Mixed Metaphors

“Cinema, for me, has always been something like music composed with photographic images.” — Roger Ebert 

Continuing the metaphor of cinema as music, 2017’s playlist featured all genres, tempos, and beats, from comic book heroines, car chases, psychological thrillers, to fantasies, historical events, satire, and romance. Apes waged war against people, countries battled each other on land, sea, and air, mothers and daughters argued, three billboards in Ebbing, Missouri asked a provocative question, and all the money in the world could not save the reputations of Kevin Spacey, Harvey Weinstein, and most recently, James Franco, and a long list of Hollywood men whom were exposed and called out by the #MeToo movement, which is changing the culture of the filmmaking industry and giving voice, long overdue equity, and opportunity to women, much like the change ignited by 2015’s #OscarsSoWhite.

Setting politics aside, which is increasingly difficult to do these days, step into a movie theater — and for this cinephile and for a couple of hours — the magic unfolds with the dimming of the lights and the roll of the opening credits. Music to my eyes.

First, before I share A Filmgoer’s Guide to the Best Films of 2017, this is a reminder that I’m a cinephile and not a critic, though I offer my thoughts and opinions on what worked, what didn’t, and what took my breath away. Movie-going is for the most part a solitary experience. Like other forms of art immersion, we respond emotionally, viscerally, and intellectually to it and share our impressions with others afterwards. I see a lot of films on my own, and with filmgoing friends and family, while this year, I celebrated my birthday in a theater with friends, who sang “Happy Birthday” to me in the theater before the film began — what a gift. Post-film discussions, whether on social media, or in-person, enhance the understanding and provide insights of the art form and the shared experience. This is a shout out to my filmgoing friends and family who join me and follow my reviews.

In the past year I’ve taken the next step in pursuing my love of films and filmgoing, and have added filmmaking to my resume. I’ve joined a local group of creative collaborators, Madison Independent Filmmakers, and will learn by doing, as I create, produce, and direct an original web series, Hotel Bar. As an emerging artist, I’m supported by others who love the craft and share their talent and experience. I’m grateful.    

Lastly, a couple of housekeeping notes to put this year’s picks in perspective: I reprise these special categories: Films I Haven’t Seen Yet, Films I Wanted to Like More Than I Did, Films I Chose Not to See, Guilty Pleasures, and Dream Double Features.

A note about the criteria for my list: I choose films drawn from my favorite genres. I like biographies, LGBT-themed movies, crime and suspense dramas, coming-of-age stories, well-done romantic comedies, relationship and dysfunctional family dramedies, and documentaries. Films that pass the Bechdel Test earn extra credit. I especially enjoy stories from a woman’s point of view, even more so when produced or directed by women, or featuring a strong female lead. Finally, I seek out movies made by a short list of favorite directors and writers who often feature a repertoire of actors.

Now for the movies…

A Filmgoer’s Guide to the Best Films of 2017

(Not ranked, except as noted. All official movie posters courtesy of the film production studios.)

The first four films on my narrative film list are my favorites in this category. I’m hard-pressed to choose between them, much like a parent who loves all their children, but for different reasons. These first four films couldn’t be more varied. You’ll also notice this is a baker’s dozen of Best Narrative Films, though the final three on this list, I’ve noted some reservations with my recommendations. Adding in the six Best Documentaries, and my pick for the Best Foreign Film, it yields a total of my Top 20 Films of 2017.  

