The Ten Best Films of 2017

Now that the Oscars are behind us, we can stop focusing on what the Academy thinks and discuss a wider scope of 2017's movies. It's a relief after weeks of tunnel vision.

They've awarded who they thought were the best films, performances, etc. But what were actually the best films of 2017?

The internet is now a gluttonous strawberry-patch for anyone who posts and blogs on the subject, so without further ado:

Resident Film Snob's list of the top 10 films of 2017.

10) Rian Johnson's "Star Wars: The Last Jedi"

If you're familiar with this blog, you'll have noticed that for the most part, I like to talk about artsy types of movies. You generally won't find me talking much about big blockbusters or franchises. But "The Last Jedi" is one of the most impressive entries in this series I've loved all my life. I saw "Jedi" four times and am waiting until I can watch it again. And again, and again...

9) Greta Gerwig's "Lady Bird"

My God, how much do I adore Greta Gerwig? She's been expanding her storytelling kills for years and now she brings us "Lady Bird," a coming-of-age film like no other. Her greatest achievement to date had been her co-writing credit with Noah Baumbach on Baumbach's 2012 film "Frances Ha." I've said before that leading lady Saoirse Ronan is this generation's Molly Ringwald, but it's not that simple. Ringwald and Ronan have different pallets. They show us their range of emotions very distinctly.

8) Sebastián Lelio's "A Fantastic Woman"

"A Fantastic Woman" bites off a lot, but not so much that it can't chew. It argues with anti-Trans sentiment with no subtlety, but it's just not that kind of film. It stands its ground and does so impressively.

7) Armando Iannucci's "The Death of Stalin"

"The Death of Stalin" is an historical movie about death camps, summary executions, and casual assassinations. And it's the single funniest film of the year. It belongs right up at the top with the greatest dark comedies of all time ( a.k.a. Stanley Kubrick's "Dr. Strangelove," Danny Boyle's "Trainspotting" or the Cohen Brothers' "Fargo").

6) Dee Rees' "Mudbound"

From the vast scope of WWII to a smaller story about a simple friendship, "Mudbound" is an epic that strongly sweeps through the story of racism in America. Two families, one black and one white, live on the same stretch of land. The way they settle their disagreements is a picture of the pre-civil-rights era in Mississippi and how far we've come. But most importantly, how far we have to go.

5) Darren Aronofsky's "mother!"

Spiritually speaking, "mother!" is one of the most important films of all time. The allegory, by turns sweet and brutal, is a start of a conversation long overdue about the nature of God. People worship Him, others discard Him, but in the end, what does our devotion matter to the universe?

4) Guillermo del Toro's "The Shape of Water"

All of the wonderful things I have to say about "The Shape of Water," you've already heard from others. It's an adult fairy tale. More than that, it's one of the most intimate love stories to come out in a while.

3) Joachim Trier's "Thelma"

"Thelma" is not just a film about true love. It's also about first attraction, first lust. It centers around a young woman from a very conservative family. Trier handles the social discussions of the film with subtlety and treats all of his characters with respect. 

2) William Olroyd's "Lady Macbeth"

"Lady Macbeth" takes on the style of storytelling Shakespeare was famous for and nails it. We follow a woman forced to live with an abusive husband and father and how she forces a change of power. She turns toward the darkness as she liberates herself from persecution.

1) Jordan Peele's "Get Out"

I've said so damn much about "Get Out" on this blog, there's nothing really left to discuss. It's the single most terrifying film in years. It's important. It's a vigorous response to the institutionalized racism from US leaders.

Honorable Mentions:

"Atomic Blonde" brings us back to the days when sex and violence ruled in the action-movie genre. We've suffered for years under the oppression of lame, PG-13 mediocre films. This film feels like home. God effing bless Charlize Theron.

Ildikó Enyedi's "On Body on Soul" is a lovely, charming film about how love manifests itself both in reality and in our minds. It reminds us that just because something is in our minds doesn't mean it's not real.

