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The 30 Best Movies of 2017

01 January 2018 | Features, Film Lists | by Shane Scott-Travis

10. The Disaster Artist

An endearing and diverting tale of friendship, creativity, and pursuing one’s dreams, The Disaster Artist isn’t just one of 2017’s funniest films, it’s also surprisingly one of the most poignant.

Directed by and starring James Franco, this is the tragicomical real life story of Tommy Wiseau (Franco), the delusional filmmaker behind “The Citizen Kane of Bad Movies,” the inept cult classic from 2003, The Room. Adapted from the best-seller by Wiseau’s BFF and The Room co-star Greg Sestero (brilliantly brought to life in the film by Dave Franco, James’ little brother), this tell-all tale does supply ample laughs, but it also gloriously lauds enduring friendship, artistic expression and ingenuity, and following your desire (even or especially when you have literally no clue what you’re doing!).

Die-hard fans of The Room of course will rejoice, but similarly to Tim Burton’s 1994 biopic classic Ed Wood, this is an anecdotal appreciation of a twisted dreamer whom you need not be familiar with to appreciate his tale. Offbeat, uncomfortable, insightful and slick, The Disaster Artist is a strange celebration that sweeps you up and nimbly wins you over.


9. Call Me By Your Name

Call Me By Your Name

Luca Guadagnino’s Call Me By Your Name favors finesse, sparkle, and languid idle in this James Ivory scripted story (based off of André Aciman’s 2007 novel) of love, intimacy and longing between two men, and that said, never once does it feel any less than real and heart-rending.

An admirer of his fellow countryman Bernardo Bertolucci, it’s been suggested that Call Me By Your Name is Guadagnino’s Stealing Beauty, and that does ring rather true, it’s also the final entry in his thematic Desire trilogy, after I Am Love (2009) and A Bigger Splash (2015). Comparisons have also been drawn to last year’s elegiac gay masterpiece Moonlight, and that film’s director Barry Jenkins has said that “[Call Me Be Your Name] is a supremely delicate and humane work… An intellectually rigorous examination that never loses warmth.”

And warm it is as we get to know 17-year-old Elio Perlman (Timothée Chalamet), a Jewish American boy spending the endless-seeming summer days of 1983 with his family at their 17th-century villa in Lombardy, Italy. Enter the dreamy American Jewish grad student Oliver (Armie Hammer), who’s working as an intern for Elio’s archaeology professor father (Michael Stuhlbarg).

This is top tier art house cinema to be sure, and as fleeting as Elio and Oliver’s sun-soaked and starlit tryst may be, Call Me By Your Name will have you feeling every bit as cherished as they do. Superb.


8. Lady Bird

Delving into equal parts poignancy and playfulness with surety and poise, Greta Gerwig makes an impressive and unhesitating directorial debut with the charismatic coming-of-age comedy Lady Bird.

Set in Sacramento, California in 2002, in the umbrage of post-9/11 America and the uneasy economy that came with it, Lady Bird limns the often bitter bonds between break loose seventeen-year-old Christine “Lady Bird” McPherson (Saoirse Ronan) and her strenuous mother, Marion (Laurie Metcalf).

“Aren’t they the same thing; love and attention?” asks the mother superior (Lois Smith) of Lady Bird’s Catholic high school to her in her office after a refractory little prank. The Sister, like many of the adults in Lady Bird’s life, recognizes her sweet nature and tenacity, and treats her with the intelligence and respect she deserves. There’s an aching honesty at play, and to see the agitation and confusion of adolescence played out with surprisingly strong resonance and repartee is a delicious thrill.

Nimble, nuanced, and rewardingly reflective, Lady Bird alights with artistry and ease.


7. Raw

Rolling Stone’s Peter Travers has suggested that writer-director Julia Ducournau’s first feature film Raw is “a contender for best horror movie of the decade” and who are we to disagree? Raw is a near-flawless, wholly competent, and never less than riveting genre detour of taboo-smashing originality. Body-horror hasn’t been this elegantly engaging and upsetting since David Cronenberg’s heyday, and Ducourno’s symbolically lavish, freakishly erotic, female-perspective is a warm embrace.

Justine (Garance Marillier, superb) is a strict vegetarian who has joined her older sister Alexia (Ella Rumpf) at a prestigious veterinary school. The elegant and somewhat unconventional presentation of the campus setting combined female leads, odd inexplicable occurrence and Brit composer Jim Williams’ at times overwhelming score, suggests a pedigree similar to the Dario Argento classic Suspiria (1977), which to my mind merely suggests that Ducournau is motivated by the macabre best.

Desperate to fit in amongst her peers and to appease her parents, Justine finds herself betraying her beliefs to participate in a hazing ritual involving eating raw meat, but the unforeseen consequences as Justine’s true, cannibalistic self emerges is some off-the-rails nightmare material.

Immersive, unrelenting, and impossible to predict, Raw is, despite its thunderous rain of blood, a seductively expressive and involving story of adolescence and anxiety proving that the horror/coming-of-age combo can be both carnal and compelling. Unforgettable.


6. Get Out

Intelligently satiric, incredibly horrific, profoundly funny, and deeply resonant for anyone who thoughtfully ponders the issue of race in North America, Jordan Peele makes an outstanding directorial debut with Get Out (which he also wrote).

Riffing on Stanley Kramer’s Guess Who’s Coming to Dinner (1967), Chris Washington (Daniel Kaluuya), with some well-placed reservations, reluctantly but good-naturedly accompanies his new girlfriend Rose Armitage (Allison Williams) for a weekend in the country with her upscale folks (Catherine Keener and Bradley Whitford). Knowing that the only other African Americans within screaming distance will be the Armitage’s servants, it’s no wonder that Chris is nervous about how Rose’s family will receive him, even knowing that they are liberal-minded, educated, and easy-going.

“The thing Get Out does so well – and the thing that will rankle with some viewers – is to show how, however unintentionally, these same people can make life so hard and uncomfortable for black people,” wrote The Guardian’s Lanre Bakare. “It exposes a liberal ignorance and hubris that has been allowed to fester. It’s an attitude, an arrogance which in the film leads to a horrific final solution, but in reality, leads to a complacency that is just as dangerous.”

Get Out is great as an uncomfortable comedy, but it excels at social commentary and reconstituted horror movie hyperbole. Funny, frightening, and perpetually thought-provoking, Peele expertly provides a slow-build with some great twists, palatable payoffs, and plenty of wit. This is an excitedly ambitious film from Peele, and a poignant one, and we can’t wait to see what he does next. If you haven’t seen it already (and seriously, if you haven’t wtf?!), get out and see Get Out.


5. Faces Places

Faces Places

The illustrious and legendary French film director Agnès Varda (Cléo From 5 to 7 [1961], Vagabond [1984], The Gleaners and I [2000]), now nearly 90, hits the streets and rural routes of France with French photographer and artist JR on a quest for people and their villages––the faces and places of the film’s title.

Perhaps surprisingly these two very different artists get on very well together, and as this delectable documentary briskly moves along, they make for very quick-witted, well-informed and wonderfully reflective hosts. As they come across and encounter a wide variety of villagers who all agree to be made into monumental portraits––JR’s current primary practice––Faces Places soon celebrates the cathartic, curative, and transformative power of art.

One of the most gratifying and relishable feel good films of this or any year, Faces Places is a fete of wide-ranging relations, human connections, joyful improvisations and exuberant, bounding energy.

Winner of the Most Popular International Documentary award at the 2017 Vancouver International Film Festival, where I first saw it and gave it a thunderous standing ovation while brushing aside delightful tears, Faces Places is the type of profoundly affecting film you just don’t want to end but will happily revisit again and again.


4. Good Time

Constantine “Connie” Nikas (Robert Pattinson) and his developmentally disabled younger brother, Nick (Benny Safdie) are running-on-ice at breakneck speed, a frenzied pair of expeditious society’s free agents. Good Times is a lit fuse of confused white privilege in a subterrane underworld of everything-gone-from-bad-to-worse vivacity. A knotty New York-set crime story, this is the latest bravura showpiece in the sticky, sophisticated, socially impaired cinema of brothers Josh and Benny Safdie (Daddy Longlegs [2009]).

The maladjusted misadventures of Connie and Nick over one wild night, related at a relentless clip to the heady and propulsive Tangerine Dream-inspired electronic score by Oneohtrix Point Never, amounts to something akin to a convergence of Martin Scorsese’s After Hours (1985) and Mike Leigh’s Naked (1993), yet it remains it’s own altered beast.

A film that feels like it is in freefall, Ben Safdie (director, co-star) and Josh Safdie (director, co-writer, co-editor) jangle documentary-style realism together with instinctive genre film expressionism.

Good Time is an expansive (though still indebted to John Cassavetes) anomaly. Working once more with their preferred cinematographer Sean Price Williams, the film is ingeniously lit in black light, strobes, mercury vapors, fluorescent greens, and whatever available light allows.

Largely shot in close-ups, handheld, and with genuine grit, the glossy realism is terribly hard to resist. There’s so much on-screen charisma and calamity that it’s at times perhaps all too much. Like an amphetamine-infused cocktail served in a postmodern Joycean Mason jar daring you to drink, Good Time will leave you delirious in the best possible way.


3. Blade Runner 2049

Working closely with screenwriters Hampton Fancher (who co-wrote Ridley Scott’s original Blade Runner back in 1982) and Michael Green (2017’s Logan, already on this very list), and his sensational cinematographer Roger Deakins, visionary Canadian film director Denis Villeneuve did the near impossible task of following up Scott’s Blade Runner with a sequel that retains much of the tactile splendor and future noir poetry of the original while manufacturing an objet d’art that is perhaps even more emotionally engaging and narratively a more complete experience.

Unspooling some thirty years after the first film, Ryan Gosling is K, a replicant who hunts rogue replicants and, like Rick Deckard (Harrison Ford, excellent in his best role in decades) before him, retires his quarry using deadly means. When K discovers evidence suggesting that a replicant has reproduced and had a child, he is charged with murdering the child to prevent a replicant uprising.

While 2049 certainly lacks the iconic villains of the original (Jared Leto’s Niander Wallace and Sylvia Hoeks’ Luv are intriguing characters but lack the depth, dynamism, and grandeur of Rutger Hauer’s Roy Batty and Daryl Hannah’s Pris), it still offers up an emotive, stirring, and stunning spectacle.

The dystopian future presented onscreen is equal parts gorgeous and ghoulish, and many of Philip K. Dick’s big questions and recurrent verses are elegantly displayed (the AI doomed romance between K and Ana de Armas’ Joi is truly heartbreaking, and the Christian symbology and water motifs, to choose but one example, is gracefully realized and very satisfying for all us Dickheads out there).

A sublimely articulated mindbender, seductively crafted, steeped in mystery, and one that teases the audience with numerous ambiguities, and needling puzzles, Blade Runner 2049 is one of speculative fiction’s crown jewels. This is a film that, like its predecessor, will be discussed, dissected, revisited and extolled for decades to come.


2. The Florida Project

The Florida Project

Sean Baker’s latest, The Florida Project, is a vivid tour-de-force film, which brings with it an illustrious new joie de vivre to the essentia of youth.

Set in a superannuated, and pastel colored corner of Orlando interstate, which Baker and cinematographer Alexis Zabe artfully reconstruct into a vibrant and gossamer-like playground that is guaranteed to warm the most jaded moviegoer’s heart.

Presenting a poignant portrait of childhood as lovingly glimpsed through the eyes of Moonee (Brooklynn Prince, stunning), a smart-alecky six-year-old being raised by her unruly young mother, Halley (Bria Vinai, also brilliant) during summer vacation. The mother-daughter duo live week to week at a seedy roadside hotel, “The Magic Castle,” which is managed by the compassionate but crusty patriarch, Bobby (Willem Dafoe).

Baker, somewhat in the tradition of François Truffaut’s oppressive childhood epic The 400 Blows (1959), presents an alternately endearing, upsetting, and occasionally romantically sentimental vision of tender age exploration and wonder on the serrated edge of adult misery and misunderstanding.

Moonee, with her ragtag and bobtail buddies find humor and hoopla amidst abandoned homes, derelict fields, ice cream parlor parking lots, and laundromats, and while the grownup world of booze-fuelled fist fights, and fornication is never far off, it’s also a star-distance away from the play and pleasures of a spirited childhood’s point of view.

Dancing amidst squalor, The Florida Project is an utter joy, a celebration of aspiration and spectacle that will long be remembered as one of 2017’s finest and most stunning films. Here, in this heartfelt sphere of empathic understanding and picaresque perception we see a childhood, a motherhood, and an America that’s both exhilarative and deeply profound.


1. The Shape of Water

“Holy shit,” raved filmmaker Robert Rodriguez in a recent Twitter rant, “The Shape of Water is bold, breathless, heartfelt, visionary filmmaking from first frame to last!” Similar sentiments were enthused via social media from Logan director James Mangold who enthused “Wow! [Guillermo del Toro] thank you for your astounding & daring Shape of Water. You made such a devastating joyous personal moving humane fanciful honest beautifully crafted complex intimate imaginative romantic spectacle [sic]. My hat is off.”

Yes, the newest film from marvellous Mexican filmmaker Guillermo del Toro (The Devil’s Backbone [2001], Pan’s Labyrinth [2006]) is also his greatest achievement to date and 2017’s finest film, the fantastical pièce de résistance The Shape of Water.

Arriving in cinemas when it does, at a time of growing intolerance, much of del Toro’s film feels like it is very much a movie of it’s moment and time, and maybe this is largely because we need a movie that is this wonderfully romantic and this unusually lustful like we need an inoculation against the toxic news-cycle of the day and the easily upsetting parameters therein.

The Shape of Water, while set in 1962 Baltimore still strikes out as a romantic modern fairy tale (The Purple Rose of Cairo meets La Belle et la Bête meets The Creature from the Black Lagoon) that wisely knits the never-ceasing discrimination and disrespect minority groups face all across North America.

Buoyed with dignity, grace, and grievous heartbreak from the astounding Sally Hawkins (give this woman every acting award and distinction under the sun, please!), this movie will have you believe without batting a lash that a mute woman, Elisa Esposito (Hawkins) and a hard-boiled egg-devouring piscine amphibious humanoid (Doug Jones) from the uncharted depths of the Amazon can fall in love (and that you’ll root for them every unsteady step of the way).

With a perfect woozy score from Alexandre Desplat, expert lensing from cinematographer Dan Laustsen, dazzling production design from Paul Austerberry, and sensational special makeup effects by Jeff Derushie (and others), this empathetic, awe-inspiring ode to Old Hollywood and the heartstrings is del Toro’s generous gift to us all.

The Shape of Water is every reason why I love the movies and probably why many of you do, too. Dazzling.

Honorable Mention:

Beach Rats (directed by Eliza Hittman), The Big Sick (directed by Michael Showalter), Blade of the Immortal (directed by Takashi Miike), Bodied (directed by Joseph Kahn), Brawl in Cell Block 99 (directed by S. Craig Zahler), Coco (directed by Lee Unkrich and Adrian Molina), Colossal (directed by Nacho Vigalondo), The Divine Order (directed by Petra Volpe), Dunkirk (directed by Christopher Nolan), Ex Libris: the New York Public Library (directed by Frederick Wiseman), Girls Trip (directed by Malcolm D. Lee), Jane (directed by Brett Morgan), In the Fade (directed by Fatih Akin), John Wick: Chapter 2 (directed by Chad Stahelski), Kedi (directed by Ceyda Torun), Logan (directed by James Mangold), Logan Lucky (directed by Steven Soderbergh), Loving Vincent (directed by Dorota Kobiela and Hugh Welchman), Mudbound (directed by Dee Rees), Never Steady, Never Still (directed by Kathleen Hepburn), The Ornithologist (directed by João Pedro Rodrigues), The Other Side of Hope (directed by Aki Kaurismäki), Phantom Thread (directed by Paul Thomas Anderson), The Rider (directed by Chloé Zhao), The Square (directed by Ruben Östlund), The Transfiguration (directed by Michael O’Shea), Wind River (directed by Taylor Sheridan), Wonderstruck (directed by Todd Haynes).

Author Bio: Shane Scott-Travis is a film critic, screenwriter, comic book author/illustrator and cineaste. Currently residing in Vancouver, Canada, Shane can often be found at the cinema, the dog park, or off in a corner someplace, paraphrasing Groucho Marx. Follow Shane on Twitter @ShaneScottravis.



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  • Marios Thrasyvoulou

    I would add mother! and Loving Vincent.

    • Gilles Ello

      mother! is garbage.

  • Pieter Van Esbroeck

    Great list, but Dunkirk belongs here and Song to Song doesn’t!

    • MrE

      There is always one in the comments who wants Nolan’s movie on every top list.

      • Sailor Monsoon

        Because it’s objectively better than song to song.
        Which is an expensive perfume commercial.

    • Elizabeth Elize Lima

      Well, it’s a PERSONAL list

  • Rui Daniel

    in retrospect, it was a good year. Especially for the medium-scale films

  • Kosta Jovanovic

    The square
    On body and soul

    • Kosta Jovanovic

      Also phantom tread and you were never really there didn’t make the cut

      • Sailor Monsoon

        Most people haven’t seen them yet.

    • Gilles Ello

      The Square was garbage

      • Kosta Jovanovic

        So? Doesn’t seem like that is problem considering what movies made the cut

  • chrosTV

    Before anyone in the comment section starts complaining about a certain movie missing from this list, keep in mind: this is solely the opinion of the author who compiled this list. If you don’t agree, you don’t agree. But please don’t be pretentious and act as if you’re own opinion is right and the opinion of the author is wrong. That’s a common misconception that many TOC readers seem to have.

    • Hal Jordan

      I understand you, but what was the objective of the author of this post? We know he tried to show his personal opinion. So I think there’s also no problem if someone disagree with the article and show a personal opinion too.

    • LifeOnEarth

      Wouldn’t the article be called “My” 30…and not “The” 30…then?

      Sounds like the author thinks his opinion is right and others are wrong…

      • Gilles Ello

        Do you have any grasp of how film and music blogs work? Clickbait titles to grab attention written by editors NOT the contributing writer. DUh!!

    • grootrm

      That does not apply when you post on the internet, and anonymous boards at that!

  • X Y

    *poorly written list, on some poorly made choices.

  • Dreaming Wanderer

    On Body and Soul was amazing. The Last Jedi is a bad joke. Glad to see Raw so high.

    • Jean-Baptiste

      On Body and Soul is an amazing movie

    • X Y

      *lol, Raw is pile of… crap.

  • Phoenix Ramsey

    In this world, Wonder Woman and The Disaster Artist are better than The Last Jedi. What a fantasy world.

    • Ricardo Correia

      The Disaster Artist is far better than The Last Jedi

  • Ricardo Correia

    10- First Reformed
    9- The Other Side Of Hope
    8- Ghost In The Mountains
    7- The Shape Of Water
    6- The Rider
    5- A Fantastic Woman
    4- The Third Murder
    3- Phantom Thread
    2- Western
    1- The Square

    • How are you guys including The Rider? (Shane put it in his Honorable Mentions) It doesn’t get a wide release until April, 2018.
      Personally, I include movies when they get a wide release, not the first time they appeared at a movie festival.

      • Gilles Ello

        Critics go to film festivals and review what they see there. Show me a site, blog, or magazine that doesn’t do that. I’ll wait.

  • Ricardo Correia

    Horrible list, almost all films are american, and there are some horrible picks

    • Nuwanda

      Yes, in the The Shape of Water review, the reviewer bends over backwards to tell us how wicked America is–and it’s getting worse!!–yet all he does is review American films.

      Talk about cultural arrogance. Talk about cultural appropriation. Smacks of white patriarchy if you ask me. And I’m sure he never once used the metric system.

      • shane scott-travis

        I’m neither white nor American but please, go on.

      • Gilles Ello

        Nuwanda, do you have a blog or a pod cast where you “tell it like it is” because I want to make sure to never come across it. Before blocking you I just want you to know you’re a judgemental and elitist POS who needs to get out of his/her parents’ basmement and face the real world.

        • Nuwanda

          Sharpen your satirical detector, snowflake.

          Someone this thin-skinned shouldn’t have moderation powers at all.

  • David

    The Disaster Artist way too high in this list. It may be his best, but it’s still a Franco directed movie. It’s not that good .

    • Social Disaster

      Anyway, how is your sex life?

      • David

        Totally fine, thanks.

      • X Y

        *mine isn’t, when can we book a session?

  • Lucas Corsi

    D U N K I R K

  • Sebastian Tudor Popescu

    American Made…

    • Dreaming Wanderer

      Probably the most underrated movie of 2017

  • Gilles Ello

    Great list!! Loved The Shape of Water!!

  • David Johnson

    SoW was okay imo

    • Gilles Ello

      It was awesome imo

  • Juan Carlos Ojano

    “Where is [insert film title] this list sucks!”

    It’s called opinion, people. Don’t be a-holes.

  • Hal Jordan

    There are 10 films or more on the honorable mention list and others which were completely ignored are better than mostly of the films on this list. But this list is just a personal opinion, so it’s okay.

    • Gilles Ello

      Thanks Hal Jordan. I’ll take your word and stuff because you use a phone alias to critique cinema.

  • Bergkamp

    Ok, IN MY OPINION, the last Jedi wouldn’t be on my list of top 30, or maybe not even on a top 50 movies. Same goes for song to song.

    Out of these movies, I haven’t seen: The shape of water, and the Florida project, so I’m really exited that I’m gonna get to see those tomorrow.

    Another movies that I could probably include on my list, would be:
    Una, Loveles, Columbus, super dark times, and maybe the blackcoat daughter.

    Why do people hate so much, Christopher Nolan? At least here on TOC.

