The real world of 2017 was like the messier, uglier sequel to 2016. That year left us with an ominous array of terrible decisions, and 2017 consisted of everyone flailing about in unsuccessful attempts to deal with the consequences. By the end of the year, we were pretty much right where we started, just significantly more tired and miserable. Fortunately, beyond the number of high profile people in the industry that have turned out to be abhorrent sexual criminals, the entertainment of 2017 has been excellent. My current favourite band King Gizzard & the Lizard Wizard released five whole albums of consistently fantastic quality, Stranger Things season two was predictably marvellous and we finally got a female Doctor to look forward to in 2018. Then, there were the films. There were a handful of things I didn’t get to see (Get Out, The Death of Stalin, Call Me by Your Name) that could have made this list. However, there was still a bucketload of brilliance that I did see. Here are my favourite ten.
10. Free Fire
Director Ben Wheatley’s dark action comedy Free Fire is a sweary, violent and ridiculously entertaining romp of a film. Confined almost entirely to one room, this 90-minute absurdist shootout is elevated by its razor-sharp script, colourful performances and delightfully comic sound design. On top of this, Wheatley’s directing injects genuine intensity into the film. By the third act, I was sincerely on the edge of my seat as the action transitioned from pings and quips to a gruelling struggle for survival. It’s way smarter than the Guy Ritchie knock-off some have dismissed it as and whilst it is rather indulgent, its brisk running time ensures it doesn’t overstay its welcome. It’s probably not for everyone, but for me, Free Fire is a blast.
9. Spider-Man: Homecoming
Despite being the iconic web-slinger's second reboot in less than a decade, Spider-Man: Homecoming feels thoroughly fresh. By fully embracing a high school setting, Homecoming finally gets to the roots of its protagonist, presenting (in my opinion) the definitive onscreen Spider-Man. Tom Holland is an absolute joy as both the nerdy Peter Parker and his witty alter ego, a balance neither Tobey Maguire or Andrew Garfield ever quite achieved. Michael Keaton’s Vulture is also the best Marvel villain since Loki, providing unexpected social commentary and a devilish plot twist. The jokes are also funny, the action is exciting and the plot is the most focused the MCU has been in a while. Maybe we didn’t need Spider-Man: Homecoming, but I’m glad we have it regardless.
8. The Big Sick
What makes The Big Sick work (and what meant I put a rom-com on this list) is its total sincerity. Loosely based on writer and star Kumail Nanjiani’s real life, The Big Sick never succumbs to any contrived clichés. Instead, it's a consistently funny and wholly charming film populated by authentic characters and relationships. A rom-com featuring one of the leads in a medically induced coma is already a fresh premise, but the film’s emotional maturity and thoughtful awareness of cross-cultural conflicts make it all the more compelling. Some have accused the film of negatively portraying Pakistani women, but I saw this as part of Kumail's conflicted attitude towards his cultural heritage, a major character flaw which the film regularly challenges (although that's easy for me to say as someone who isn't a Pakistani woman). Still, as a whole, The Big Sick is smart, heartfelt and hilarious. What more could you want?
7. Dunkirk
Following on from the heady, complex and (at times) borderline incoherent Interstellar, director Christopher Nolan makes a complete U-turn with Dunkirk, his most straightforward film ever. Deeply immersing the audience with gritty action, intense sound design and stunning cinematography, Dunkirk isn't as gory as a war film like Saving Private Ryan, but that in no way lessens its impact. Nolan throws the viewer into an uncompromising depiction of the Dunkirk evacuation that’s overwhelmingly gripping. Not because you empathise with the characters as a result of some contrived backstory, but because they’re visibly, authentically terrified. What’s particularly special about Dunkirk is that it isn’t about a victory. Rather, it chronicles a desperate attempt to recover from a devastating disaster, making it painfully relevant and all the more human. Also, ignore the stupid nationalistic rubbish Nigel Farage has projected onto the film. This is a celebration of the selfless bravery of individuals, not a selfish declaration of a country’s superiority.