George Clooney's "Suburbicon" will have you laughing until you burst or cry or pee. It's so dark and gruesome, but there is so much physical humor, slapstick if you like, that it doesn't leave itself down in the sludge, but soars happily through the dark sky.

Todd Haynes' "Wonderstruck" bonds two characters so close to each other, you may find yourself envying them. Though they don't cross paths because they're divided by decades, still they find each other.

Miguel Arteta's "Beatriz at Dinner" is a beautiful ode to those who oppose our current leaders. It surely isn't subtle, but it's nice to see John Lithgow hamming it up as a real estate mogul, cynical and high on the food-chain. And Selma Hayek is charming as hell, representing our disgust, our dismay, and our resistance. Not nearly enough people saw this film and that's a shame.

The Academy Awards 2018: Who Should Win, Who Will Win and Who Got Snubbed

Okay, Ladies and Germs, it's that time of year again. The Oscars! (Which I've always maintained are meaningless, but hell, it's entertainment.)  

Who will win, Who should win and who got snubbed altogether:

Best Picture. Who will win: Guillermo del Toro's "The Shape of Water."

This film will come out on top, I think it's a safe bet. "The Shape of Water" has a broader cinematic scope than any other film in the running. The dark fairy tale takes us into another reality, captivating us. I don't begrudge their win because, after "Get Out," it's the second best picture out of the contenders.

Who should win: "Get Out."

If everything in the universe were perfect, all other films would bow down to Jordan Peele's "Get Out." I'm delighted that it nabbed four nominations. But we all know that the nominations are this film's reward. The Greatest film of 2017 could go home empty-handed, but there's hope. It is also in the running for Best Original Screenplay. It very well may take that home. That would be lovely.

Who has no business being on this list: "Dunkirk" and "Phantom Thread."

There's usually a token bad movie you can't stand getting a lot of attention and getting nominated for all sorts of awards. You've probably seen it. And I'm sure it'll walk away with a couple of statues. But My God wasn't Christopher Nolan's "Dunkirk" just one hell of a disappointment? Maybe that's just me. And everyone I know.

Paul Wes Anderson's "Phantom Thread" is much, much worse. I'd talk more about this film, but I don't want to.

But both Nolan and Anderson both have brilliant films under their belts. I'm sure they'll come back with wonderful films in the future.

Best Director. Who will win: Guillermo del Toro.

I think this is going to easily go to del Toro for the way he put together "The Shape of Water." There are so many visual and literary elements the film needed to juggle and he did so adroitly. He pulls the greatest performances out of his actors. He knows exactly what tone is most fitting throughout the movie. From start to finish, del Toro leads us through his world as the movie changes from a fantasy to a thriller, then down to a simple, intimate love story.

Who should the Oscar go to? See above.

Best Editing. Who will win: Lee Smith for "Dunkirk."

Smith will easily win this one. The film isn't going to win any of the big awards and this is its consolation prize. Funny how crap like that sways the fate of the winners and losers.

Who should win: Sydney Wolinsky for "The Shape of Water."

Wolinsky cut this film so beautifully. He finds the right rhythm for each sequence in the film, and that's a big part of why this film is such a triumph. Wolinsky cuts with grace, spirituality, and poetry. Damn, I wish he'd get the award.

Best Actor. Who will take home this award for Best Actor: Gary Oldman for his performance in Joe Wright's "Darkest Hour."

This one's easy. Oldman plays a famous historical person. He's in a fat-suit. Need I say more? But who the hell am I to raise a fuss when I think back over his body of work? Tomas Alfredson's "Tinker Tailor Soldier Spy." His performance of the truly evil Stansfield in Luc Besson's "Leon." The tragic punk icon Sid Vicious in Alex Cox' "Sid and Nancy." Most of all, out and in front of all the others: Drexel, the aggressive pimp and drug dealer and Tony Scott's "True Romance." It's long overdue for Oldman and I'm happy for him.

Who should get it: Daniel Kuluuya for  his performance in "Get Out." 

