Cole’s Top Ten Movies of 2017
1. Call Me By Your Name
Call Me By Your Name
is not only my favorite movie this year, but it is the film I would like to see
win Best Picture. Words can’t express how affecting and impressive the
performances of Timothee Chamalet and Armie Hammer truly are in this powerful
story of first love. Supporting players like Michael Stuhlbarg, Esther Garrel,
and Amira Casar, along with a unique and brilliant musical score, and cinematography/production
design that make me want to live in Italy all combine to form a spectacular
film. One critic from the Boston Globe wrote, “You may not realize how strong
the acting is until you replay the movie in your head later.” As the most
memorable film of 2017, the movie will be replaying in my head for much time to
come.
2. Wonder
At the year’s end, it’s rare that a non-Oscar contender
shines as bright as Wonder did for
me. Immediately after seeing it in November, I knew that it was going to take a
seriously phenomenal film to surpass it, based not only on how deeply I enjoyed
and appreciated it, but also based on the quality of the moviemaking itself. Wonder hit me with its acute awareness
of family dynamics and the intricacies of adversity, and it knocked me down
with its beautiful performances from the precocious Jacob Tremblay, the
flawless duo of Julia Roberts and Owen Wilson, and the incredible Izabela
Vidovic – among others. I admire writer-director Steven Chbosky for his
patience. Over the years, he turned down several opportunities to sell the
rights to his book, Perks of Being A
Wallflower, to major film studios – but he waited and eventually went on to
make the movie himself. Chbosky believes in doing things the right way. With
“Perks”, and with Wonder, he was
right on the money.
3. The Disaster Artist
My third favorite film of the year is James Franco’s
masterpiece, The Disaster Artist.
Modeling the infamously bad filmmaker Tommy Wiseau in every way except for his
ability to make a film, Franco gives what I believe is one of the best
performances by an actor in a leading role this year. The Disaster Artist is thoroughly entertaining, inventive and
fulfilling in its storytelling, and highly intelligent. I have probably watched
every interview James Franco has given in the last few months, as I am
constantly trying to figure out why he chose to make it. Franco claims that he
was truly inspired by the underdog, dreamer tale of Wiseau and related to him in
his conviction and ambition. I, on the other hand, am truly inspired by
Franco’s ability to think outside the box.
4. The Shape of Water
Guillermo Del Toro is the kind of filmmaker that can make a
movie about a non-human feel more human than any movie that came before it. The Shape of Water is the best example
of this. It boasts two first-rate performances by Sally Hawkins, who, despite
not having any lines, says more than most actresses can with dialogue, and by Michael
Shannon, who is both riveting, intimidating, and hilarious. The two of them
truly steal every scene they occupy – and the rest is left up to the astounding
supporting cast, led by Octavia Spencer and Michael Stuhlbarg, and the visually
striking monster. This movie is one that we need today – filled with ideas of
how we wrongly judge irregular people and things, and, most importantly, that
there is someone for everyone.
5. Lady Bird
Lady Bird is yet
another entry into a new genre of films that I have really grown to appreciate;
that genre is gritty, raw coming-of-age stories for teenage girls. Fitting
right alongside The Edge of Seventeen
from last year and this year’s Before I
Fall, Lady Bird is a sensitive
and acute look at, well, a teenage girl. Thanks to a relatable and powerful set
of performances from Saoirse Ronan, Lucas Hedges, Timothee Chalamet, Laurie
Metcalf and Tracy Letts, we get a clear and authentic portrait of growing pains
and the difficulties of watching children grow up. This was Greta Gerwig’s
second directorial project. Surely, it’s not her last.
6. I, Tonya
Though it’s so much more, I, Tonya is a testament to Margot Robbie’s new status as a
full-blown actress and producer, with a range and a depth that I didn’t know
existed in her. I, Tonya is a
sprawling, Martin-Scorsese-like depiction of Tonya Harding with a killer cast,
a distinct sense of time and place, and effective narration. Like The Disaster Artist, I appreciated I, Tonya because it is a highly entertaining
depiction of a cultural icon that skews our preconceived thoughts about them. What's also of note is the movie's superb editing -- kudos to Tatiana S. Riegel
7. Darkest Hour
I saw Darkest Hour
in the same 24 hours in which I saw Steven Spielberg’s The Post. Safe to say, as two rivaling biographical movies about
significant historical events, Darkest
Hour is far superior in its performances and its sophistication as a film.
Gary Oldman is well deserved of the Best Actor Oscar this year for a
performance that is captivating, intelligent, and extremely fun to watch.
8. Guardians of the Galaxy 2
Rarely do I like the sequel better than the original, and
rarely do I love superhero movies. But with Guardians
of the Galaxy 2, both rules are broken. What’s unique about this movie is
that, unlike most superhero movies, the emphasis for these characters is on
their human qualities, not their extra-terrestrial abilities. This creates a
fun character study that fascinates adults, intrigues teens, and satisfies
kids. It appeals to all ages and is chock full of incredible life lessons,
chief among them being the choice people make between power and isolation, and
friendship. Featuring a great performance from Kurt Russell and the best
soundtrack of the year, “Guardians” was an unexpectedly good movie.
9. Blade Runner 2049
Blade Runner 2049
is a product of Denis Villeneuve’s passion for the “Blade Runner” franchise, a
visually striking construction of Ridley Scott’s world 30 years later, and yet
another cool, resolute performance from Ryan Gosling, who has become one of my
favorite actors over the years. What I didn’t like about the original Blade Runner was its short running time,
its nonchalant way of delivering complex information that went over the heads
of most viewers, and its emotional distance from the main characters. “2049”
gets all of that right – with a longer running time, a more eloquent
screenplay, and true, humanlike themes anchored by great performances.
Villeneuve successfully did the job he was worried that he couldn’t. Well done.
10. Phantom Thread
In early February of 2017, I read about an upcoming Paul
Thomas Anderson collaboration with Daniel Day Lewis about a fashion designer in
London in the 1950’s. Since then, it has been my most highly anticipated film
of the year – 2012’s The Master and
2007’s There Will Be Blood are two of
my all-time favorite films. Phantom Thread is not quite as good as
some of PTA’s earlier work. It is frustrating, entirely odd, and, at times,
hard to understand. What the movie has going for it is an incredible attention
to detail regarding cinematography, art direction, camerawork, and costume
design. And, of course, Daniel Day-Lewis gives a high-caliber performance that
is certainly going to garner him a Best Actor nomination. I’m sad that
Day-Lewis claims this to be his last film. But as a leader in his trade, as
someone that transforms himself, altering his personal life for the purpose of
delivering performances that are unparalleled by any actor before him, it is
understandable. Day-Lewis said that this movie enveloped him in sadness and
depression. Unfortunately, it wasn’t as good as I had hoped. But still, a decent
movie from PTA is still a very, very good film.
Honorable Mention: Three Billboards Outside Ebbing, Missouri
“Three Billboards” is a great film, with strong
performances, tough material, and an overwhelming theme: everyone (or mostly
everyone) has good intentions and can’t be condemned as a bad person for bad
behavior. It won Best Motion Picture, Drama, at the Golden Globes this year. So
while I don’t think it’s quite that good, I do think that it’s good enough to
crack the top 10. It’s moving, thoughtful, and well made. I just wish Lucas
Hedges had more to do.
