile of stinking rubbish, and anyone in the middle was drowned out by the fervent cries of each side. I lie in the middle. It's actually a pretty solid movie. It has gaping narrative flaws and can sometimes be actually quite annoying as a film, but the execution is perfect at every technical level. Director Rian Johnson really brought the auteur-like style from Looper and applied to the Star Wars saga, giving us beautiful shots and landscapes and a great moral conflict between good and evil. Add in a great performance by Mark Hamill and the overdue realization of Kylo Ren as a character, and you have a solid Star Wars film. It strives to forge a new path for the the series and its characters and create something bigger than just the Skywalker family saga.

  

#15. The Florida Project

Brooklynn Prince, Bria Vinaite, Willem Dafoe, Valeria Cotto, Mela Murder

The Florida Project is the single most underrated movie of 2017. It's the type of film that should get a number of awards nominations, yet it was never embraced by any group, and was only nominated at the Oscars for Willem Dafoe's supporting performance (which he should have won!). Centering on the poor community in Orlando that live in ratty hotels in the shadow of Disney World, the film takes its title from Walt Disney's proposed universal housing plan: "The Florida Project". Spoiler alert: it never happened, and people of extreme poverty live right next door to a place synonymous with wealth. A place every child should go to, but these children will never see. There is barely any Disney tie-ins, likely out of fear of a lawsuit, yet you can feel the park's looming presence over their lives. It's not a film that is overt, and it's one that takes a lot of thinking. It doesn't say a lot, yet has a lot to say. It's filled to the brim with heart, and exploding with soul. I just wish more people saw it, because it's such a hidden gem.

#14. Logan

Hugh Jackman, Patrick Stewart, Dafne Keen, Boyd Holbrook, Stephen Merchant, Richard E. Grant

Since The Dark Knight, superhero films have sought to achieve the same gritty realism that led that film to multiple Oscar nominations and wins. Finally, Fox achieved this with Logan, a brutal R-rated truth-bomb of the ugly sides of life. While most superhero films are able to balance humor, Logan is as bleak as they get. It's a depressing film that takes a lot out of you, but it teaches a beautiful lesson on humanity and what it truly means to live, and gives an incredible sendoff to Hugh Jackman's Wolverine, and Patrick Stewart's Professor X, characters they played for seventeen years. The nomination for Adapted Screenplay is a start, but Logan deserved so much more recognition. Not often does a superhero movie reduce an entire theater to tears.

#13. Baby Driver

Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Eiza González, Jon Hamm, Jamie Foxx

There is a magic associated with the first time I saw Baby Driver. The adrenaline was pumping non-stop, and the film's crazy edits and intense action scenes had me on the edge of my seat. It was one of the best theater experiences in my recent memory. Ansel Elgort, who was good in The Fault in Our Stars but not great, gives an amazing performance in the titular role, and his supporting cast of Jamie Foxx, Lily James, Jon Hamm, Eiza González, and Kevin Spacey (in what would unknowingly be his last role) back him up in hilarious caricatures. The film is a love-letter to cinema, and brings us back to the feel of classic action films while still feeling current and accessible. And once again, those action scenes are simply some of the best cinema has to offer, and a welcome departure from the Transformers kind of action. 

#12. I, Tonya

Margot Robbie, Sebastian Stan, Allison Janney, Julianne Nicholson, Paul Walter Houser

I, Tonya is a cheeky film, where lead characters wink at the camera and talk directly to the audience. The film centers around the incident in which U.S. figure skater Nancy Kerrigan's knee was bashed in, allegedly part of a scheme involving her rival Tonya Harding. I, Tonya is styled in a series of present-day interviews where the characters interact with a documentary crew and flashbacks to the events leading up to and taking place after the assault. Margot Robbie is able to inject Harding with the kind of humanity that wasn't seen when she was under mass scrutiny. The film is a fascinating foray into truth and its consequences, and how skewered perception can become. With a killer 80's soundtrack, a razor-sharp script, and an Oscar-winning performance from Allison Janney as the monster of all moms, I, Tonya is an undeniable hit across all fronts.