A considerable part of why "Get Out" is so dark and curt is because of Daniel Kuluuya's performance. He plays Chris, the protagonist who's every kind of terrified and he shows different types of fear for the span of the film. From suspicion and wariness all the way to naked fear. Kuluuya knows exactly how to carry the weight of a psychological horror on his shoulders.

Best Actress.  Who will win: Sally Hawkins will and should win for her performance in Guillermo del Toro's "The Shape of Water."

This one's fantastic because, as with Best Director, Best Actress as Elisa Esposito in "The Shape of Water," will and should go to the same nominee. Her performance as Elisa, a woman who has never been treated with equality finding a kindred soul. There's not really much else to say about it. I wrote a bit about her performance when I evaluated "The Shape of Water."

Who Should Win: See Above.

Supporting Actor. Who Will Win: Willem Dafoe for "The Florida Project."

Some would consider this category to be wide open, but I disagree. I believe the Academy will give this one to Willem Dafoe for his work in Sean Baker's "The Florida Project." His performance is entertaining (Dafoe couldn't be boring if he tried), but it doesn't even come close to many of his most brilliant work, i.e. in Scorsese's "Last Temptation of Christ," Lars von Trier's "Antichrist" and "Nymphomaniac Volume II," and David Lynch's "Wild at Heart." This is more of a lifetime achievement award if you will. And I appreciate that. I even applaud that.

Who Should Win: Richard Jenkins for his bit in "The Shape of Water."

But if we're judging these two actors based solely on these specific, I'm afraid Dafoe takes a back seat to Richard Jenkins for his role as Giles in Guillermo del Toro's "The Shape of Water." His performance as half of Elisa's support group is so powerful. He is wise and noble and would die for Elisa, but he looks like a crumpled old man. One could easily take him for a hobo. But he carries himself beautifully and with dignity.

Supporting Actress. Who Will Win: Allison Janney for her role in "I, Tonya."


Oh, my is this one easy. Allison Janney gave the performance of her career as the vile, venom-spewing mother of Tonya Harding in Craig Gillespie's "I Tonya." So many other actresses would have taken the cruelty down a notch, maybe tried to add some humanity to the film. But Janney knows where to be subtle and where to be aggressive and Tonya's mother is an aggressive character. Janney plays her with malevolent elegance. She will win the Academy Award.

Who Should Win: See above.

Foreign Language Film. Who Will Win: "Sebastian Lelio's "A Fantastic Woman."

Full disclosure, I haven't seen two of these films, so take this opinion/prediction with a grain of salt. I believe The Academy will give this award to Sebastian Lelio's "A Fantastic Woman" out of Chile. It comes fresh off several Festivals and it's timely as hell. Not just that, it's a powerful and intimate film as well. It's a love story, a critique of bigotry and the way different kinds of people grieve. "A Fantastic Woman" should win the award as well.

Best Original Screenplay. Who Will Win: Jordan Peele.

My money's on Jordan Peele for his screenplay for "Get Out." It's more than a horror film (though it is terrifying), it's socially important. When it came out, it felt like a revolution. It puts so much shame on our current leaders, it could probably get this kind of recognition on that merit alone. Add to that the fact that it's been years since we've seen a horror film like this one and I think I can safely predict "Get Out" will win Original Screenplay.

Who Should Win: See above.

The Unjustly Ignored:

Sadly, some of the greatest performances of the year received no recognition, no love. Every year, somebody gets snubbed entirely.

Best Supporting Actress: Betty Gabriel for her performance as Georgina in "Get Out."

Betty Gabriel should have been recognized for her small but vital performance as Georgina, the family maid in "Get Out." She brings more urgency to the picture than anyone else. It's not just how she pops up out of nowhere, scaring the hell out of us, although that's pretty frightening. When you look into her face and listen to her, you can see both the poor young woman whose body was stolen and the thief herself. They're each fighting for control. When she apologizes to Chris, you can feel how tense she is. Grandma is trying to keep control of them at the same time as the other girl trapped inside is trying desperately to "Get Out." Her small, single tears are juxtaposed to the infamous ones we all know from Chris. She contributes more to the film than most people realize. It's so damn subtle and that's why nobody's recognized it.