6. Colossal
Colossal is easily the most underrated film of 2017. Whilst the premise is completely ridiculous, the wonderful performances, nuanced characters and relatable intimacy carry it believably. Anne Hathaway and Jason Sudeikis are utterly convincing as two deeply broken leads and the surreal power they’re granted is smartly utilised to explore their flaws and challenge their relationship. I went into this film knowing almost nothing and was constantly surprised and filled with delight by the bonkers but meaningful directions it went in. Most importantly, despite a giant monster and robot playing significant roles in the film, the focus is never on spectacle. Most of the action is set in houses, bars and playgrounds, giving it a down-to-earth authenticity that empathetically engages the audience. Colossal is just a wonderful piece of cinema that deserves way more attention than it’s got.
5. War for the Planet of the Apes
A big-budget Hollywood trilogy that improves with each release is pretty unprecedented but in no way unwelcome. War for the Planet of the Apes is a difficult watch, especially for a 12 certificate film, but its gruelling nature allows for an even deeper exploration of the remarkably mature and challenging themes of its predecessors. Both the motion capture and live action performers breathe rich life into their roles, most surprisingly Steve Zahn, who I'd previously associated with the stupid dad from Diary of a Wimpy Kid. The visuals just keep getting better, conveying the actors’ expressions with spellbinding detail and creating characters out of chimpanzees more compelling than many human ones. The Planet of the Apes series has massively raised the bar for blockbusters, recognising that spectacle and intelligence aren't mutually exclusive and making the most out of both. War for the Planet of the Apes is the most shining example of this yet.
4. Star Wars: The Last Jedi
After writing my review for Star Wars: The Last Jedi, I still had so many things I wanted to say about it. Rian Johnson's contribution to the sequel trilogy has been divisive to say the least; I feel like all I've done since watching The Last Jedi has been defending it from every direction. In my opinion, Johnson's rejection of the speculation that followed The Force Awakens isn't a slap in the face of fans, but a necessary subversion of expectations to keep the franchise exciting. It also helps that the film is a visually creative marvel, a nuanced exploration of mythology and spirituality and the most emotionally rich Star Wars film since The Empire Strikes Back. After three viewings, I'm still finding fresh, new things to be enthralled by, which - however much I love it - is more than I can say about The Force Awakens. Regardless of how obnoxiously loud its detractors are, in my eyes The Last Jedi is a triumph.
3. Logan
Superhero fatigue was a common buzzword throughout last year, which is bizarre considering 2017 was the most diverse year for the genre yet. No film exemplifies this more than the outstanding Logan. Transporting the iconic X-Men protagonist into a dystopian western setting and ageing him into a wizened shadow of his former self was a genius move. The narrative is intently focused on the character of Logan and the conflicts that have built up inside of him over the years. His relationships with the deteriorating Professor X and an enigmatic young mutant ignite even deeper development and the bloody brutality of the action reflects both Logan’s tortured soul and the suffocating world he inhabits. The gorgeously visceral cinematography and thrillingly unconventional jazz-based score add further touches of creativity and the Oscar-worthy performances from the three lead actors make Logan the best superhero film since The Dark Knight.
2. Blade Runner 2049
I was so anxious for Blade Runner 2049 to be good. I absolutely love the original and knew the potential to expand upon it was immense. Unfortunately, I also knew that sequels this long after the original are almost always terrible, meaning I was gearing up for disappointment. So, imagine my surprise when it turned out to not only be a great follow up, but another sci-fi masterpiece in its own right. Everything about this film is done right. The characters are complexly developed, the performances are emotionally intelligent, the plot is shrewdly constructed, the cinematography is overwhelmingly beautiful, the music is aggressively intense and the art design is intoxicatingly inventive. Director Denis Villeneuve builds upon Ridley Scott’s incredible vision with a new one just as rich and unique. It may have been a box office disappointment, but commercial failure didn’t stop the original from gaining its lofty status, so why shouldn’t Blade Runner 2049 be viewed as anything other than an instant classic?