#11. The Big Sick

Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Bo Burnham, Aidy Bryant

I laughed harder at The Big Sick than I'd laughed at a movie in a long. Written by Kumail Nanjiani of Silicon Valley fame and his wife Emily V. Gordon, this is based on the true story of how they met (Nanjiani plays himself) and fell in love despite the sudden onset of a rare disease and her descent into a coma. And yes, this is a comedy. Romantic comedies have become so bland and stale, to see the genre injected with such life is a breath of fresh air. Kazan, who plays Emily, is barely onscreen in the film's second half and the film shifts to Kumail's interactions with her parents: Ray Romano in a rare serious role and an electric Holly Hunter. Tackling the complexities of Muslim arranged marriages without bashing them, and portraying the culture in comparison with American values with maturity, The Big Sick is so much more than just a date movie.

#10. Mudbound

Carey Mulligan, Jason Clarke, Garret Hedlund, Jason Mitchell, Mary J. Blige, Jonathan Banks

Mudbound is the first Netflix original film to really make a splash in awards season. Nominated for four Oscars including Best Supporting Actress for Mary J. Blige and Best Adapted Screenplay, Mudbound tells the story of two families, one white and one black and their experience in 1940s Mississippi after WWII, while one member of each family serves overseas. The Jacksons have worked the land for generations, but live as dirt-poor sharecroppers, unable to make it their own. The McAllans are a kind family but find themselves adding to the problem with their increasing need of the Jacksons to get by. The film tackles a bunch of mature topics including slavery, the treatment of soldiers after the war, PTSD of soldiers, the KKK, and the roles of women in society. Mudbound isn't the kind of movie you watch if you're trying to wind down after a hard day. It's uncomfortable viewing, but immensely rewarding to watch.

#9. Dunkirk

Fionn Whitehead, Harry Styles, Mark Rylance, Kenneth Branagh, Cillian Murphy, Tom Hardy

I'm sorry to break the news to you, but if you missed Dunkirk in theaters, there really isn't a point in seeing it anywhere else. The film deservedly won the Oscars for Best Sound Mixing and Sound Editing and you simply cannot recreate the intense battle sounds in your living room. Dunkirk is a strange film because there is no human connection, a usual staple of war movies. It'd be hard to shed a tear, as director Christopher Nolan keeps you at a distance from all the characters. The film is basically just a recreation of the Dunkirk events, and a stunning cinematic demonstration of what a war movie can be. Clichés are thrown out the window, and you feel as if you're thrown into the war with the soldiers. Many have complained about the lack of characters, and I'd like to point out that is merely a trope of overly sappy war movies. Dunkirk is the real deal, and an extremely rewarding theater experience.

#8. The Shape of Water

Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Octavia Spencer, Michael Stuhlbarg

In what world does a movie about a woman having sex with a fish win Best Picture? This is a testament to just how great The Shape of Water is. You believe the relationship between Elisa and the fish-man and not only give it a pass, but support it. I believe that The Shape of Water deserved to win Best Picture, I just believed that seven movies deserved it more. One cannot deny that it has everything. It has a great cast, stunning cinematography, period-appropriate sets and costumes, and a beautiful Oscar-winning score. It's cinematic perfection – the stuff that dreams are made of. The Shape of Water is a carefully crafted love letter to Old Hollywood, using the same style and flair and mashing it with Guillermo del Toro's signature style. It's the kind of movie I can watch over and over and never be bored.

