I made the resolution at the beginning of 2017 to watch more movies than ever before. 76 movies later, and an average of 1.5 movies per week, including movies I saw in-theaters or on-demand, I definitely beat my last record of… 22…
Here are my brief thoughts on every 2017-release movie I watched. Well… just my favorites, ranked from my least most favorite at #17 to my most most favorite at #1.
Honorable Mentions: Split, Night is Short Walk on Girl, A Ghost Story, Kizumonogatari 3: Reiketsu, It, and Molly’s Game.
Here is my list on letterboxd: https://letterboxd.com/andrehuang/list/favorite-films-of-2017-ranked/ (may be updated or changed)
UPDATE 2/27/2018: The Florida Project definitely deserves to be placed in the top five. See my review here.
(17) It Comes at Night – Directed by Trey Edward Shults
Tense, suspenseful, and mysterious, It Comes at Night really impressed me when I saw it in theaters last Spring. What’s going on outside? Who are these people? Can they be trusted? What comes at night? It’s like a whodunnit mystery scenario crossed with a psychological horror. It’s Junji Ito-esque the way it explores human behavior when put in a horrific situation, without feeling the need to explore the situation itself. In fact, there’s not a drop of exposition throughout the film–you slowly come to understand what’s going on by listening to the natural dialogue. Unfortunately, the characters are not particularly memorable and I could definitely do without the (few, albeit) jump-scares that ruin the subtle, eerie atmosphere. Apart from that, it’s a great piece of psychological horror-thriller storytelling, and it had one of the most haunting endings of the year.
(16) Baby Driver – Dir. by Edgar Wright
The most impressive thing about Baby Driver is that the entire film (well, most of it) is edited and choreographed to the beat of the music on Baby’s iPod. As a result, the film has a natural rhythm and pace to it that elevates the soundtrack as the soundtrack elevates the picture. Almost like a pseudo-musical. On top of that, there are some nail-biting car chases and great action sequences that lead to a satisfying climax fit for a summer crime blockbuster. While the characters failed to really grab my full interest, I still think it’s a blast for the story and soundtrack alone.
(15) Dunkirk – Dir. Christopher Nolan
There is very little dialogue, there is virtually no plot, the central conflict is very impersonal, and the characters are paper-thin. We follow a few characters, but we never learn much of anything about them. The “main character”, if you could call him that, barely speaks a word. So what’s the draw to this film? Well, it’s completely about the event and the setting itself–the Allies evacuation from Dunkirk during World War II. It’s a hyper-realistic look into the experiences of the soldiers during this war, basically putting you in their shoes–on the beach, in the water, on the boats, in the sky. They don’t force in a narrative or character piece–the film’s only goal is to give you the experience of being in the battle, and for that, I found it really unique and surprisingly moving.
(14) Call Me By Your Name – Luca Guadagnino
One of my favorite story genres is the Slice-of-Life. You get to explore characters, relationships, and settings more than worrying about plot or themes. Call Me By Your Name is a well crafted, very gradually-paced love story. The romance feels organic and motivated. While the characters themselves aren’t always riveting, I found that their developing relationships were. As Elio’s passion for his girlfriend dwindles, he starts to notice burgeoning feelings for Oliver, who, to his surprise, returns them. It’s not a stereotypical story about homosexuality where the couple must battle prejudice or disapproval–it’s a simple, unpretentious love story like any other. I was also surprised by the acute sense of place in this film–by the end, I also felt like a summer resident of Professor Perlman and Elio’s home in Italy. My one issue with the film is that in its deliberate slow pace, not every scene is particularly engaging or productive.
(13) Good Time – Ben & Joshua Safdie
A modern-day crime-thriller version of Of Mice and Men. The story of an unlucky man who unintentionally digs a hole for himself trying to make a good life for he and his brother, then in trying to get out, ends up digging the hole deeper and deeper. Robert Pattinson leads with an amazingly convincing off-personality performance that kept me clinging to the edge of my seat. Apart from a certain side character I couldn’t care less about and some uneven camerawork, I found Good Time to be a simple, …good time.