1. Baby Driver
I cannot overstate how meticulously crafted Baby Driver is. Writer/director Edgar Wright is a cinematic genius and every element of this film is fine-tuned to perfection. The attention to detail is so ludicrously minute that I could watch this film countless times and still not catch every little touch. There is so much intelligent creativity on display that the central gimmick of action synchronised to music is only the start. From the superbly smart script to the vibrantly dynamic cinematography, Wright has assembled the most exhilarating film of the year that never ceases to entertain or impress. I’m still irritated I never wrote a full review of this film, because it deserves much more than just a paragraph in a top ten list. Ingeniously captivating from start to finish, I think I can safely say that Baby Driver is the greatest crime/thriller/musical/comedy/romance film of all time and my absolute favourite film of 2017.
Honourable Mentions
Director Ben Wheatley’s dark action comedy Free Fire is a sweary, violent and ridiculously entertaining romp of a film. Confined almost entirely to one room, this 90-minute absurdist shootout is elevated by its razor-sharp script, colourful performances and delightfully comic sound design. On top of this, Wheatley’s directing injects genuine intensity into the film. By the third act, I was sincerely on the edge of my seat as the action transitioned from pings and quips to a gruelling struggle for survival. It’s way smarter than the Guy Ritchie knock-off some have dismissed it as and whilst it is rather indulgent, its brisk running time ensures it doesn’t overstay its welcome. It’s probably not for everyone, but for me, Free Fire is a blast.
9. Spider-Man: Homecoming
Despite being the iconic web-slinger's second reboot in less than a decade, Spider-Man: Homecoming feels thoroughly fresh. By fully embracing a high school setting, Homecoming finally gets to the roots of its protagonist, presenting (in my opinion) the definitive onscreen Spider-Man. Tom Holland is an absolute joy as both the nerdy Peter Parker and his witty alter ego, a balance neither Tobey Maguire or Andrew Garfield ever quite achieved. Michael Keaton’s Vulture is also the best Marvel villain since Loki, providing unexpected social commentary and a devilish plot twist. The jokes are also funny, the action is exciting and the plot is the most focused the MCU has been in a while. Maybe we didn’t need Spider-Man: Homecoming, but I’m glad we have it regardless.
8. The Big Sick
What makes The Big Sick work (and what meant I put a rom-com on this list) is its total sincerity. Loosely based on writer and star Kumail Nanjiani’s real life, The Big Sick never succumbs to any contrived clichés. Instead, it's a consistently funny and wholly charming film populated by authentic characters and relationships. A rom-com featuring one of the leads in a medically induced coma is already a fresh premise, but the film’s emotional maturity and thoughtful awareness of cross-cultural conflicts make it all the more compelling. Some have accused the film of negatively portraying Pakistani women, but I saw this as part of Kumail's conflicted attitude towards his cultural heritage, a major character flaw which the film regularly challenges (although that's easy for me to say as someone who isn't a Pakistani woman). Still, as a whole, The Big Sick is smart, heartfelt and hilarious. What more could you want?
7. Dunkirk
Following on from the heady, complex and (at times) borderline incoherent Interstellar, director Christopher Nolan makes a complete U-turn with Dunkirk, his most straightforward film ever. Deeply immersing the audience with gritty action, intense sound design and stunning cinematography, Dunkirk isn't as gory as a war film like Saving Private Ryan, but that in no way lessens its impact. Nolan throws the viewer into an uncompromising depiction of the Dunkirk evacuation that’s overwhelmingly gripping. Not because you empathise with the characters as a result of some contrived backstory, but because they’re visibly, authentically terrified. What’s particularly special about Dunkirk is that it isn’t about a victory. Rather, it chronicles a desperate attempt to recover from a devastating disaster, making it painfully relevant and all the more human. Also, ignore the stupid nationalistic rubbish Nigel Farage has projected onto the film. This is a celebration of the selfless bravery of individuals, not a selfish declaration of a country’s superiority.