Original and Adapted Screenplays overlooked: Oh my, there were so many.

Sofia Coppola's screenplay for "The Beguiled" ought to have definitely been recognized, as should have The Coen Brothers, George Clooney and Grant Heslov's screenplay for Clooney's "Suburbicon" and "The Death of Stalin" deserved some recognition. "Stalin" was the darkest comedy of 2017 and Fabien Nury's screenplay (with help from six other writers), is brilliant. 

Best Foreign Language Film: "Thelma."

I also have to mention Joachim Trier's "Thelma," a story about a young woman and her first romance against her family's fundamentalist leanings. The film came out of Norway in November 2017, here in the US. As good as "A Fantastic Woman" is, for better or worse, I have so much more affection for "Thelma." It should have been put up for "Best Foreign Language Film."

Best Original Song: "Distraction Sickness" from "A Ghost Story."

The best original song of 2017 was "Distraction Sickness" by Dark Rooms in David Lowery's "A Ghost Story." But it was ignored completely. It's small but vital to the film's tone. On its own, it's just a brilliant song.

Original Score: Daniel Hars for "A Ghost Story."

For that matter, Daniel Hart's score for "A Ghost Story" is one like no other in any of the great movies released in 2017. It's filled with melancholy and darkness and it's gorgeous.

Best Supporting Actor: Jonathan Banks in his turn in Dee Rees' "Mudbound."

This is the single most unforgivable slight of 2017. Banks plays Pappy McDaniel, a murderous man determined to put as many black people as he can back in their place. Black people are slowly starting to get some status and that infuriates him. Since he can't keep the whole world the way it is, he takes out his white-hot hatred on anybody he can find around him who's vulnerable. He's terrifying. Banks gives the single best performance of 2017, so tell all your friends.

The Shape of Water - Guillermo del Toro (2017)

I have to tell you. My head is swimming. Do you know the kind of feeling you get when you've just been introduced to a book or a song or a film that was so beautiful, you actually get light-headed?

I had that experience twelve years ago when I saw Guillermo del Toro's "Pan's Labyrinth." When the movie was over, I froze. I was so overwhelmed that I sat right in my seat until someone came to clean the theatre.

And that's the feeling I'm experiencing right now. I just finished watching del Toro's "The Shape of Water."

The film is about a mute cleaning lady who works at a top-secret government facility in the '60's. Her world is changed forever when she comes across the U.S.'s newest specimen.

He looks like a swamp monster. He came from the Amazon. The government wants to examine him to see if holds any information they can use in the race to the moon against the Soviets.

You see the Soviets sent a dog to space and now we have to one-up them. So they found a creature with a different physical make-up than humans to see if he was fit for space travel. The government plans to either shoot him into space or vivisect the creature to see if they can't see what makes him tick. They just want any clues that can help them speed up their race to the moon.

Meanwhile, Elisa (Sally Hawkins), a mute cleaning lady, comes across the creature and doesn't see anything in him but a graceful soul, cut off from everything in the world. Dumb from birth, Elisa knows exactly how he feels.

Her friends, Zelda (Octavia Spencer) a co-cleaning lady at the base, and an older man Giles (Richard Jenkins) understand how she feels. And that says something about what kind of friends they are. If your friend came to you with a story about how she's attracted to a swamp-thing, how sympathetic would you be? Or would you dismiss her as a freak?

But Elisa's friends accept her feelings at face value and agree to help her rescue him.

They are up against Richard Strickland (Michael Shannon), the agent in charge of this project. He looms over the whole film like a dark shadow. He is a sadist and, when all is said and done, is eager to destroy the creature Elisa has fallen for.

The film evolves into an elegant fantasy/love story.

It's about how the forces of evil can take the shape of the institutions we are expected to trust and accept. And conversely, how the misfits are often the good guys.