(12) Wonder Woman – Patty Jenkins
I don’t typically like superhero movies, but like everyone else, Wonder Woman caught my attention for being the big-screen debut of a classic female superhero. It was thrilling, fun, the action scenes were beautifully composed (despite the possible overuse of slo-mo), and it was emotional too. Like many others, I also teared up a bit at the powerful no man’s land sequence, where Wonder Woman courageously marches through the battlefield alone, deflecting bullets with the background music swelling. The villains may be a little underwhelming, the special effects unimpressive, and the ending a bit lukewarm, but other than that, Wonder Woman is definitely a powerful movie.
(11) The Disaster Artist – James Franco
The Disaster Artist was my most anticipated movie of 2017, and of course with high anticipation comes high chance of disappointment. What I ended up getting was a mishmash–an incredibly fun and FUNNY movie with some real heart. I teared up throughout the movie out of laughter, and ended up tearing up by the end of the movie out of sympathy for James Franco’s Tommy Wiseau. But alas, I was also disappointed with a few elements. Having read the original memoir, I feel the movie misses many of the nuances of the two leads’ relationships and a lot of the obstacles they had to overcome. The Disaster Artist is a really fun standalone film. If you’ve read the book, you may need to prepare for a slight letdown. But whether you’ve seen The Room or not, it’s an unconventional success story that will keep you in stitches.
(10) The Killing of a Sacred Deer – Yorgos Lanthimos
The Killing of a Sacred Deer is the very definition of psychological horror. There’s nothing physically or visually terrifying going on–it’s just about a Doctor’s family one-by-one getting sick and a neighborhood boy with mental issues. The music is eerie, some scenes uncomfortable, and everyone speaks like a deadpan robot, but if you were to just hear about the events that transpire, you may not find it particularly out of the ordinary. But underneath it all is a nightmarish story of revenge, of fear, of anxiety, of death, of guilt, of life, of morals, and of anger. It’s also a bit of a black comedy, with ridiculous events and strange dialogue delivered completely stone-faced, constantly making the audience question whether or not to laugh. The Killing of a Sacred Deer is vastly uncomfortable, eerie, and darkly comedic (I think?): an altogether unique experience.
(9) Ingrid Goes West – Matt Spicer
Ingrid Goes West is another tale of one well-meaning person consistently making poor decisions and getting into worse and worse situations. It’s also a satire of social media culture that touches on obsession, stalking, dishonesty, pretentiousness, personality disorders, and the human need to be noticed and accepted. The unbelievable actions Ingrid takes over the course of the film in order to simply get noticed by an Instagram celeb are sometimes funny, sometimes cringy, sometimes pathetic and sad, and sometimes shocking. But because we all understand the human need to belong, we understand and empathize with her. This leads to a surprisingly fun character-focused drama with biting social satire and a surprisingly satisfying emotionally-charged conclusion.
(8) Get Out – Jordan Peele
In a very impressive debut for writer-director Jordan Peele, Get Out tells the story of a black man who goes to his white girlfriend’s home to meet her parents. And where a situation like this could easily be expanded into a comedy sketch, Peele does something very unique in turning it into a horror-thriller with social commentary, and even some comedic moments. It’s a drastically exaggerated what-if scenario with an amazing twist that lets subsequent viewings be completely different experiences, especially when you consider the level of detail placed in the film that foreshadow the twist.
(7) Blade Runner 2049 – Denis Villeneuve
Denis Villeneuve did the impossible with Blade Runner 2049 by making a sequel to an almost 40 year-old cult-classic masterpiece that surpasses the original to become a modern-day science fiction masterpiece. The world is made richer, the philosophy deeper, and the discussion is no longer on “Is he or isn’t he?” but “does it matter?” It’s no longer about quantity of life, but quality. The themes are complex, the production design and cinematography are superb. Its deliberately slow pace is cut from the same cloth as 2001: A Space Odyssey and THX 1138. If you are a fan of pure, thoughtful, contemplative, brooding science fiction with a tinge of action and film noir, Blade Runner 2049 is a must-watch.