6. Colossal
Colossal is easily the most underrated film of 2017. Whilst the premise is completely ridiculous, the wonderful performances, nuanced characters and relatable intimacy carry it believably. Anne Hathaway and Jason Sudeikis are utterly convincing as two deeply broken leads and the surreal power they’re granted is smartly utilised to explore their flaws and challenge their relationship. I went into this film knowing almost nothing and was constantly surprised and filled with delight by the bonkers but meaningful directions it went in. Most importantly, despite a giant monster and robot playing significant roles in the film, the focus is never on spectacle. Most of the action is set in houses, bars and playgrounds, giving it a down-to-earth authenticity that empathetically engages the audience. Colossal is just a wonderful piece of cinema that deserves way more attention than it’s got.
5. War for the Planet of the Apes
A big-budget Hollywood trilogy that improves with each release is pretty unprecedented but in no way unwelcome. War for the Planet of the Apes is a difficult watch, especially for a 12 certificate film, but its gruelling nature allows for an even deeper exploration of the remarkably mature and challenging themes of its predecessors. Both the motion capture and live action performers breathe rich life into their roles, most surprisingly Steve Zahn, who I'd previously associated with the stupid dad from Diary of a Wimpy Kid. The visuals just keep getting better, conveying the actors’ expressions with spellbinding detail and creating characters out of chimpanzees more compelling than many human ones. The Planet of the Apes series has massively raised the bar for blockbusters, recognising that spectacle and intelligence aren't mutually exclusive and making the most out of both. War for the Planet of the Apes is the most shining example of this yet.
4. Star Wars: The Last Jedi
After writing my review for Star Wars: The Last Jedi, I still had so many things I wanted to say about it. Rian Johnson's contribution to the sequel trilogy has been divisive to say the least; I feel like all I've done since watching The Last Jedi has been defending it from every direction. In my opinion, Johnson's rejection of the speculation that followed The Force Awakens isn't a slap in the face of fans, but a necessary subversion of expectations to keep the franchise exciting. It also helps that the film is a visually creative marvel, a nuanced exploration of mythology and spirituality and the most emotionally rich Star Wars film since The Empire Strikes Back. After three viewings, I'm still finding fresh, new things to be enthralled by, which - however much I love it - is more than I can say about The Force Awakens. Regardless of how obnoxiously loud its detractors are, in my eyes The Last Jedi is a triumph.
3. Logan
Superhero fatigue was a common buzzword throughout last year, which is bizarre considering 2017 was the most diverse year for the genre yet. No film exemplifies this more than the outstanding Logan. Transporting the iconic X-Men protagonist into a dystopian western setting and ageing him into a wizened shadow of his former self was a genius move. The narrative is intently focused on the character of Logan and the conflicts that have built up inside of him over the years. His relationships with the deteriorating Professor X and an enigmatic young mutant ignite even deeper development and the bloody brutality of the action reflects both Logan’s tortured soul and the suffocating world he inhabits. The gorgeously visceral cinematography and thrillingly unconventional jazz-based score add further touches of creativity and the Oscar-worthy performances from the three lead actors make Logan the best superhero film since The Dark Knight.
2. Blade Runner 2049
I was so anxious for Blade Runner 2049 to be good. I absolutely love the original and knew the potential to expand upon it was immense. Unfortunately, I also knew that sequels this long after the original are almost always terrible, meaning I was gearing up for disappointment. So, imagine my surprise when it turned out to not only be a great follow up, but another sci-fi masterpiece in its own right. Everything about this film is done right. The characters are complexly developed, the performances are emotionally intelligent, the plot is shrewdly constructed, the cinematography is overwhelmingly beautiful, the music is aggressively intense and the art design is intoxicatingly inventive. Director Denis Villeneuve builds upon Ridley Scott’s incredible vision with a new one just as rich and unique. It may have been a box office disappointment, but commercial failure didn’t stop the original from gaining its lofty status, so why shouldn’t Blade Runner 2049 be viewed as anything other than an instant classic?