#7. Wonder Woman

Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen, Elena Anaya

I am an avid fan of Marvel, and to a lesser extent, DC movies. Yet never before has a superhero film placed so high in my yearly rankings. Wonder Woman is not your average supehero film. Fleshed out by an incredible performance from Gal Gadot, it's not only the rare DC film to actually be of good quality, it's the rare superhero film that's more than just a cookie cutter comic book tale. It strives to be more and it achieves it. Director Patty Jenkins had a clear vision for Diana and her journey and what this movie could and would mean for the millions of girls, women and moviegoers who would see it. I still can remember feeling stunned at the amount of artistic filmmaking, deeply flawed and realistic characters, and engrossing storytelling was in a DC film. Wonder Woman is what every superhero movie should strive to be, and it's something Marvel didn't find until Black Panther. It's a movie about war, conflict, love and humanity first, and Wonder Woman just happens to be the vessel this story is told through. Marvel may have the dollars and the fanbase, but DC has the best movie to date.

#6. Coco

Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renée Victor

It's near impossible to rank Pixar movies, so I feel like a broken record every time I say a movie is one of their best. That being said, Coco feels like one of Pixar's best and deserves to stand alongside Up, Toy Story and Finding Nemo. It tells a story full of bright colors and fun shenanigans that kids will love, while teaching them an important lesson about family, and one that is deep, flawed, and layered. Pixar is the master of telling emotionally complex stories (and making you cry) and Coco is no exception. I cried through the entire ending, and it wasn't even that sad. I was just served a barrage of emotions that I could not deal with. Presenting a charming Mexican tale of Día de Los Muertos (Day of the Dead), it teaches you about Mexico and their beautiful traditions while seeming organic. It's a universal story with no politics, it seems colorblind, and the story carries the weight. Coco is also a musical and features some fantastic numbers, including "Remember Me" which won the Oscar for Best Original Song and it ties the movie's entire message together. I've seen Coco a number of times, and it never gets old. The beauty of its message is never lost on me.

#5. Blade Runner 2049

Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright, Jared Leto, Dave Bautista

It was Blade Runner 2049 that persuaded me to finally watch the classic Blade Runner from 1982. Much like Mad Max: Fury Road, Blade Runner 2049 perfectly captures the spirit of the original while updating it profusely with today's technology and storytelling. The first was a religious parable in a sci-fi setting, and 2049 continues the spirit of the original. In 2049, the "replicants" aka robots are assimilated into society, yet still discriminated against. Featuring the most stunning cinematography I've ever seen in a film (done by the exquisite Roger Deakins) and incredible visual effects (the hologram scene pictured above is staggering), Blade Runner 2049 perfectly catapults the series into new depths, while paying perfect homage to the original. It's both a challenging film with heady themes, and a blockbuster filled with explosions and gunfights. It might just be the most expensive arthouse film ever created.

#4. Three Billboards Outside Ebbing, Missouri

Frances McDormand, Sam Rockwell, Woody Harrelson, Lucas Hedges, John Hawkes

Peter Dinklage, Abbie Cornish, Caleb Landry Jones, Kerry Condon

Three Billboards is the second of three films (The Shape of Water is the first) on this list that, if you were to strip away the art, presents a problematic story. Mildred Hayes is bitter and angry at the local police's reluctance to solve her daughter's brutal murder and wages a war of words and petty actions (possibly some small domestic terrorism). It's a painful film in the sense that the police really aren't at fault, but you still understand Mildred's desperation to hold someone accountable. Her actions are completely indefensible from a standard of human decency, but you find yourself giving her a pass. Frances McDormand and Sam Rockwell both won well-deserved Oscars for their acting, Rockwell playing the dim-witted, racist police officer she finds herself at odds with. What's shocking is that Rockwell is given an incredibly deep character arc despite him seeming like a completely unredeemable character. Coupled with the best cast of the year (every performance is top-notch and each character is essential), Three Billboards becomes a scathing portrait of loss and the struggle to move on, given a fitting backdrop in a Middle American town, which becomes one of the film's greatest characters, and catapults it into an entirely different discussion.