Narrative Films

1. The Shape of Water – When I saw The Shape of Water I intended on posting a filmgoer’s mini-review, yet as a cinephile and not a full-fledged critic, I wasn’t sure my words would give it the praise it deserves. I will say this, see this film if you like fairy tales with life lessons, monsters you can relate to, heroes/heroines who rise up from the oppressed, and villains who are taken down by their own egos, bigotry, and narcissism (you see where I’m going with this). It’s a magical fable for our times. Guillermo del Toro, the writer and director, creates a fantasy world based on our Cold War past, referencing a horror picture of the time, Creature from the Black Lagoon in all it’s visual and aural specificity to delight, surprise, and sometimes “turn-your-head-away” shock the viewer. The art direction, cinematography, and score are breathtaking. The cast has a villain you love to hate played by Michael Shannon, a Russian spy who helps save the day (now that’s a twist), played by Michael Stulhbarg who has roles in three Oscar-nominated films this year including, The Post and Call Me by Your Name, a gay illustrator neighbor who loves old movies, musicals and pie, played by Richard Jenkins, and our heroines, the mute Sally Hawkins and Octavia Spencer as the housekeeping crew in the Cold War research facility. Lastly, there’s the egg-eating creature, full of sparkly scales and curiosity. Did I say, “See this film?” Yes, two webbed thumbs up!
2. Lady Bird – This is Greta Gerwig’s directorial debut based on her semi-autobiographical story, which she wrote about life growing up in Sacramento, California on the verge of adulthood and independence. First, full disclosure: I’m a HUGE fan of Greta Gerwig’s acting work beginning with her mumblecore film collaboration with low-budget independent filmmaker, Joe Swanberg and her later work with Noah Baumbach and Todd Solondz. She was featured in a number of my favorite films including this short list, Hannah Takes the Stairs, Greenberg, Frances Ha, Mistress America, Maggie’s Plan, and Wiener-Dog. As other critics have noted this is a coming-of-age story, yet her observational writing, emotional intelligence and insight into each of the characters moves beyond the cliched stereotypes often associated with this genre. It captures the tension, love, letting go, and leave-taking required of a young woman as she defines and asserts her identity, as family, friends and young lovers, respond as they populate her orbit. It’s easy to see Gerwig’s fingerprints all over the lead character, especially in the casting of Christine “Lady Bird” MacPherson, played perfectly by Saoirse Ronan. Her parents, performed by Laurie Metcalf and Tracy Letts, first crush, played by Lucas Hedges (of last year’s Manchester by the Sea), and rebound boyfriend played by Timothée Chalamet of Call Me by Your Name, plus Lady Bird’s BFF, performed by Beanie Feldstein all inhabit characters both Lady Bird and the audience can relate to and empathize with. There are no real villains in this poignant tale of the turbulent and exciting passage from teen years to adulthood and independence, only flawed human beings. It’s a bumpy ride with revelations around corners. This is a story about home, family, and “becoming.” Watching this film, I have a better appreciation for Greta Gerwig the artist. I look forward to her next project as an actor, director, and storyteller.
3. Call Me by Your Name – When I saw Call Me by Your Name, it’s as if I spent a sensual summer in 1983 in a villa in Northern Italy with a 17-year-old gifted musician, Elio, played by Timothée Chalamet. His family hosts a graduate student each summer, an intern to work with his father, played by Michael Stuhlbarg, a professor of Greco-Roman culture and statuary. Armie Hammer is Oliver, the 24-year-old American graduate student, who with his golden good looks, resembles the subject matter he and the professor are researching. Elio and Oliver catch each other’s eyes, and a slow circling of each other begins as their attraction and curiosity compels them as they become lovers. The story unfolds slowly, like the summer season it depicts, hot days and warm nights, with Elio and Oliver, riding bikes in the countryside, swimming and dancing, and sharing savory and sweet meals with the family and their friends. The film is very much like savoring a good meal, tasting the ripening fruit in the orchard, a sensual bite of life. This is the third film in the trilogy by director, Luca Guadagnino. The first film, I Am Love, was followed by The Bigger Splash. James Ivory wrote the screenplay and Sufjan Stevens the music which perfectly underscores a summer that culminates in love. This is one of the most romantic films I’ve ever seen. Timothée Chalamet is an actor to watch. His ability to “show not tell” in his expressions was breathtaking, and the conversation initiated by his father is a life-affirming message in this current culture of intolerance and hate.
4. The Florida Project – I saw The Florida Project with two of my Madison Indie Filmmaker friends. It’s the newest film directed by Sean Baker, who made Tangerine in 2015 using only iPhone 5s which was set in L.A. on Christmas Eve and tells the story of a day-in-the-life of transgender sex worker, Sin-Dee Rella, her friends on the streets, and her pimp boyfriend. Most of the action takes place on the streets and the businesses where they frequent. “The Florida Project” is set in Florida a little further outside the gates of the Disney World Resort and the Magic Kingdom. In this story, the main character is a six-year-old girl named Moonee (played by Brooklynn Prince in a stunning breakout performance), who lives with her mother Halley in a $38/night motel room at the Magic Castle, a three-story motel on the outskirts of Orlando, that’s painted to mimic the bright colors of nearby Disney World. It’s adjacent to competing motels, strip malls, and tourist traps and a world away from the families who visit the Disney resort. The story takes place one summer in Moonee’s life as she and her best friend, Scooty, welcome a new girl, Jancey, from a neighboring motel into their ragtag gang. They spend the summer running through parking lots, up and down motel stairs, and explore swamps and abandoned buildings. They have spitting contests and terrorize the haggard, cranky resident who wears too much makeup and too little clothes as she insists on sunbathing topless. All-in-all they get into as much mischief as they are able to get away with. They are full of adventure, curiosity, and students of the con. These are kids at risk and kids who are unsupervised, except for the watchful eye of the motel manager, Bobby (played by Wilhem Dafoe, in one of his most memorable performances). Not all is fun and games in Moonee’s life as her mother struggles to find ways to get by, pay rent, and maintain a hardscrabble life often enlisting Moonee’s participation. The movie is dedicated to Spanky McFarland of Our Gang fame. It’s easy to see why. This film is an entertaining and poignant story of how people survive below the poverty line and how children are often the first casualties. Additional credit goes to Sean Baker’s co-writer and his cinematographer, who makes the mundane brilliant and oddly beautiful. See this film.
5. The Post – My mini-film review of The Post that follows is biased. Let me explain how and why. First, it was my birthday and I invited friends to join me for a matinee and post-film discussion. Many arrived with birthday cards or gifts in hand, when in fact their presence as filmgoing companions was the real gift. Close to two dozen friends joined me for the film and 10 remained behind for the post-film critique. And, for the first time in my entire life, people sang “Happy Birthday” to me in a full theater on a winter’s frigid afternoon. It warmed me right up. My backstory: In 1971 when the Pentagon Papers were released by Daniel Ellsberg and first published by the NYT, and then followed by The Washington Post, which is the basis for this film, I was a 21-year-old budding political-activist and college drop-out. I dropped out of the University of Wisconsin following The Moratorium to End the War in Vietnam in 1969 when protesters marched in cities all over America. My education shifted from the classroom to the streets. Recently, I watched All the President’s Men again for the third or fourth time. Jason Robards, Jr. won a Best Supporting Actor Oscar for his portrayal of Ben Bradlee of The Washington Post. Lastly, HBO premiered an excellent documentary, Newspaper Man: The Life & Times of Ben Bradlee. The preceding experiences and viewings primed me for this film that has been receiving award nominations and accolades. Now to the film: Steven Spielberg, screenwriters, cinematographers, and actors bring the story to life. Though it takes place in 1971, the story based on actual events, unfolds in a conventional linear narrative style to keep the audience on track. It was reminiscent for me of the studio movies from the 1940s and 1950s. John Williams score also telegraphed suspense and mystery, crescendos of emotion to complement the action.The cast, featuring Meryl Streep as Katherine Graham, owner/publisher of The Post, and Tom Hanks as Ben Bradlee, executive editor, were in capable hands, however some of the feedback from filmgoing friends is that unknown, or lesser known actors may have delivered more nuanced and refreshing performances. It’s difficult to “suspend one’s disbelief” by watching these two revered and awarded actors perform while their celebrity is ever present. The supporting cast was pitch perfect and as an ensemble compelling and credible. The themes couldn’t be timelier, misogyny in the workplace, the government misleading the public and hiding the truth, and the free press fighting to reveal the truth and represent the governed, not the governors. There is an impassioned speech near the end of the film which connects the dots of the lessons of history and the challenges we face today to protect freedom of the press and democracy.
