Note: it might seem strange that I've left of several of my favourites of the year, like 'The Florida Project', 'Good Time', 'The Big Sick' etc. off my list of 'Best Scenes'. Well I'd say that for these films, elements of their greatness come more from how scenes are pieced together - for example, in 'The Florida Project' certain scenes taken out of context might not seem that remarkable, but when you view the film as a whole they become rather special. I'll also leave off the superhero scenes which I'd mentioned in my previous post: https://reelandroll.blogspot.co.uk/2017/12/superhero-films-2017-showdown.html.
Also, only one scene per film.
Honourable Mention: 'Visions of Gideon' - Call Me By Your Name
I really enjoyed Call Me By Your Name, though I'll also admit to not being one of its most passionate supporters. I liked the breezy tone throughout, though it created a certain distance from me, and while I found the romance consistently engaging the slow pacing and lack of incidence did occasionally leave me wanting more of something, hard to describe what. I will admit though, that the brilliance of its final scene - and Chalamet's performance in it, and that beautiful song - very much earns the execution of the film work on the whole.
10. Rescuing Okja - Okja
The (failed) rescue of the titular creature is a standout sequence in Bong Joon-ho's lovely film. Even the weaker elements of the film - Jake Gyllenhaal's performance - work well here, as Bong creates the intensity of the situation with its dark streak of humour rather brilliantly, showing how Mirando is indeed, 'f-u-c-k-e-d'. What really elevates the scene for me though is the poignancy of the moment where Jay (Paul Dano) momentarily loses his reserve, and the subsequent show of Mija (Ahn Seo-Hyeon) and her love for his best friend.
9. First Day of Shooting - The Disaster Artist
The film is filled with great scenes both from within and outside the making of The Room. I'd say this scene is the best example of its strongest assets, with James Franco's Wiseau hilariously giving an 'inspirational' speech to his cast and crew, the perplexed reactions of them towards their new boss, and of course the memorable entrance of Denny and Chris R., with Zac Efron's particularly hilarious rendition of Dan Jangigian's intense pre-shooting routine ('My God, that guy monster!)
8. 'Praying' - Detroit
If I could describe the whole sequence at the Algiers as one scene it'd be at the top of my list, and there's other great moments in the film too - from John Boyega's memorable interrogation scene to that haunting ending. This short but brutally effective scene is the best representation of why Detroit is such a relentless, troubling and brilliant experience. You really feel both for, and with, the victims of the Algiers motel incident as they are terrorized by Will Poulter's Krauss, in a way he sees as deliciously comical and satisfying, but which Bigelow's direction ensures is truly horrifying.
7. An overflowing bathroom - The Shape of Water
Can't find the whole scene on the internet and honestly, if you haven't seen the film, don't try looking for it. It's a scene the whole film's strange and unique conceit has been building up to in the most Guillermo del Toro way possible, one of the more daring scenes of 2017 in that it could have gone so wrong, but ends up being one of the most touching and lovely romance scenes in recent memory.
6. A Holographic Threesome - Blade Runner 2049
Speaking of unique love scenes, look no further than the new Blade Runner. Interestingly enough, though it's the grand spectacle of Deakins' cinematography and Villeneuve's vision I most 'admired', my favourite element of the film perhaps come in its most intimate moments, whether it's K (Ryan Gosling) breaking down at the revelation of his supposed 'memories', that stunning ending (which is one element I'll admit it probably betters the original), or K's relationship with what is essentially a sex bot Joi (Ana de Armas). The scene where they finally 'consumate' is just mesmerizing in every facet, from the subtle use of visual effects to create the 'sync' effect, the tenderness of the music, the performances, and that haunting shot at the end of an advertisement of JOI to show that it is all just a fantasy for K.
5. The Final Binary Sunset - The Last Jedi
I have plenty of issues with The Last Jedi, but I will defend the way they utilized Luke to the very end. Almost everything that is great in the film is down to my favourite Star Wars character, and I loved every scene involving him, whether it was his cranky training of Rey, his reunion with several old companions that were equal parts hilarious and touching, nostalgic without being cheesy, and his confrontation with an old student which was pretty amazing. My favourite scene though, was his final one where the film hearkens back to the most iconic scene in the original trilogy. John Williams' song kicking in and Mark Hamill's performance make for a truly stunning scene. 4. 'Volver Volver' - Lucky
Another moving farewell in 2017 was to Harry Dean Stanton. One of my little reservations with Twin Peaks was that we didn't quite get a proper closure to Mr Stanton onscreen there, well not to worry he does in this great film here. This scene, where his character Lucky bursts out into a Spanish song, is an incredible scene which sticks in your mind long after watching the film. It could have been too corny or saccharine, but John Carroll Lynch and Stanton make it resonate thematically, stylistically perfectly as a summation of a man's life in song.
3. 'The Last Rose of Summer' - Three Billboards Outside Ebbing, Missouri
If you haven't seen Martin McDonagh, he of In Bruges and Seven Psychopaths fame, latest film yet, treat yourself to a screening of it. It's the best film of 2017, with so many hilarious lines, devestating and thoughtful character arcs, and the scene where Sam Rockwell's Dixon receives a fateful letter and makes a fateful decision.
2. Farrier Saves the Day - Dunkirk
This scene is possibly the perfect representation of the masterful work of Christopher Nolan in Dunkirk. The music, the visuals, the editing, the sound design, the performances all culminating in an unbearably intense sequence which culminates in a truly special moment thanks to Tom Hardy's Farrier.
1. The Escape - Get Out
So many scenes I could choose from the film - the 'No no no' scene, the hynopsis scene, the camera flash scene - but I'll go with the one single sequence in the film which is at once a great crowdpleaser that executes everything the film has been building up to this point, a troubling examination of how Chris (Daniel Kaluuya) and his experiences have left him a hollow shell of his former self, and even darkly hilarious in the manner he gets out of the mess ('picking cotton', breaking the host family;s precious cutlery, using the deadbeat brother's aggression against him, Chris' girlfriend's peculiar way of eating cereal). I have particular affection for the way the sound indicates the 'ooooh so that's what happened' or 'no way' moments, and it culminates in the single most thrilling scene of 2017.
What's it about? In 1960s Montana, young Joe (Ed Oxenbould) watches his parents' (Jake Gyllenhaal and Carey Mulligan) marriage fall apart after they move into the area.
Why the anticipation? Paul Dano making his directing debut is intriguing, given his work with everyone from Paul Thomas Anderson to Bong Joon-ho, and the cast is frontloaded with two very talented actors.
29. Mute dir. Duncan Jones What's it about? A mute bartender (Alexander Skarsgård) searches for his missing girlfriend in futuristic Berlin.
Why the anticipation? Duncan Jones is a real talent behind the camera, and even though the premise sounds a bit 'meh' to me, I'm sure it'll be an intriguing trip back into the intelligent sci-fi spectrum he excelled in with Source Code and Moon. 28. Wendy dir. Benzh Zeitlin
What's it about? A young girl is kidnapped and taken to a hidden ecosystem where a war rages over a special form of pollen that breaks the relationship between time and aging.