#3. Call Me By Your Name

Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrell

Call Me By Your Name feels like a movie that doesn't belong in this decade, and that's not just because of the romance between a seventeen-year-old boy and a man in his early 20's. Yes, this is the final entry in the trio of films with stories that would be problematic if the art was stripped away. While the film centers around a gay romance with an arguably significant age disparity, it's about so much less, and becomes so much more. Call Me By Your Name is a story about first love, and the recklessness, fear, and tumult accompanying it, and the vessel through which this is told is in Elio, a seemingly "straight" boy who is swept off his feet by Oliver, a visiting grad student in 80's Northern Italy. The script and story are phenomenal, and well-deserving of the Academy Award it took home. Director Luca Guadagnino made a number of bold and a number of reserved stylistic choices that made Call Me By Your Name feel like a lost piece of classic Italian cinema. Dream sequences, jumbled cuts, and long takes, all in a movie that is almost dreadfully slow-paced. And then there's the acting, particularly the performance of Timothée Chalamet, that is undoubtedly the strongest acting I saw all year. For an actor of only 22 years, Chalamet displays immense complexity in Elio, well beyond his years. Call Me By Your Name might not be accessible to anyone who isn't an indie film lover, but it's cinematic perfection, and harkens back to the classics.

#2. Lady Bird

Saoirse Ronan, Laurie Metcalf, Tracy Letts, Timothée Chalamet, Lucas Hedges, Beanie Feldstein

Lois Smith, Stephen McKinley Henderson, Odeya Rush, Jordan Rodrigues, Marielle Scott

Directed by Greta Gerwig, Lady Bird is the story of a rebellious young senior at a Catholic school in 1990s Sacramento, and her desire to simply dismantle all her parents built for her and be her own person, failing to recognize the shortsightedness of her actions. Lady Bird isn't an antagonist even if she's an antagonizing force, and she never becomes unlikeable. Her roller coaster relationship with her mother is relatable to all mother-daughter relationships and is the tether that holds Lady Bird together. Lady Bird is a story about how hard it is to grow up and feel one's own worth, and the strongest example is in her beautifully complicated relationship with her mom. The entire cast is spot-on, with Saoirse Ronan giving her career-best performance in the leading role, and Laurie Metcalf in a surprising dramatic turn as her mother. Timothée Chalamet also gives another great performance, though not as dazzling as his nominated one in Call Me By Your Name. But Lady Bird's strongest attribute is its script, written by Gerwig. The hilarious, shocking, and brutally honest script allows the characters to feel authentic, as if we're watching a real young woman and her slice of life. It's because of this that Lady Bird is one of the most honest movies I've ever seen.

#1. Get Out

Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener, Caleb Landry Jones

Stephen Root, LaKeith Stanfield, Lil Rel Howery, Marcus Henderson, Betty Gabriel

There is no movie from 2017 that I have seen more than I've seen Get Out. This list isn't based on the number of viewings, but the amount of times I've seen Get Out is directly related to how good it is. There are some perfect movies, and then there are movies like Get Out, practically perfect in every way, yet still strive to break new ground. Jordan Peele, once famous for the Key & Peele duo, has now forged a path of his own, winning an Oscar for his provocative tale of a black man who visits his white girlfriend's parents and enters a horror movie. And Get Out is one of the most successful horror movies I've seen, able to terrify with jumps and a truly scary message about racial politics. It'd be so easy for Peele to adhere to the stereotype of conservative America, yet he instead points a finger at liberals, and the blind racism of the left. But Get Out is not just successful social commentary. It's execution is perfect, from every camera angle, to a spooky score and unforgettable performances. The film's three acts weave together seamlessly, and with perfect pacing. Not one moment is dry, nor one line misplaced. The scares are real and the comedy hilarious, and Peele's ability to master both in his debut film is outstanding. If there were one film that deserves to be held above all others that came out in 2017, it's Get Out. Jordan Peele created a true masterpiece of cinema, that will go down in history as such.