One of the most brilliant pieces to this films is Sally Hawkins' performance. Del Toro asks her to go to places most actress have never been to and she dives into her character, her innocence, boldness and goodness seamlessly.

Watching all of this wonder through her eyes is part of what makes this film so exceptional.

So please, seek out and enjoy this intense, dark, beautiful fairy tale.

30 Best Films Passed Over by Marty, The Doc & Jennifer in Back to the Future: Volume 3

Here are the thirty films Mart, Doc and Jennifer... You remember the premise. Here are numbers ten all the way up to number one.

And again, a warning to any squares and/or prudes out there. Some of the quotes from these films are in bad taste, to say the least. Read at your own risk.

10) The Princess Bride by Rob Reiner – 1987
How could this movie possibly not be in the top 10? That would just be inconceivable. Perfect now as when I was 13.

"My name is Inigo Montoya. You killed my father. Prepare to die."

"Are there rocks ahead?"
"If there are, we'll all be dead."
"No more rhymes now, I mean it!"
"Anybody want a peanut?"

"Humperdink ! Humperdink !Humperdink !Humperdink !Humperdink !"

"Rodents of unusual size? I don't think they exist."

"You rush a miracle man, you get rotten miracles."

"There's a shortage of perfect breasts in the world. It would be a pity to damage yours."

"I do not envy the headache you will have when you awaken. But for now, rest well and dream of large women."

"You can die, cut into a thousand pieces."

"As you wish."

9) Pan’s Labyrinth by Guillermo del Toro - 2006
This movie just left me a complete wreck. I couldn't move until the usher came in to clean out the theatre. I was stunned over the loss I had just suffered. Yet, the ending is so full of joy and hopefulness. Think Lucy in C.S. Lewis' "The Last Battle."

"Tell my son the time that his father died...Tell him
"No. He won't even know your name."

"Arise, my daughter. Come. You have spilled your own blood rather than the blood of an innocent. That was the final task and the most important."

"I'll make you a deal. If you can count to three without st-t-uttering, you can go."

8) Blue by Krzysztof Kieslowski – 1993 
It's such a terrible thing to lose someone. But what's worse are the following months and years when you slowly realize, not only did you lose them, but you have to live without them.

"Now I have only one thing left to do: nothing. I don't want any belongings, any memories. No friends, no love. Those are all traps."

"Why are you crying?"
"Because you're not."

7) Lost Highway by David Lynch - 1997
David Lynch's greatest film (yes, even better than "Eraserhead,") starts with a first act of a bizarre love story and then just in the middle of 'what-the-hell' Lynch turns on us. He does not explain himself because he does not have to. What matters is whether he is Fred Madison or Pete Dayton, somebody is hunting him down. We have no idea what is driving the Mystery Man other to say that he seems to be malevolence personified. He is either a symbol of God or of Satan. And I am still not sure which.

"We've met before, haven't we?"

"You like porno? Give you a boner?"

"I like to remember things my own way."
"What do you mean by that?"
"How I remembered. Not necessarily the way they happened."

"In the East, the far east, when a person is sentenced to death, they're sent too a place where they can't escape, never knowing when an executioner may step up behind them and fire a bullet into the back of their head."

"Dick Laurent is dead."

"You and me, mister, we can really out-ugly them sons of bitches. Can't we?"

6) Breaking the Waves by Lars von Trier - 1996
Generally considered von Trier's greatest work, he made this film amidst the Dogme 95 movement. The premise is simple and heartbreaking. A woman prostitutes herself out to help her injured husband. This can never lead to anything happy, especially considering the fact that her home is dominated by the Scottish Calvinist Church who rules all. Even in defeat, what we take away from this is that love is love.

"Look for Christ's sake, he's forcing you to get screwed by every Tom, Dick and Harry. It's just not you."

"I don't make love with them. I make love with Jan, and I save him from dying."

"Not one of you has the right to consign Bess to hell!"

"You know we do not favor matrimony with outsiders."