Why the anticipation? This is Benzh Zeitilin's second film - since Beasts of the Southern Wild which is just a masterful film, one of the decade's best, I've been really eager to see what's next on his plate. Well there's this, and even though we know little to nothing about who's in it, or what sort of film it'll be, I'm in.
27. Psychokinesis dir. Yeon Sang-ho What's it about? An everyman acquires superpowers and uses them to help his daughter and others, but runs into trouble in the process.
Why the anticipation? Yeon Sang-ho did the excellent Train to Busan two years back, and firmly established himself as one of South Korea's most exciting directors working today. This is one of my most anticipated 'superhero' films of the year. Hopefully Yeon won't limit himself and deliver in unexpected ways, like how Busan played with the zombie movie formula. 26. Annihilation dir. Alex Garland
What's it about? A biologist (Natalie Portman) goes into an environmental disaster zone with a team of scientists and soldiers, to figure out what happened to her grievously injured husband.
Why the anticipation? Alex Garland's Ex Machina was a wonderful fresh entry into the sci-fi genre, and this seems like something right up his street. Portman will hopefully continue her hot streak from Jackie, it looks visually compelling, and anything with Benedict Wong in it is a plus for me.
Dubious as the title is, I look forward to seeing how the second Fantastic Beasts
film handles the Dumbledore-Grindewald conflict
25. Fantastic Beasts: The Crimes of Grindelwald dir. David Yates
What's it about? Gellert Grindelwald (Johnny Depp), escaped from custody, has set about executing his agenda for pure-blood wizards to rule over all non-magical beings. Albus Dumbledore (Jude Law) enlists the help of Newt Scamander (Eddie Redmayne) in the fight against evil.
Why the anticipation? I'd be even more excited if they'd chosen a better title, and I'm not quite sure if the direction the series is going in will cohere with the breezy tone established in the best parts of the first film. However, I'm always up for more wizarding world fun, especially since we're returning to Hogwarts, the characters we all loved from the first film are back. Though I'm still skeptical about Depp, I'm very excited to see Law's Dumbledore (he has the perfect voice for it)
24. If Beale Street Could Talk dir. Barry Jenkins What's it about? Based on James Baldwin's novel of the same name, a black man (Stephan James) is accused of a murder he didn't commit, and his pregnant fiancé (Kiki Layne) does all she can to free him.
Why the anticipation? I adored Moonlight, and I'm glad to see Barry Jenkins continuing to work within depicting the African American experience onscreen in different ways. I haven't read the source material, but I'm intrigued to read it and see how Jenkins brings it to life.
23. Mary Queen of Scots dir. Josie Rourke What's it about? Mary Stuart (Saoirse Ronan) attempts to overthrow her cousin Elizabeth I (Margot Robbie) only to find herself condemned to imprisonment and impending execution.
Why the anticipation? There's been plenty of British historical dramas set around this time period, but what sticks out for me with this one are the two leads. Ronan has been on a roll recently, and if Robbie is as great in I, Tonya as everyone says she is, then ditto for her. Watching these two young up-and-comers go head-to-head will be quite something.
22. Mission: Impossible 6 dir. Christopher McQuarrie What's it about? Ethan Hunt (Tom Cruise) returns, this time with more returning squad members than usual.
Why the anticipation? Christopher McQuarrie seems to know what he's doing with the franchise. There is of course the fact that the even-numbered films in the series have been the weaker films thus far - hopefully this one will buck the trend. At the very least I expect it to be very fun. 21. Deadpool 2dir. David Leitch
What's it about? Mr. Pool (Ryan Reynolds) is back.
Why the anticipation? Deadpool was a lot of fun as a subversion of the superhero genre. There's of course, the risk that it could go stale second time round, but I'm sure Reynolds and co. know enough about the character to keep things fresh and funny.
20. In-Rang dir. Kim Jee-woon What's it about? Korean re-imagining of the Japanese manga Jin-Roh: The Wolf Brigade. South and North Korea have prepared a unified government for the past seven years, and an anti-unification group commit terrorist acts - a special police force is formed in response.
Why the anticipation? Kim Jee-woon is another Korean genius of cinema. Though many recent manga/anime adaptations haven't been great (ahem, Ghost in the Shell), this one has a great director at its helm, so have faith people. 19. Hold the Dark dir. Jeremy Saulnier
What's it about? A seasoned hunter is called in to track down a missing child taken by a pack of wolves, and must confront not only the wrath of the beasts and nature, but also a grieving and volatile father.
Why the anticipation? Saulnier is a great unheralded talent, with Blue Ruin and Green Room being two of the most taut and compelling indie thrillers of recent years. This looks to be a brooding, bloody affair, and right up his alley - I'll be there on day one, Netflix.
We some kinda Predator squad now?
18. The Predator dir. Shane Black What's it about? A Predator-hunting operation goes into action as the infamous aliens return.
Why the anticipation? Arnie isn't back, but Shane Black who wrote and co-starred in the original Predator movie, is. I'm intrigued to see Black's reprise of a genre he hasn't dabbled in a long time. I've enjoyed every film he's put out so far, and his liking for deconstruction will hopefully pull enough twists and turns on the formula to make this a 'sequel' worth our while.
17. Widows dir. Steve McQueen What's it about? Four women (Viola Davis, Elizabeth Debicki, Michelle Rodriguez, Cynthia Erivo), faced with a debt left behind their dead husbands' criminal activities, conspire to pull of a heist.
Why the anticipation? Seems like it'll be a fun ride for McQueen doing his first film since that Academy Award-winning Twelve Years a Slave. It'll hopefully be a fun subversion of the usual heist thriller by placing the perspective on the typically sidelined ladies, and though I've never been a fan of Rodriguez, I'm a huge fan of Davis, and especially Debicki, so that balances things out.
16. Sunset dir. László Nemes What's it about? 20-year-old Irisz Leiter (Juli Jakab) arrives in Budapest hoping to find work in the family business belonging to her late parents - and is soon confronted with dark secrets...
Why the anticipation? Director of Son of Saul, László Nemes, seems to be stepping into different territory here, but with a similar theme of an individual's dark past coming to haunt them. I loved Son of Saul, and I can't wait to see what Nemes has pulled off this time - should be a tough watch, though. 15. High Life dir. Claire Denis
What's it about? A group of skilled criminals accept a dangerous government space mission to find alternative energy sources.
Why the anticipation? Robert Pattinson's starring in this, and anything he takes on is a guarantee of being at the very least, daring and innovative. I quite like space mission films in general, and having a bunch of crooks in space doing the job sounds like a high quality arthouse version of Armageddon, which I'm completely game for. Hopefully this will be great. 14. Black Panther dir. Ryan Coogler
What's it about? King T'Challa (Chadwick Boseman) returns to Wakanda to take up the mantle of both ruler of his people, and its protector Black Panther. Wakandan exile Erik Killmonger (Michael B. Jordan) and South African arms dealer Ulysses Klaue (Andy Serkis) arrive to create mayhem and trouble...
Why the anticipation? I'd say Marvel is on one of its hot streaks right now, and this comes right off Thor Ragnarok which allowed Taika Waititi to display quite a bit of his usual flair and style. Here's hoping they've allowed Coogler to do the same. Black Panther is one of my new favourite MCU characters, and I hope his feature film is a success.