1. Baby Driver
I cannot overstate how meticulously crafted Baby Driver is. Writer/director Edgar Wright is a cinematic genius and every element of this film is fine-tuned to perfection. The attention to detail is so ludicrously minute that I could watch this film countless times and still not catch every little touch. There is so much intelligent creativity on display that the central gimmick of action synchronised to music is only the start. From the superbly smart script to the vibrantly dynamic cinematography, Wright has assembled the most exhilarating film of the year that never ceases to entertain or impress. I’m still irritated I never wrote a full review of this film, because it deserves much more than just a paragraph in a top ten list. Ingeniously captivating from start to finish, I think I can safely say that Baby Driver is the greatest crime/thriller/musical/comedy/romance film of all time and my absolute favourite film of 2017.
Honourable Mentions
Now for some honourable mentions that weren't quite good enough to be in the top ten but still good enough for me to want to mention them.
The Lego Batman Movie - Tirelessly funny from start to finish, The Lego Batman Movie is fast, smart and bursting with lavish visual imagination.
Paddington 2 - The original had no reason being as good as it was and this sequel has no reason being even better, but with a more suitable villain (courtesy of Hugh Grant) and just as much heart and humour, Paddington 2 is an irresistible delight.
A Monster Calls - A lovely combination of emotional intelligence and visual creativity, A Monster Calls tackles loss from a refreshingly unique angle and broadcasts an important and thoughtful message.
Thor: Ragnarok - Ridiculous amounts of irreverent, self-aware fun, Taika Waititi’s Thor: Ragnarok is another unique instalment in the MCU that firmly defies the idea of superhero fatigue.
Guardians of the Galaxy Vol. 2 - Just as funny as the original and soundtracked by just as much great music, Guardians of the Galaxy Vol. 2 also further develops the characters with significant depth and features an absolute emotional gut punch of an ending.
The Lego Batman Movie - Tirelessly funny from start to finish, The Lego Batman Movie is fast, smart and bursting with lavish visual imagination.
Paddington 2 - The original had no reason being as good as it was and this sequel has no reason being even better, but with a more suitable villain (courtesy of Hugh Grant) and just as much heart and humour, Paddington 2 is an irresistible delight.
A Monster Calls - A lovely combination of emotional intelligence and visual creativity, A Monster Calls tackles loss from a refreshingly unique angle and broadcasts an important and thoughtful message.
Thor: Ragnarok - Ridiculous amounts of irreverent, self-aware fun, Taika Waititi’s Thor: Ragnarok is another unique instalment in the MCU that firmly defies the idea of superhero fatigue.
Guardians of the Galaxy Vol. 2 - Just as funny as the original and soundtracked by just as much great music, Guardians of the Galaxy Vol. 2 also further develops the characters with significant depth and features an absolute emotional gut punch of an ending.
Mindhorn - It's not exactly the most well-made film of the year by a long stretch, but Mindhorn is a wonderfully daft film bolstered by the irresistible hilarity of Julian Barratt. As they say, you can't handcuff the wind.
Jumanji: Welcome to the Jungle - A completely unnecessary sequel, but a surprisingly entertaining one, Jumanji: Welcome to the Jungle is honestly better than its middling predecessor, even if it doesn’t fully utilise the potential of its rather smart premise.
Wonder Woman - Whilst it’s not the most exciting of 2017’s superhero releases, Wonder Woman is significant, firstly for proving that a woman led superhero film can be successful and secondly for being the most coherent DC film yet.
Jumanji: Welcome to the Jungle - A completely unnecessary sequel, but a surprisingly entertaining one, Jumanji: Welcome to the Jungle is honestly better than its middling predecessor, even if it doesn’t fully utilise the potential of its rather smart premise.
Wonder Woman - Whilst it’s not the most exciting of 2017’s superhero releases, Wonder Woman is significant, firstly for proving that a woman led superhero film can be successful and secondly for being the most coherent DC film yet.
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