5) Safe by Todd Haynes – 1995
How paralyzed with fear are you about the world? Scared of all of it. I've heard of "Safe" described as a "horror movie for the soul." This film follows Carol White who is allergic to the 20th century. Or at least she thinks she is. That is one of the wonderful things about this film. At the end, you don't know if she's sick or insane. It's been twenty-two years and I still haven't made up my mind. 

"We are one with the power that created us. We're safe and all is well in our world."

"I love you. I love you. I really love you. I love you."

4) eXistenZ by David Cronenberg – 1999
Quite simply the greatest mind-fuck of the past thirty years. Aside from "Videodrome," this is Cronenberg's finest achievement. For what it's worth, I believe they're still in the game. 

"eXistenZ. Written like this. One word. Small 'E,' capital 'X, capital 'Z.' eXistenZ."

"What's wrong? Aren't you dying to see what's so special about the special?"

"Death to the demoness Allegra Geller!"

"It disappeared into my back? It's in my spine? It's working its way around my spinal cord?"

"I actually think there is an element of psychosis involved here."

"I made the bio-port sacrifice to get close to you."

"I suppose a smaller caliber pistol would have to fire baby teeth."

"Did you say Trout Farm?"

"Death to the demon Ted Pikul! Have I won? Have I won the game? Have I won?

3) Blue is the Warmest Color by Abdellatif Kechiche - 2013

Yes, I know a lot of people thought this was overrated and are tired about hearing about this movie, but I maintain that it is the most pure, touching romances so far this century.

"You're talking crap in front of everyone! I'm not a lesbian!"

"I went out with Louise, that was her name, Louise. We didn't kiss at the party, but I invited her to sleep over. That's when we kissed."

"I am happy. I'm happy with you, like this. It's my way of being happy."

2) Never Let Me Go by Mark Romanek - 2010
How can a single film be so beautiful and distressing at the same time? We know so much more about this world than the characters do. As we see them with hopeful looks on their faces and clear ambitions, it devastates us to watch as the worst-case scenario comes true. Andrew Garfield gives his best performance to date.

"None of you will go to America. None of you will work in supermarkets. None of you will do anything except live the life that has already been set out for you. You will become adults, but only briefly. Before you are old, before you are even middle-aged, you will start to donate your vital organs. That's what you were created to do. And sometime around your third or fourth donation, your short live will be complete."

"It's been two weeks since I lost him. I've been given my notice now. My first donation is in a month's time.

"We didn't have The Gallery in order to look into your souls. We had The Gallery to see if you had souls at all."

"You poor creatures."

And here it is. The moment you've been waiting for. The greatest film in the last 30 years is...

PULP FICTION by Quentin Tarantino - 1994

1) Pulp Fiction by Quentin Tarantino by 1994

I don't really think I have to explain why this film is at the top of the list. "Pulp Fiction" not only revolutionized the way films were cut. It changed the way all of us look at movies.

"I'm a mushroom cloud laying motherfucker, motherfucker!"

"Mmmm. That is a good burger!"

"Yeah, well the days of me forgetting are over, and the days of me remembering have just begun."

"Any if you fucking pricks move and I'll execute every motherfucking one of you."

"I'm sorry, did I break your conversation?"

"Say 'what' again. Say 'what' again, I dare you. I double dare you motherfucking, say 'what' one more goddamn time!"

"You hear me talking, hillbilly boy? I ain't through with you by a damn sight. I'ma get medieval on your ass."

"Well, let's not start sucking each other's dicks just yet."

"Well believe it now, motherfucker! We gotta get this car off the road! You know cops tend to notice shit like you're driving a car drenched in fucking blood."

"Maybe your method of massage differs from mine, but, you know, touching his wife's feet and sticking your tongue in her Holiest of Holies ain't the same fucking ballpark. It ain't the same league, it ain't even the same fucking sport"

"Jules, if you give that fucking nimrod fifteen hundred dollars, I'm gonna shoot him on general principle."

"The day that I bring an OD-ing bitch over to your house, then I give her the shot. Give here the shot."

So that wraps that up nice and neat with a little bow. Enjoy the trailer: