There are two different types of people in the world. When asked if they’ve seen Darren Aronofsky’s (The Wrestler, Black Swan) mother, there is a group of people who will say no. And then there is the group of people who look at you with a bizarre look on their face and shamingly say, “Yeah,” and hope you don’t ask any follow-up questions. And that’s not to say they are embarrassed by admitting that they’ve seen the movie (we’ve all been at a theater before when we walk out with our heads down, hoping that we don’t see anybody that we know because we don’t want them to know we just paid to see a movie that bad, but because the film is so far out there that a follow-up question asking the person what they thought about it or if they liked it might allow them to draw conclusions about us. Aronofsky makes movies that you either love or hate. I adored The Wrestler and Black Swan but passionately hated Noah.
Category Archives: Year of Release
The Shape of Water (2017)
Guillermo del Toro’s (Nightmare Alley, Crimson Peak) adult fairytale The Shape of Water is a movie we’ve seen so many different times in so many different forms that it’s a wonder that we’d even be willing to see it again. Starcrossed lovers find themselves in a forbidden love situation while fighting off some catastrophe or at least societal pressures. Think Titanic, a nearly perfect movie showcasing this, will always be remembered by everyone who watches it. So, how does del Toro pull off this story in a wholly original yet equally compelling way? He does it in a way that only del Toro can do. And in doing so, he creates the most unparalleled and (with no disrespect to Call Me By Your Name) the most romantic movie of 2017. This movie certainly is not for everyone. If Thor: Ragnarok or Justice League is more your thing, then I’m not even sure I’d consider The Shape of Water. It is the ultimate independent movie, and if you go into this movie with the mindset that you’ll be able to enjoy the ride and not have to think, you’ll be in for two long hours. In a year where the movies have been the worst since I began my blog in 2010, the uniqueness of the films (rather than their quality) has defined this year.
Three Billboards Outside Ebbing, Missouri (2017)
In an Oscar season that hasn’t been so much a run of disappointing movies as much as has been movies that didn’t whet the appetite, Martin McDonagh’s (Seven Psychopaths, In Bruges) Three Billboards Outside Ebbing, Missouri has a chance to finish in my Top 10 movies of the Year. In contrast, I wouldn’t have had a chance since I began writing this blog in 2010. While I enjoyed its dark theme, its complex characters, and even, to an extent, its quirkiness, this movie was close to perfect. It is a lock for the Best Picture nomination, which shows just how down the year 2017 is for the film.
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Mudbound (2017)
An early and serious contender for 2017’s Best Picture is a movie that may have yet to find its way to a theater had it not garnered so much critical acclaim. Dee Rees’s (Pariah) Mudbound is an original Netflix movie. Had it not been for The Academy of Motion Pictures’ rule of all Oscar-nominated films to be available to the public via movie theaters, who knows where it would have landed? This is not Netflix’s first movie to receive so much praise that the movie had to be released in the theaters. 2015’s Beasts of No Nation faced a similar fate. However, Beasts of No Nation‘s kudos faded as Oscar season approached, and the movie ultimately did not receive a single nomination. The same won’t be the case for Mudbound, which very well could earn a Best Picture nomination as well as nominations for Best Supporting Actor (Jason Mitchell Detroit, Straight Outta Compton), Best Supporting Actress (Mary J. Blige), and Best Adapted Screenplay to name a few. Of course, it’s an early prediction, and I have yet to see any of the other contenders, but this does feel like a poor year for movies. I would be shocked if Mudbound is not nominated for Best Picture, and I would be surprised if it doesn’t win at least one award in one of the other categories before cinema’s biggest night of the year is complete.
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Wind River (2017)
There are so many takeaways from Taylor Sheridan’s Wind River that I don’t even know which one to bring out first. Though flawed, this is the best movie of 2017 through the first eight months of the year. It is an epic masterpiece that might be missed by the typical moviegoer who is so overwhelmed with the commercialization of movies like Wonder Woman, Spider-Man: Homecoming, and War of the Planet of the Apes that they might not even know it existed, let alone a movie that it might be interested in seeing. In a 2017 Hollywood that has seen a massive uptake in remakes, reboots, sequels, and prequels, it’s becoming increasingly more difficult to find originality in a story and then, if you do, for that originality to come out in a way that encourages you to see it again and, hopefully, has a lasting impact on your life. That is what Sheridan, an incredibly gifted screenwriter, has done in his first film behind the camera. The memorable Sicario and Oscar-nominated Hell or High Water are already to his screenwriting credit. It’s unlikely that Wind River will receive the same box office success as his first movie or the same critical acclaim come Oscar season as his second, but this is one hell of a directorial debut.