The 10 Best Films of 2017

Having already looked at the worst of 2017, it’s time to be a bit more positive. The year produced a number of great films, which only made making this list more difficult, but these are the films that stood above the rest. From the visual marvels to the subtle dramas, from the blockbusters to the indies, these are the best films of 2017.

Call Me By Your Name - Review

In an apparent transition time for the Academy Awards, it’s incredibly satisfying to see smaller and less traditional films like Call Me By Your Name get as much buzz as its getting. And the buzz is warranted in what is without question one of the most beautiful films of the year. Packing a pair of tremendous performances as well certainly doesn’t hurt in a film that looks to make its mark when the time comes.

Darkest Hour - Review

Awards season is like a broken record, leaving one like they constantly repeat themselves. And while the term “Oscar Bait” is a dying term, one can’t help but notice the numerous films based around a real individual with hopes of praise and glory. Throw in a little bit of World War II historical context and boom, you’ve got an easy entry into the conversation. Luckily, Darkest Hour approaches its historical figure, Winston Churchill, with grace and excellence without losing the electric nature of the man himself.

The 10 Worst Films of 2017

While 2017 was undoubtedly a strong year for film, particularly near the end, no year is without horrendous and misguided attempts to entertain. From the laughably bad to the atrocities of mankind itself, 2017 was not short on films that could’ve made this list of the worst of the year. With a handful of franchise entries, the poor scare attempts of January, and the flat out dull comedies, these are the worst films of 2017.

Molly's Game - Review

Another day, another biopic. Fortunately, Molly’s Game features the fascinating woman known as Molly Bloom and her time running a lucrative poker game. And who better to play this powerful woman than Jessica Chastain, a scene stealer in her own right that gets to sink her teeth into some fantastic dialogue. What else would you expect with acclaimed writer Aaron Sorkin behind the screenplay and for the first time, in the director’s chair. There is plenty to be excited about with Molly’s Game and for the most part, it delivers.

Downsizing - Review

Alexander Payne has presented himself as a good filmmaker in the past with his other films, so it is only logical that a new work from him would shoot to the top of anticipation lists. Where Downsizing really grabs you, however, is with the intriguing concept that it presents combined with the comedic sensibilities of Payne, Unfortunately the final product is far from the film it could’ve been and winds up falling short of every expectation.

The Greatest Showman - Review

Who doesn’t love a good musical? The exuberant nature of song and dance on the big screen never ceases to please even the biggest cynics in some capacity. Last year is evidence of this, as La La Land released to rapturous praise and thus the lyricists behind that in Benj Pasek and Justin Paul are inevitably back for more. In a musical with perhaps a little more interesting basis, the story of P.T. Barnum, The Greatest Showman can’t quite deliver on its promising parts.

Jumanji: Welcome to the Jungle - Review

When thinking about nineties films prime for a modern reimagining, Jumanji certainly is not the first to come to mind. Yet the Hollywood machine has decided to update the board game adventure into a retro video game action film with plenty of comedy to go around. Throw in a couple of likeable (and bankable) stars and the franchise may just become something viable and surprising.

The Post - Review

In a time where it seems the press is under more scrutiny than ever; The Post arrives to show everyone just how powerful journalists can be amidst the tumultuous landscape of politics. Not only does the film feel incredibly timely, but the talent behind it is incredible. With one of the greatest directors of all time behind the camera and two of the best actors in history as well, The Post has all the elements needed for a classic to follow.

The Shape of Water - Review

Once the conversation of great directors comes up, their visual language and touch may come up and no other director may be as distinct in that field than Guillermo del Toro. His films contain a level of creativity on the production level that few can match. So naturally when del Toro lines up to make a new creature feature, period piece, romance film, it is only natural that the hype is a bit high.

Star Wars: The Last Jedi - Review

(NO SPOILERS, because I’m not an awful human being)

Look, no one needs extra reasons to by hyped up about a new Star Wars film, but The Last Jedi certainly provides them anyway. Not only is it a follow up for interesting new characters but it features the return of everyone’s favorite Jedi hero, Luke Skywalker. With a new director in the chair in Rian Johnson, with a new vision and path for the saga, Star Wars: The Last Jedi looks to be unlike any Star Wars film that came before.

I, Tonya - Review

The story of Tonya Harding as the first female figure skater to land a triple axel is inspiring, but it always gets lost or forgotten in the more chaotic and tumultuous tale of the infamous incident involving a rival skater’s kneecap. Of course, both sides of the coin are undoubtedly interesting, though when balanced together with a few of unreliable narrators, some fourth-wall breaking, and an equal dose of tragicomedy, I, Tonya becomes something that’s hard to look away from.

The Disaster Artist - Review

Films about other films are always strangely fascinating, but it is very possible, likely even, that few can garner the interest that The Disaster Artist has. It’s not really a secret anymore that The Room is one of the “best” worst movies ever made, but the mysterious and crazy production is not without a few surprises. The process of which, luckily for audiences everywhere, James Franco and friends look to cover in perhaps the most ironic Oscar contender in recent memory.