    • Kosta Jovanovic

      If you find it, give a try to on body and soul

      • Bergkamp

        I will. Is it too heavy on the romance? I like dramas of course, but romance not so much.

  • Bergkamp

    I have a feeling that Call me by your name it’s gonna get most of the big awards this season, also ladybird has a great shot too, and maybe the shape of water, this is all just based on the buzz from the major festivals, rumors and such.

    2017 was a great, great great year for movies.
    Let’s hope 2018 could be similar.

  • grootrm

    “…is an unsettling and transgressive domestic odyssey that astounds with its unrelenting menace and imaginative fluency”

    Ugh, it’s like the writer just wrote a plain sentence and then arbitrarily switched each word using a thesaurus to make a sentence seem more profound.

  • Mark Linton

    Really enjoyed Three Billboards Outside Ebbing, Missouri, outstanding.

  • Someone

    Mother !
    Billy Lynn’s Long Halftime Walk
    Loveless (Nelyubov)
    You Were Never Really Here/A Beautiful Day
    War for the Planet of the Apes
    See You Up There (Au-Revoir Là Haut)

    • Gilles Ello

      Seriously, mother! was garbage. Why all the fanboys for that pos??


    I am using IVACY vpn to stream all my favorite movies.

  • Nuwanda

    The problem is, when The Last Jedi gets a glowing review as it has here, you have to doubt the rest of the picks.

    That said, nobody comes to sites like this for authoritative analysis, but the lists help provide a jumping off point for further exploration.

    And for that I thank TOC.

  • Neither Wind River or Logan cracked your Top 30? Damn, we do not have much in common….at all

    • Gilles Ello

      They’re both Honorable Mentions dude. Have you seen the other 30 films on the list?
      Also why the shit would you want a list that 100% reflects your own. biases? Or you just look for people who have so much in common with you they agree 100%?? You must be insufferable.

  • Cheerlock Holmes

    I enjoyed “Get Out!” it’s a cool film, but i can’t understand the hype.

    • Gilles Ello

      Maybe you’re not black, a genre fan, a writer, or a filmmaker?

      • Nuwanda

        That’s it, Cheerlock, you just don’t have the right skin color or credentials to appreciate this important film. Go back to your white privilege and let the cool kids tell you what you are and are not capable of understanding.

      • Cheerlock Holmes

        Yeah i tried to get into Bruce Lee films, but i aint chinese, i don’t practice Kung Fu and i ain’t water either. Cinema is hard, so many specs to enjoy a film.
        Ps: I Am Black and a Horror fan.

        • Gilles Ello

          Is it also hard being an elitist twonk who makes no art of his own but judges others???

          • Cheerlock Holmes

            Nigga i didnt even trash this film, you actin’ like a enter your house and punched your sister in the mouth hahaha. Got so sensitive about a film, nigga might as well marry Jordan Peele and suck him ’till he say ‘Get Out’!

  • Nuwanda

    It tells me the reviewer recognised a movie that matched their own political agenda and had to jump on the virtue-signalling bandwagon viz “…The Last Jedi
    hosts a bevy of badass women being smart, solving problems, kicking ass,
    and taking names (the aforementioned Ridley is joined by the likes of
    Gwendoline Christie, Laura Dern Lupita Nyong’o, Kelly Marie Tran, and a
    stunning final bow from Carrie Fisher each memorably offset the

    But it’s not really a review, is it, since it preemptively attacks anyone who should disagree: “This is a genre fan’s delight, that, quite honestly, only the cynical can assault.”

    I guess the shamefully low audience score of 50% (and falling) at Rotten Tomatoes makes those folks nothing but cynics, and which is at stunning variance with the critics score of 90%. The people have spoken, and it’s not good.

    Forget plot, character and consistency with canon, The Force is female, so that’s all that matters.

  • angelii

    Japanese do make quality of movies HD …let’s watch HD 2017 movies==>> GOODFILM99.BLOGSPOT.COM

  • Muhammed Nawaal Ul Rahman

    The Meyerowitz Stories should also be among the honorable mentions, in my opinion (I’m assuming the author has not given it a try yet).
    It’s one of Noah Baumbach’s more accessible movies, which are very character and dialogue driven, and stands out and holds it’s own among the other stellar picks of the year despite it’s flaws.
    A couple of other movies that I felt warrant at least a try include The Glass Castle and also the sleeper hit Gifted.
    Great post though, found a couple of movies that slipped past my radar.