Could The Little Stranger be The Innocents: ReTurn of the Screw?
13. The Little Stranger dir. Lenny Abrahamson
What's it about? 1947. Dr Faraday (Domhnall Gleeson) is called to a patient at Hundreds Hall, where the Ayres family inhabit, and are haunted by something truly ominous from within...
Why the anticipation? REALLY must get around to reading some Sarah Waters (Fingersmith was the inspiration for The Handmaiden). Anyway, I love a good ol' British horror film in a mansion as much as anyone else. Add to that a solid director, a great cast (also featuring Ruth Wilson and Will Poulter), and I'm all on board for it. 12. The Nightingale dir. Jennifer Kent
What's it about? In 1800s Tasmania, young Irish convict Claire (Aisling Franciosi) enlists the help of an Aboriginal tracker (Baykali Ganambarr) to exact vengeance upon a British soldier.
Why the anticipation? I didn't love The Babdook, but it's an effective horror film, and this time round Kent's taking on a premise that sounds much more compelling. I love Aussie thrillers like The Proposition, which this one seems to be in the similar vein of, and the casting of Sam Claflin in what I assume is the villainous British soldier role intrigues me - he was a terrific scumbag in The Riot Club. 11. Galveston dir. Mélanie Laurent What's it about? New Orleans hitman Roy Cady (Ben Foster) escapes to his Texan hometown with a teenaged prostitute (Elle Fanning) and her baby sister, seeking revenge and redemption on his former mob boss who's set him up.
Why the anticipation? My attention was originally piqued by the casting of Matthias Schoenaerts in the role of Roy, then dissipated when he pulled out, then returned with a vengeance when the criminally underrated Ben Foster was cast. I'm interested to see how Laurent fares as a director, and from the gist of the description this looks like it has potential to be a cracking thriller, but also a powerful drama, that might just propel Foster into the limelight he deserves.
10. Boy Erased dir. Joel Edgerton What's it about? 19-year old Garrard (Lucas Hedges) is outed as gay to his strict Baptist parents (Nicole Kidman and Russell Crowe) and pressured by family, friends and the church community into attending a gay conversion therapy, where he soon comes into conflict with its head therapist (Joel Edgerton). Why the anticipation? The source material, by Garrard Conley, sounds fascinating, as does the choice by Joel Edgerton to once again direct, write, and co-star. It sounds like it could be the makings of a very moving and thought-provoking film. The stellar cast only further solidifies my interest - in particular, the exceptionally talented Lucas Hedges in a leading role. 9. Incredibles 2 dir. Brad Bird
What's it about? The return of the Incredibles family.
Why the anticipation? Slightly dubious about whether they can recreate the magic of the first film, plus the lack of a time leap concerns me slightly (though I'll imagine the main reason is so we can get more of baby Jack Jack). Still, the first Incredibles is one of the best things Pixar has ever done, and they don't usually go wrong with sequels to their best films.
8. Creed 2dir. Steven Caple Jr. What's it about? Sequel to the Rocky spin-off Creed as we continue with the journey of Adonis 'Donnie' Creed (Michael B. Jordan) and his mentor Rocky Balboa (Sylvester Stallone)
Why the anticipation? Wish Coogler was coming back to direct, but everyone else is returning, and intriguingly, Ivan Drago/Dolph Lundgren is back in action. Baby Creed confronting his father's killer sounds like a fascinating prospect, and given the surprise success of the first Creed it'll be exciting to see what they have up their sleeves next. 7. Early Man dir. Nick Park
What's it about? Caveman Dug (Eddie Redmayne) goes on a journey to save his tribe's valley home when it is invaded by the villainous Lord Nooth (Tom Hiddleston) and his Bronze Age City.
Why the anticipation? It's been a while since the last Wallace and Gromit film, a series of films I've always loved and are perhaps my favourited animated features in any medium. His new film, whatever the topic be, would draw me in immediately, and the fact he's taking on the prehistoric times with a fairly intriguing concept, and most importantly the claymation of Aardman we all know and love, makes it a must-see.
6. First Man dir. Damien Chazelle What's it about? The story of Neil Armstrong (Ryan Gosling) circa 1961 - 1969 as NASA undergo a mission to achieve the impossible: landing a man on the moon.
Why the anticipation? After the critical and financial success of La La Land, my guess is that Damien Chazelle was given full reign for anything he wanted for his next project. His choice will be quite the change of pace from the musically-themed first two projects of his. Gosling as Neil Armstrong seems like oddly apt casting, the rest of the cast - from The Crown's Claire Foy to other stalwart character actors Corey Stoll and Kyle Chandler - is promising, and there will be what I assume will be some beautiful visual flourishes by Chazelle and his team, will hopefully capture a very interesting part of history. 5. The Man Who Killed Don Quixote dir. Terry Gilliam What's it about? I have no idea. Something to do with a man who killed Don Quixote, I'm guessing. In the literal, or metaphorical sense? Who knows.
Why the anticipation? The absolute madman Terry Gilliam has finally managed to complete his decades-long passion project. Regardless of whether it turns out to be good or bad, anything from the one-of-a-kind mind of Gilliam churns out is essential 'day one' viewing. 4. Radegund dir. Terrence Malick What's it about? The Austrian Franz Jägerstätter (August Diehl), a conscientious objector, refuses to fight for the Nazis in World War II and is executed by them in 1943.
Why the anticipation? I haven't seen any of Terrence Malick's recent output, the last film of his I saw was The Tree of Life which I liked well enough. This film seems like it'll be his most narrative-driven film since Badlands and Days of Heaven. Sounds like it could be a fascinating, emotionally potent character study and political drama. I'm all up for a combination of that and Malick's visuals - perhaps this will break him out of his recent critical 'rut'. 3. Avengers: Infinity War dir. The Russo Brothers
What's it about? The disbanded Avengers must join forces with the Guardians of the Galaxy to stop Thanos from collecting the Infinity Stones for a gauntlet that will allow him to bend reality to his will.
Why the anticipation? It goes without saying that what the Marvel Cinematic Universe has been building up to the past few years, looks like it'll be absolutely amazing. Whatever the Russo brothers have in store for us, I'm sure it'll be at the very least entertaining, and at its very best amazing. 2. Kursk dir. Thomas Vinterberg What's it about? Based on the 2000 K-141 Kursk submarine disaster, in which 118 Russian sailors died. Kursk sank during a Russian naval exercise in the Barents Sea after explosions within the submarine. Twenty-three sailors survived the crash and desperately waited for help to arrive while their oxygen ran out minute-by-minute. The Russian government refused help from foreign governments for five days before agreeing to aid from the British and Norwegian governments.
Why the anticipation? Matthias Schoenaerts, probably my favourite actor working today, will be playing the captain of the Russian submarine Kursk and I assume the film is going to switch between the perspectives of the men on the ship, and the wider international scope of Russia and other countries debating on what to do. Vinterberg, he of The Hunt and Far From the Madding Crowd fame, is helming the film with a cast that also includes Colin Firth and Lea Seydoux, gives me confidence that this will be great. 1. Isle of Dogs dir. Wes Anderson
What's it about? Set in a dystopian future Japan in which dogs have been quarantined on the remote eponymous island due to a "canine flu", Isle of Dogs follows five local dogs—Chief, Rex, Boss, Duke, and King. They are fed up with their isolated existence until a boy named Atari Kobayashi ventures to the island to search for his dog, Spots. Atari receives their help and they will protect him from the Japanese authorities who have come to retrieve him.