(6) I, Tonya – Craig Gillespie
For those who don’t know the story of ice skater Tonya Harding, I, Tonya is an absolutely fascinating film. Told in a mockumentary covering the events of her childhood, adolescence, and young adulthood, as well as the events leading to the Nancy Kerrigan incident, we get an inside look into the high-intensity life of this infamous figure. From her troubled parentage and her troubled marriage to her troubled career as a U.S. figure skater. The mockumentary style keeps the energy high with narration, frequent cuts to interviews, and several fourth wall breaks. And as funny and entertaining as the film is, it can also be shocking and effectively heartbreaking, too.
(5) The Big Sick – Michael Showalter
The Big Sick was marketed as a romantic comedy, but I actually found myself getting more engulfed in the drama of the situation than the comedy. Either way, it’s refreshing to see an interracial couple featuring an Asian man leading a relatively big Hollywood romantic comedy-drama. I like the themes of family, of religion and tradition, and of cross-cultural anxiety that were explored. Kumail Nanjiani is hilarious, and Emily Kazan is perfect. The Big Sick is funny, insightful, touching, and nail-biting–an all-round good time.
(4) Three Billboards Outside Ebbing, Missouri – Martin McDonagh
One of the biggest surprises of the year for me, Three Billboards is a story where one woman’s seemingly simple, well-meaning actions to get justice for her daughter’s death engulfs the town into a chaotic cycle of anger, hate, and negativity. Now, surprisingly for me, we get to see how her actions constantly come back to affect herself in ways she didn’t predict. I expected McDormand’s character to be angry and comedic through the whole film, but we also see her moments of levity and her moments of grief. And the film gives the audience a chance to see and understand both sides of the conflct. So, instead of telling you who’s right, it gives you the evidence and asks you who’s right. Each of the main characters are superbly developed and well-written. Three Billboards Outside Ebbing, Missouri is simply captivating.
(3) Star Wars: The Last Jedi – Rian Johnson
The latest episode of Star Wars blew me away the first time I saw it. Upon review, and a subsequent viewing, I still think it’s a darn good Star Wars movie. I fully stand by my opinion that it contains some of the most jaw-dropping moments in the entire saga. I love how daring Rian Johnson was–how many risks he took, how many expectations he completely flipped, all in order to allow a 40 year old story to grow and expand; to remain healthy, vibrant, and relevant. J.J. Abrams lined up the shot for Johnson with the Force Awakens, Johnson hit it racing straight into the sky with The Last Jedi, and next with Episode IX, it’s up to Abrams to see that it lands.
(2) Lady Bird – Greta Gerwig
Lady Bird sunk its talons deep into my psyche. And it took me some time to realize why. The story of a teenager going through social and academic stress, applying for college, and fighting with their parents is not uncommon. But Greta Gerwig’s decision to anchor the story on the core mother-daughter relationship is unique. Even though Lady Bird is apparently not autobiographical, the writing and the dialogue still rings so true and so personal. It’s made me think about my own relationships–those with friends, those with family. I haven’t gone through the same experiences as Lady Bird does, yet they still speak to me on a deep level. They encourage me to continue trying to better myself, to learn to appreciate my place in the world, to appreciate my mom and dad, and to try and make a life for myself that I can appreciate. It also makes me weary and nostalgic for my hometown (like Lady Bird’s, also in NorCal). It’s warm, affecting, authentic, and softly nostalgic.
(1) The Shape of Water – Guillermo del Toro
The Shape of Water. The shape of love. The shape of incompleteness. The tale of love and loss, the princess without a voice, and the monster who tried to destroy it all. Every director loves the films they make. Every screenwriter loves the scripts they make. Every actor loves the roles they perform. But seldom do you see a film with its creators’ love and passion imbued so plainly and yet so subtly that it seeps into the hearts and minds of its audience. Only Miyazaki consistently does this for me. Spielberg, Tarantino, and Wes Anderson come close. Guillermo del Toro nails it with this latest effort. Alluring visuals, enchanting music, and unabashed writing all come into play in The Shape of Water. On the outside, the premise of a mute woman who falls in love with a fish-man is certainly ridicuous and sounds almost unseemly. But the movie is completely unafraid of ridicule or disgust–it plays the fairy-tale adult love story genuinely and fully. It asks audiences to take a leap and try to see beauty and goodness in the strange, the different, the unknown, the other. In my mind, it succeeds–The Shape of Water is truly strange and (thus) utterly beautiful.
My Huang Opinion 