Why the anticipation? Dogs haven't had the best track record in Wes Anderson films - so I'm glad they'll finally get their chance to hog the spotlight in his latest stop-motion animated film. It has the all-star cast, and based from the trailer that fun whimsical, yet strangely poignant tone we all know and love of Wes's. Will it be simply good, or great? Who's to say.
This is just a huge, huge mess in terms of story, character dynamics, introduction of the DC universe elements. Some of the CGI is downright atrocious considering how much money was spent on all this, and I'm not just talking about Henry Cavill's removed moustache. The villain is terrible both in concept and execution. There's some good things about it, as I said it's easy enough to get through and there's potential to be had in most of its heroes, but it could've been so much better.
9. The Hitman's Bodyguard
I didn't hate this, in fact I quite enjoyed some parts, but it is not a good film. Ryan Reynolds and Samuel L. Jackson are fun to watch together and elicit some laughs, but everything else ranges from painfully mediocre to downright bad. The action sequences are some of the more pedestrian put to Hollywood film in recent years, none of the story beats make all that much sense, it shifts awkwardly between goofy comedy and unnecessarily dark depths, the likes of Gary Oldman and Salma Hayek are wasted and I'm not sure what Elodie Yung was trying to do here. I would have honestly much preferred to just watch an hour long interview with both Jackson and Reynolds in any costume of their choice. 8. Split
There's two good things about this film, one which can be found above. James McAvoy who really gives it his all with a pretty intriguing portrayal of multiple personalities, and the fact it helps set up a sequel to my favourite M. Night Shaymalan film. Otherwise though, I found the film to be a complete waste of time. Like Mother! it feels exploitative without any real reason to be other than to titillate. It never gets under your skin given the potential it has to do so, and again Shaymalan proves dialogue and realistic plot turns to not be his strong suit.
7. Mother!
I generally don't mind Aronofsky, Black Swan and The Wrestler are both effective acting showcases and Requiem for a Dream is a pretty solid film. But I really disliked mother!, Mother!, whichever way you want to call it. It's not without merit, Aronofsky always has an eye for distinctive set design, the Biblical allegories at the outset are kind of interesting, and Jennifer Lawrence is good in the leading role as usual. But the further it goes with its allegories without any nuance, the more ridiculous it got for me, and not in an entertaining way. The stilted, on-the-nose dialogue really grates on the ears and every attempt at horror or thrills just left me very cold. The third act, which had some potential, is upended by just how exploitative it feels without any substance, feeling like a complete and utter mess. I can see why some love this film, but I really, really didn't. 6. Ghost in the Shell
Funnily enough the things which were causing the most fuss prior to the film's release bothered me the least about this. And yes, the way they try getting around casting Scarlett Johansson as the Major results in a third act revelation that would've probably offended me if I hadn't been so numbed and desensitized by how utterly boring everything else was. The thing is, the action, the scenery, the visuals all look kind of nice, but in a very standard, generic video game way. It's a very hollow exercise in derivative filmmaking, mixed with a mixed bag of performances, and a dreadful final act. 5. The Discovery
Another one which was just boring. The idea of scientists investigating the afterlife and the ethical repercussions of it seems like it could lead somewhere interesting, but it never does. It's an aimless, and very blandly directed film, not helped by the complete lack of chemistry between its two leads. It seems to be trying for something very cold and clinical in its execution of the subject matter, but ends up testing your patience to the point of complete boredom and disassociation with anything going on onscreen. 4. Valerian and the City of a Thousand Planets
I really wanted to like this but I couldn't. It's bad, it really is - like Jupiter Ascending, but without the campy laughs or Eddie Redmanye screaming his head off (in the hammy Brits department this is terribly scarce, with Clive Owen slumming his way through). There's a few nice visual touches but it mostly feels like a glossier, more expensive but altogether less invigorating The Fifth Element. It has a particularly obnoxious lead in Dane DeHaan (Cara Delavigne is actually okay in comparison), a conspiracy plot that goes round in circles and needless detours, and wastes what could've been a pretty cracking, carefree sci-fi yarn for something dumb that takes itself way too seriously. 3. The Snowman
Genuinely disappointed by this film, since it was on my top 30 'most anticipated' list for the year. It ended up being such a complete mess of tones, storylines, performances - Michael Fassbender gives a pretty bad performance - and Tomas Alfredson, so brilliant in his direction of Tinker Tailor Soldier Spy, can't keep a coherent storyline together, let alone do anything significant with the mystery genre. It just feels painfully inadequate throughout, the murder investigation never quite makes sense, and though some of the scenery and cinematography is nice, it was a truly painful experience to get through. 2. The Circle
I'm really tempted to put this at the 'top' of my list. James Ponsoldt's last film was The End of the Tour, one of my favourite films of the decade so far - an intelligent and deeply moving depiction of two complex individuals shooting the breeze. This is not an intelligent, moving, or even tonally coherent film whatsoever. In fact it's perhaps the most tone-deaf film of the year. It seems to watn to be a technological satire, but never ends up being particularly techno-savvy, or satirical. It seems oh so straightforward and bland about everything, that it feels like simple watching a normal everyday workplace, except people talk in the most stilted and unnatural manner, and as the film gets more 'ridiculous' in its concepts it clashes horribly with the dull and dreary tone. The performances are uniformly underwhelming (John Boyega, Karen Gillan, and Tom Hanks are wasted), or downright awful (Emma Watson is terrible, Ellar Coltrane is even worse). All in all a pretty miserable experience, thankfully (or not so thankfully) I only had to resort to Netflix for it. 1. Transformers: The Last Knight
Yeah, to be honest the main reason I put this at the top is that, while there's some 'so bad it's kind of amusing' touches to The Circle, The Last Knight represents the nadir to Michael Bay's career (of which the peak was of course, The Rock). I actually pulled my phone out in the middle of watching this in the cinema, a cardinal sin in almost any regard though it was a very empty cinema, with only a friend next to me. Mark Kermode described it as not the worst Transformers film, but rather the most dull one - I'd have to concur apart from the 'not the worst' part because this was just an exercise in failure, in pretty much every regard. I don't consider myself an expert on aspect ratios, but it was distracting to the point of a headache here with how often they switched it around. The script is a hot swirling hogwash turd mix of Arthurian legend, offensive stereotypes, a villainous plan that's too complex for even its instigator to fully comprehend, and Anthony Hopkins being oh so very British and uncouth. Speaking of which he gives the only vaguely passable performance in the film, once again many decent actors are wasted entirely, and Mark Wahlberg gives a lead performance devoid of any charm, conviction, or even unintentional comic moments. The worst thing about it, though, might be the action. Each action sequence is an indistinguishable mess, you never know what to focus on and you really don't want to, and the only feeling I got out of watching the robots pummel one another was that of utter defeat: any potential the Transformers films ever had is gone, gone.
Honourable Mentions: Spider-Man Homecoming, a slight but enjoyable return of the friendly neighbourhood webslinger; Last Flag Flying, an entertaining old-school buddy dramedy with stellar performances across the board; Baby Driver, lesser Edgar Wright but still entertaining Edgar Wright; Film Stars Don't Die in Liverpool, predictable but heartfelt tearjerker; Logan Lucky, a flawed but delightful crime caper with a great cast; God's Own Country, a low-key and affectionate rural romance; Free Fire, a slightly contrived but very entertaining comedy-thriller; Molly's Game, a somewhat hit-and-miss but frequently compelling Aaron Sorkin feature.
2017 has been a pretty great year for films thus far; let's see how my top 30 shape up at this point (subject to change)
30. The Death of Stalin
Entertaining political comedy from the one and only Armando Iannucci. It doesn't quite hit the heights of In the Loop in the satire department, Alan Partridge in the laughs department, and it feels a bit tonally imbalanced towards the end, but it's effortlessly entertaining for the most part, with fine performances across the board exploiting the ludicrous horror of the the Soviet power struggles.
29. Stronger
One could consider this a failed attempt at Oscar bait, with regards to it underperfoming in awards season thus far. I'd say this is a far better film than a lot of similar fare, though. It tells the inspirational story of the recovery of Boston Bombing victim Jeff Bauman with many of the usual story beats, but with nice doses of humour and honesty that make it seem far more genuine than the usual 'inspirational biopic', with excellent performances from Jake Gyllenhaal and Tatiana Maslany.
28. Maudie
A simple, straightforward real-life tale of Canadian artist Maud Lewis (played brilliantly by Sally Hawkins) who defied her impoverished background and arthiritis condition to become an underdog success story. It's very much your standard sort of prestige biopic, but what elevates it are amazing performances by both Hawkins and Ethan Hawke as her brutish husband with hidden depths, and sensitive direction by Aisling Walsh who creates a portait-like atmosphere with every frame.
27. Guardians of the Galaxy Vol. 2
I'll admit my enthusiasm for this particular Marvel film has diminished a bit over time. I still like it a great deal, but it does go through the plot in an all-too-predictable yet somewhat disordered fashion, and fails to develop many of its characters. Having said that, it's still very funny, very entertaining, visually impressive, and with many outstanding sequences, many involving either Michael Rooker's Yondu being a badass, or Dave Bautista's Drax just being Drax.
26. It
Another film I'm still a fan of, but removed from the hype I've come to appreciate it more as a pretty good rather than great horror film. It ticks all of the boxes in terms of scares and chills, and brings together the Loser's Club gang together in an organic and realistic fashion, but never quite goes the extra mile for me to truly love it. It's a strong film overall, but it never quite gets under your skin like it could. I will say though that it's testament to the strength of 2017 that this is so low on my list.
25. Thor Ragnarok
This is a great example of both Marvel's greatest weaknesses and strengths. On one hand it's constrained a bit by the universe-building aspect of its films, particularly the Thor films, and Cate Blanchett's villain is severely underwhelming. Having said that, the rest of the film when it's delving into less serious waters, is fantastic. Taika Waititi proves once again there's no one around quite like him, delivering both as a deliciously inventive sci-fi/action auteur and mo-cap rock monster Korg. It makes one of the less interesting Avengers surprisingly endearing and brings us along on a somewhat uneven, but more often than not very entertaining ride.
24. Lady Macbeth
Not an adaptation of Macbeth from the female perspective as the title might suggest, but a brooding, slow-burn period drama with a terrific star-making performance by Florence Pugh as Katherine, a socially and sexually repressed Victorian woman in a loveless marriage, who soon finds herself in a dangerous liason that spirals out of control. The film tests your patience and I'm not quite sure about the ending, but is genuinely quite exhilirating, haunting and even darkly funny in its portrayal of a Victorian household gone mad.
23. Your Name
A small, modest and straightforward anime film that delivers on everything you'd expect of it - the tale of two teenagers divided by location, space and time is an endearing, enjoyable watch with a surprising amount of heart. This could easily go up my rankings with a re-watch.
22. Trainspotting 2
This one actually requires re-watches to properly appreciate. It's by no means a reprise of the original Trainspotting, a very different sort of beast. It is a more heartfelt, contemplative film on a very different set of themes. It may be a bit too understated at times, with a few unnecessary subplots. But while it's not quite as good as the first film, it is an effective, poignant and at times quite hilarious successor, and has particularly moving arcs for Sick Boy and Spud.
21. The Lego Batman Movie
The best film starring Batman this year, but that's not quite enough praise. I liked The Lego Movie but I liked this one even more. It's got perfect voice casting across the board, a gag within every frame that rewards repeat viewings, and a more poignant exploration of Batman as a father figure than perhaps any Batman film, ever. It's not perfect, there are a few groaners and they might employ one too many popular villains for their own good, but it's one of the most purely enjoyable films I've seen this year.
20. Good Time
It was maybe a bit overhyped for me going in to see it - seems to be every Reddit film fanatic's top film of 2017 - but it certainly is a very, very good film. Featuring yet another excellent performance by Robert Pattinson (he's choosing such interesting projects) as a real scumbag, it's a fast-paced ride by the Safdie brothers where interesting visuals, a pulse-pounding soundtrack and some morbidly fascinating turns in the story make for a rather compelling trip through nighttime New York.
19. Battle of the Sexes
I'd go even higher if it weren't for a few nitpicks about how it uses certain individuals as straw men and women, but on the whole this is just a delightful old-fashioned crowd-pleaser. It merges the personal and professional lives of Billy Jean King (Emma Stone, fantastic) and Bobby Riggs (Steve Carell, surprisingly great) seamlessly, delivers its message for equal opportunity with the right amount of substance, and builds to its emotional finale very well. It's good comedy and effective drama blended together into a very sumptuous concoction.
18. Foxtrot
A strange, odd little Israeli drama, which takes perhaps the most twists and turns of any film I've seen this year even though it's not strictly speaking a mystery or genre picture. It is an excellently directed film by Samuel Maoz about a rich family finding out their son has died in the line of duty as a soldier - but it's not quite what it seems. The film endlessly pulls emotional tricks on the audience with a very deft hand, as it reveals the very odd and disconcerting story at its core about life in the military service gone terribly wrong. It might be a bit lacking in subtext, and not every stylistic touch pays off, but when they do it's a unique and compelling take on the traumas of life as a soldier.
17. Wind River
It's got a pretty terrible performance by James Jordan in a pivotal role and may feel a bit underwhelming for those expecting the heights of Sicario and Hell or High Water from screenwriter Taylor Sheridan (here making his directorial debut), but I really dug this low-key drama set on an Indian Reservation in Wyoming. It's tautly directed and written with that organic, beautifully flowing dialogue Sheridan's known for, and while the casting of its lead may be somewhat questionable, Jeremy Renner is pretty phenomenal in the role.
16. Wonder Woman
I have a few issues, namely the once again underwhelming villains (though more forgettable than outright bad) that somewhat obscure the message the film is trying to make. However, it succeeds in so many regards that I'd have to call it a pretty big success overall. It's got beautiful cinematography and music, with such care and detail paid to its technical elements, and with such a inspiring streak of goodwill and optimism coursing through its veins that make it stand out so well among much of the overly snarky/cynical blockbuster fare nowadays. And that 'No Man's Land' scene will stand the test of time.
15. Paddington 2
Like the adorable little bear and his jar of marmalade, sweet and endearing as ever. Every bit as entertaining as the first film, it's marvellous how Paul King has managed to carve out a Wes Anderson-esque visual feast for the eyes in the story of this simple little bear and his beloved Brown family. It's got particularly entertaining turns by British veterans Brendan Gleeson and Hugh Grant (yes, Hugh Grant), Ben Whishaw's voice is pitch perfect as ever for Paddington, and pretty much every gag lands. A delightful film.
14. The Big Sick
It stalls a bit in the third act, but The Big Sick is one of the funniest films of the year, with Kumail Nanjiani and his wife Emily V. Gordon bringing to life elements of their real-life romance to the silver screen. I really enjoyed the film for its frequently hilarious puns playing on stereotypes and ethnic preconceptions, but what stood out for me most was its depiction of the love interest's parents, played perfectly by Ray Romano and Holly Hunter, as fully-fledged, four-dimensional figures.
13. Blade Runner 2049
This return to the Blade Runner universe is supported by Roger Deakins' spellbinding cinematography, strong performances with the highlight being Ana de Armas, and a real sense of affinity with the original while stretching out in its own directions as its very own beast. There are problems I have with it, namely in its villains which I found a bit underwhelming compared to the original, and I'm still not quite sure how I feel about some of the last-minute third act revelations. But it certainly is a visual marvel, and I'm very glad Denis Villeneuve got to make his dream project since it's a damn fine film.
12. The Last Jedi
As with the two other recent Star Wars film, this is a tough one to rank. I've settled on The Force Awakens as being a 'very entertaining if very safe' film and Rogue One as an 'daring but flawed film', and for this one I've no idea whether I'll end up more on the positive or negative side of things. There are elements of it that are pretty bad, and I don't mean the porgs: a subplot detour into a strange casino planet, and a few poorly placed jokes or corny moments, which don't feel as organic as in The Force Awakens, plus it doesn't build upon some of the best dynamics between the characters in that film. But almost everything else is very good or downright amazing. Everything between Luke, Rey, and Kylo is perfect. The action sequences once they really get going, carry a real weight and the cinematography is really fantastic. Every minute of the third act is the best Star Wars has ever been. I loved a lot, to the point I forgive a lot of the poorly conceived elements, though I still can't ignore them.
11. Call Me By Your Name
Blasphemy! I hear you say. How can this be so low? Well as I've iterated before, it's testament to the year that films I had such strong feelings for feel relatively 'low' in placement, and this is certainly the case here. This is a visually sumptuous romance that depicts its central relationship with style and yet without pretension. It feels heartfelt and earns every bit of joy and sorrow it squeezes out of you, and creates a real sense of being in the presence of true love and pain. A beautiful film.
10. The Shape of Water
Guillermo del Toro is simply a genius fantasy filmmaker. Everything here involving his Asset, played by of course Doug Jones, and its romance with the mute Eliza (another great Sally Hawkins performance), is some of the best filmmaking he's ever done. Del Toro recreates the period setting of 60s Baltimore with such eloquence and passion. Technically a few of the subplots are a bit on the simplistic side, but they still work well for the film, and it only ever moves and resonates with the depiction of its odd, affecting, and oddly affecting central relationship.
9. Okja
Bong Joon-ho is one of the best directors working today, blending entertainment and emotional depth like few others, and with Okja he's made perhaps the most accessible of his films. It works as an exciting adventure story, an environmental/animal rights message film, a clever social satire, it blends together so many different tones and themes, yet works completely. There's an overwrought performance by Jake Gyllenhaal that slightly sullies things, but the acting is otherwise stellar across the board, and you really grow to care so much about the big lumbering creature. 8. Lucky
A remarkable film which may not seem like much on the tin, old scraggly man confronting his mortality, where have we seen that before. Well this one really stands out from the ouevre by being genuinely heartfelt, moving, as well as incredibly hilarious, without ever really making a fuss about it. I loved every moment spent in the company of the titular individual, played to perfection by Harry Dean Stanton. It's a breezy film that finds profundity in the smallest moments, with John Carroll Lynch proving that he may well be the next great actor-cum-director with his Jim Jarmusch-esque work here. 7. Logan
The best Wolverine film, the best X-Men film, and one of the greatest comic book movies of all-time. It puts such an inspired spin on the character and utilized a perfect blend of hard-hitting violence and emotional depth and devastation, to craft a great neo-Western and a fitting tribute to not only Jackman's Logan but also Stewart's Charles Xavier. I don't even like the X-Men all that much in general, but I loved this film. 6. The Florida Project
Divisive ending which I've grown to like in its own peculiar way aside, this is a near-masterpiece which manages to make the worldly housing projects of Orlando have an air of childlike magic, while never shying away from its unsavoury truths. It's a powerful and poignant film, but also filled with such optimism at its edges, and directed beautifully by Sean Baker with two wonderful performances by Brooklynn Prince and Willem Dafoe (Kermode discusses it really well here so I'll link his review) 5. Dunkirk
The best directed film of the year, this might not be Christopher Nolan's best film but it's probably the best example of his direction. The film is an unflinching symphony of war, amplified by an outstanding Hans Zimmer soundtrack, depicting the horrors of war in an utterly devastating yet compelling. It's a terrific war film that achieves so many things at once, from dogfights to sea warfare to a heartfelt tribute to the British spirit. 4. The Disaster Artist
The funniest film of the year, and also one of the most inspiring. It nails the insanity of Tommy Wiseau's 'The Room' and the man himself, but is also a rather fascinating examination of the unique and sometimes ugly determination of the man to achieve his dreams. The Franco brothers are both great, and the film achieves the perfect balance between comedy and drama, and uncanny recreations of scenes from The Room. 3. Get Out
WARNING: if you haven't seen the film, don't watch the trailer. Instead, I'll leave one of Key & Peele's funniest sketches here. Anyway, this is another film which perfectly balances laughs with a more serious side, though here the horror element is more prevalent. I loved every moment of Get Out, a tale of meeting the parents evolving into more than meets the eye, and thinking more about it just makes me even more excited and giddy talking about it. Jordan Peele is a great debut director and a fantastic screenwriter, and he crafts such a compelling, genuinely unnerving while also eerily realistic film, with just the right amount of hilarious jokes and crowdpleasing moments. TS, motherfuckin' A indeed. 2. Detroit
The scariest film of the decade so far, and it's not even really a horror film. This is Kathryn Bigelow's masterpiece as she takes the real-life incident of the 1967 Algiers motel incident and makes such a horrifying, tense yet human tribute showcasing the racial tensions and escalating horrors of the time period. It's got a fantastic ensemble and strikes the perfect balance in each act, the first such a masterful buildup, the second such a nerve-wracking experience, the third a tragic release. 1. Three Billboards Outside Ebbing, Missouri
Much as I loved all my top 10 or so, I have to say my #1 pick was fairly easy. Martin McDonagh has made something nearly as good as In Bruges. Although I must say don't go in expecting the next In Bruges, cause it's a very different sort of film. Its more of a bleak drama than black comedy, feeling a bit like the cunt kid of In Bruges' absurdist morality play and Seven Psychopath's madness, in the best possible way. It's a haunting and funny, hard-hitting and heartwarming, enjoyable and painful watch all in one.
The Post, Three Billboards Outside Ebbing, Missouri and The Shape of Water lead the way with 6 nominations each
Best Picture – Drama:
“Call Me by Your Name”
“Dunkirk”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”
Recap: Well, all five of these films are close to being locks for a Best Picture nomination, especially Call Me By Your Name, Dunkirk and The Post. They've ticked all the boxes in terms of being very Oscar-y films, and have the reviews and critics' accolades to back it up. The Shape of Water and Three Billboards are a bit more niche-y, auteur's films that have managed to find huge acclaim at this point in the year, and given the love given to the films through the rest of the nominations this is a huge boost overall.
Snubs?: I would have thought Darkest Hour or Phantom Thread might have been able to sneak in here, or even Molly's Game given their love for Sorkin, but it looks like these three films will hinge their awards successes on their lead performances. Was hoping for Detroit to maybe get in but that's a lost cause now.
Thoughts: I've seen all of the nominees bar The Post. Three Billboards, Dunkirk and The Shape of Water all make my top 10, and Call Me By Your Name is just on the edge, so I'm very happy with these.
Who will win?: Dunkirk
Best Picture – Comedy or Musical:
“The Disaster Artist”
“Get Out”
“The Greatest Showman”
“I, Tonya”
“Lady Bird”
Recap: as expected. The Disaster Artist is building up its reputation as a serious awards contender, Lady Bird continues its recent hot streak, and Get Out is admirably hanging in there - glad they went for this category for it. I, Tonya has gotten good reviews for the film itself and great ones for its performances, so no surprise there. I suppose I wasn't fully banking on The Greatest Showman getting in but it's the one big musical film this year, so I guess no surprises there.
Snubs?: Kind of surprised not to see The Florida Project here but maybe they couldn't decide whether it was a comedy or drama. Battle of the Sexes I sort of expected to get in, but maybe the lukewarm reviews and lacklustre box-office performance wrote it off. Globes usually like Linklater too so I thought Last Flag Flying might have an outside chance, and John Carroll Lynch's Lucky really deserved to get in, but oh well. Lastly, this snub might have killed off any chance of Oscar success for The Big Sick. Thoughts: The Disaster Artist and Get Out are in my top 5 of the year and I loved both just about equally. I very much look forward to seeing if Lady Bird lives up to expectations, and the other two I await with differing levels of anticipation. Who will win?: Toss-up between Lady Bird and The Disaster Artist.
Best Performance by an Actor in a Motion Picture – Drama:
Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Tom Hanks, “The Post”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”
Recap: Well hello again Denzel - despite bad reviews for the film itself, it seems he's stood out enough to convince the Globes to hand over another nomination. The others are all the usual suspects, Day-Lewis with his final performance (so it would seem), Hanks, Oldman (although given his less than savoury comments about the Globes in the past I'm surprised, he was snubbed for Tinker Tailor Soldier Spy) and breakout star Chalamet (really happy for him).
Snubs: Surprised to see Jake Gyllenhaal left off in favour of Washington, given that he's in a much more Oscar-baity film and by all accounts a much better one. Robert Pattison and Chadwick Boseman were kind of long shots to get in, so not really 'snubs', but I wouldn't have been that surprised to see either on the list.
Thoughts: I've only seen Chalamet and he's very good indeed, and I wouldn't mind him winning since based on his interviews, he'd give a very nice and articulate speech.
Who will win?: I don't think it'll be Oldman considering the HFPA's anymosity. So Chalamet.
Best Performance by an Actress in a Motion Picture – Drama:
Recap: They didn't have all the time in the world, but All the Money in the World clearly made some sort of impact on the Globes since they've nominated Michelle Williams and Christopher Plummer in the acting categories, and Ridley Scott in the director category. I hope it's a good film given the unfortunate circumstances that's been impacting it. The other four nominees are very much predictable ones - Chastain, Hawkins, McDormand and Streep all have very awards-friendly roles in acclaimed films (especially Hawkins and McDormand).
Snubs: Annette Bening for Film Stars Don't Die in Liverpool looked like a sure thing earlier on this year but looks like support for it's died down, unfortunately. I was hoping for a big surprise like Florence Pugh in Lady Macbeth, but you can't have everything I guess.
Thoughts: Seen two of these performances, Hawkins and McDormand, who are both fantastic, and seeing Chastain tomorrow. I'm sure Streep will be good at the very least - she rarely isn't - and Williams is fairly consistent when she's given emotionally driven roles.
Who will win? McDormand. As much as the Globes love Streep, they really like McDormand too and she hasn't won eight times.
Best Performance by an Actor in a Motion Picture – Musical or Comedy:
Steve Carell, “Battle of the Sexes”
Ansel Elgort, “Baby Driver”
James Franco, “The Disaster Artist”
Hugh Jackman, “The Greatest Showman”
Daniel Kaluuya, “Get Out”
Recap: Elgort is the big surprise here, especially since this is Baby Driver's only nomination - and the first performance ever to be nominated from an Edgar Wright film, I believe (what took them so long?) I don't think it means anything, but good on him. Carell's nomination is expected, though it might conflict with his contention in the supporting category at the Oscars. Franco's nomination was a given, Jackman's was too I suppose, and Kaluuya is a pleasant surprise.
Snubs: Harry Dean Stanton guys! Anyway, that unlikely nomination for Lucky aside, can't think of any other performance that could have and should have made the cut - I'd have liked Kumail Nanjiani to get in for The Big Sick over Elgort but I can't really complain since Elgort was good too.
Thoughts: Happy for the Kaluuya nomination, it's the momentum he needs to mount a dark horse Best Actor nomination campaign. Him and Franco were both superb, and oh so different performances, and Carell's no slouch either. I liked Elgort, but given my feelings towards the film I don't really mind if he got in or not. As for Jackman, much as I hope he's great in The Greatest Showman I wish he was getting love for Logan (though not in this category, obviously).
Who will win? Franco's got this in the bag (please invite Tommy).
Best Performance by an Actress in a Motion Picture – Musical or Comedy:
Judi Dench, “Victoria & Abdul”
Helen Mirren, “The Leisure Seeker”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Emma Stone, “Battle of the Sexes”
Recap: Dench is both a surprise and not a surprise, the film bombed financially and critically but she's Dame Judi Dench. Mirren too, but again she's Dame Helen...(you get my drift). The other three were always going to be in the category, and Robbie and Ronan are pretty much locks for the Oscars, as is Stone to a slightly lesser extent.
Snubs: I thought Jennifer Lawrence should have gotten in for the utter farce of Mother but I digress.
Thoughts: I've only seen Stone out of this lot who was terrific, and I'm glad she's had such a great run these past few years. I'm sure the rest are good to great, they're all great talents.
Who will win?: Ronan seems to be the obvious choice but I'm actually going for Robbie.
Best Performance by an Actor in a Supporting Role in a Motion Picture:
Willem Dafoe, “The Florida Project”
Armie Hammer, “Call Me by Your Name”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”
Recap: Well this is where there were more than a couple of surprises. Dafoe getting in was expected, as was Rockwell. Hammer getting in instead of Michael Stuhlbarg though, is surprising to me given that Stuhlbarg has more of the 'Oscar-y' sort of role they go for as well as veteran status (though maybe the Academy will pull a Nocturnal Animals and nominate Stuhlbarg instead). Jenkins getting in is a surprise given the fact he's in a genre film, but they do show love for these consistent character actors occasionally. And Plummer, Christopher Plummer. Having not even seen the film...I'm impressed. A few days of work replacing a shunned Kevin Spacey, if this is testament to his unseen performance then he is really the most efficient actor in Hollywood.
Snubs: Will Poulter for Detroit was never going to happen. Still hurts, though. I've been slowly getting through Mudbound and Jason Mitchell is really good too, and I was hoping that Patrick Stewart would have an outside chance of getting in for Logan. Also I was expecting Ben Mendelsohn for Darkest Hour to get in, but looks like this'll be Oldman's show.
Thoughts: Again, I wish Poulter was here, but oh well. I loved Dafoe, Hammer and especially Rockwell in their respective films, and loved their respective films to boot, and though Jenkins has a less substantial role, he's still really funny and heartwarming in his role and I'm happy for him - he's one of the most underrated actors in Hollywood due to his modesty and low-profile. Who will win?: Rockwell. Dafoe's been winning everywhere else but this could be their time to give love to another veteran character actor.
Best Performance by an Actress in a Supporting Role in a Motion Picture:
Mary J. Blige, “Mudbound”
Hong Chau, “Downsizing”
Allison Janney, “I, Tonya”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”
Recap: Quite surprised to see Chau and Spencer get in, the former because her film's gotten divisive reviews and the latter because she's not really noted to be the highlight of the film. Blige is here as expected, as are the warring mother figures of Janney and Metcalf who seem to be the frontrunners for the Oscar.
Snubs: No one comes to mind, really. Holly Hunter would have been very deserving but they didn't seem to like The Big Sick. Lesley Manville from Phantom Thread appeared to be a likely inclusion, or maybe one of the ladies from The Beguiled. I'd have been delighted to see Tilda Swinton for Okja or Ana de Armas from Blade Runner here, but that'd never have happened.
Thoughts: So, Blige...I'm getting through Mudbound and she hasn't really impressed me in any scene she's in yet. Haven't seen any of the others besides Spencer, who is good as usual (but when is she ever not good?)
Who will win?: Janney. It's close between here, Metcalf and Blige, though.
Best Animated Film:
“The Boss Baby”
“The Breadwinner”
“Coco”
“Ferdinand”
“Loving Vincent”
Okay, I haven't seen any of these yet...but how was The Lego Batman Movie or Your Name snubbed? I'm really looking forward to Coco in particular, though.
Who will win?: Coco
Best Director – Motion Picture:
Guillermo del Toro, “The Shape of Water”
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”
Christopher Nolan, “Dunkirk”
Ridley Scott, “All The Money in the World”
Steven Spielberg, “The Post”
Recap: McDonagh is a surprise here, given that he's thus far had more of a reputation of 'great writer' in Hollywood, but good on him. Scott is a BIG surprise considering the circumstances of his film, though maybe it's just that which contributed to his nomination. Del Toro, Nolan and of course, Speilberg are here as expected for their respective films.
Snubs: Was expecting Denis Villeneuve to maybe get in for Blade Runner 2049 considering the universal acclaim for his direction, Greta Gerwig for Lady Bird since her film as a whole has been so universally acclaimed, Luca Guadagnino but then again the Globes don't seem to have loved Call Me By Your Name as much as everyone else, longshot Jordan Peele, and even longer shot Kathryn Bigelow. I'd also expected dark horse inclusions of Sean Baker (The Florida Project) and P.T. Anderson for Phantom Thread but their films were snubbed on the whole, so no real surprise I guess.
Thoughts: The direction is one of the highlights of Three Billboards and one of its more underrated aspects, so I'm glad McDonagh got his dues here. Del Toro's direction is fantastic as well, but I have to say Nolan's direction of Dunkirk is on a whole other level. I'm sure Speilberg will deliver, and I hope Scott has/does too.
Who will win?: Nolan.
Best Screenplay – Motion Picture:
Guillermo Del Toro, Vanessa Taylor, “The Shape of Water”
Greta Gerwig, “Lady Bird”
Liz Hannah, Josh Singer, “The Post”
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”
Aaron Sorkin, “Molly’s Game”
Recap: Of course Aaron Sorkin is here, as per usual. The other four nominees are scripts which have been acclaimed as one of the most valuable aspects of their films, expect maybe The Shape of Water which is arguably more of a visual darling.
Snubs: Definitely did not expect The Shape of Water to get in over the likes of Call Me By Your Name, Get Out and The Disaster Artist, though maybe they're just favouring Original screenplays here.
Thoughts: The script was actually one of the weaker aspects for The Shape of Water for me, still good on the whole but with a few weak links in terms of the period setting and being slightly too 'on the nose'. Three Billboards has a great screenplay, and I sure hope Sorkin, Hannah/Singer, and Gerwig have similarly knocked it out of the ballpark too.
Who will win? Gerwig.
Best Original Score – Motion Picture:
Carter Burwell, “Three Billboards Outside Ebbing, Missouri”
Alexandre Desplat, “The Shape of Water”
Johnny Greenwood, “Phantom Thread”
John Williams, “The Post”
Hans Zimmer, “Dunkirk”
Recap: The big surprise here is Johnny Greenwood. Otherwise having John Williams and Hans Zimmer in there seems like almost a pre-requisite, and to be honest, Burwell and Desplat have essentially become mainstays of these awards too. All for films which rely very heavily on their scores to set the tone.
Snubs: Zimmer could have been double-nominated for his work on Blade Runner 2049 too which would have been cool. Otherwise, I can't think of any obvious snubs, besides maybe Call Me By Your Name which also had a pretty lovely score by Sufjan Stevens.
Thoughts: Out of the three I've seen, Burwell and Desplat deliver strong, eloquent work on their respective films that really helps add to the emotional power of them. But what Zimmer's done on Dunkirk is so close to his career-high of The Thin Red Line that I have to say, he should win, no question.
Who will win? Zimmer.
Best Original Song – Motion Picture:
“Home,” Ferdinand
“Mighty River,” Mudbound
“Remember Me,” Coco
“The Star,” The Star
“This Is Me,” The Greatest Showman
I don't like commenting too much on this category at this point, but I will say that I've enjoyed 'This is Me' whenever and wherever it's being played, and where on earth is 'Mystery of Love' by Sufjan Stevens for Call Me By Your Name?
Best Motion Picture – Foreign Language:
“A Fantastic Woman”
“First They Killed My Father”
“In the Fade”
“Loveless”
“The Square”
Haven't seen any of these, unfortunately. Would have liked to see Foxtrot get in, but I would need to watch these films first.