6. I, Tonya – I must confess, I entered the theater to see I, Tonya with conservative expectations and a liberal curiosity. When the true-life events at the center of this story unfolded in January 1994, like the rest of the world, I was mesmerized by this battle between good and evil. Tonya Harding’s Olympic skating foil, Nancy Kerrigan was attacked by a plan which ran amok, executed by Tonya’s ex-husband, Jeff Gillooly, and her bodyguard, Shawn Eckhardt and the “gang that couldn’t shoot straight” hit men Eckhardt hired. “Why, why?” was Kerrigan’s cry when she was crippled, inches above her knee by a telescopic baton. She became the symbol of an innocent victim, full of grace, poise, and style that the skating world rooted for. Harding, on the other hand, was perceived by her peers and the media as “white trailer trash,” yet she was a talented, physically-strong competitor, the first figure skater to successfully execute a triple axel in a competition event. Tonya lacked the financial backing and the good judgment to present herself in the manner the judges expected. She was rough around the edges, displaying poor taste in her costumes and her language in a sport that gave high marks to femininity and athleticism. Harding played the victim when she thought it would help her cause. She was in fact both a victim and a conspirator in her own demise. Without revealing a spoiler, the theme of the film for me, was in the end, how do we judge Tonya Harding? What worked for me was the convention of characters breaking through the fourth wall, sharing their point of view and perception of their lived experience. The screenwriter, Steven Rogers, and director, Craig Gillespie depict the story as a black comedy, a dysfunctional family dramedy, and twisted biopic. Margot Robie successfully executes a role that is both physical and challenging to portray. She transforms herself, sometimes over the top, which is exactly how Tonya presented to the world. Allison Janney, as Harding’s chain-smoking, abusive, and vulgar mother, is captivating in every scene, like witnessing a car crash unfolding. The rest of the cast is convincing. The soundtrack from the 90’s, the settings, the skating, and the effective use of actual news footage filled in any gaps to make this a solid morality play with a laugh track.
7. Wonder Woman – First, let me go on record, that both Patty Jenkins and Gal Gadot were snubbed by the Academy and other award-issuing guilds and media, not for the fact that the film was the third highest-grossing movie domestically for 2017, but because it was a joy ride that was artistically and technically entertaining and good storytelling. Next, I thoroughly enjoyed the film for reasons I will briefly outline, however let me simply state that this is not a feminist film that will eclipse all the movies to date that have objectified, discounted, or minimized the importance of women in life or characters in movies. This is a superhero movie, based on a comic book, and in this case, the superhero is a kick-ass woman who is beautiful, smart, and powerful, waging a battle against war. Who would not enjoy watching that story? Here’s what you’ll see: Amazing special effects, Amazon women on horses doing slow-motion acrobatics in the air with bows and arrows, choreographed like modern dance; fight scenes that for the most part are not gratuitous, classic confrontations with good and evil (always exaggerated using comic book conventions so you are never confused about who to root for), consistent acting by leads and supporting characters that includes a band of ethnically and culturally-diverse misfit heroes, and historical settings which are alternately realistic and impressionistic. What you’ll hear is a great soundtrack that swells with emotion on cue, sometimes inconsistent or wonky accents (always a challenge), and a screenplay that is for the most part smart, laden with some great lines that the audience reacted to enthusiastically. Here’s my favorite, “I’m both frightened and aroused.” My recommendation to filmgoers, especially women, “suspend your disbelief,” sit back in your seat, and enjoy Wonder Woman waging peace.
8. The Big Sick – First, one of my favorite film genres is a well-made romantic comedy. Base it on real life events and as a memoir-writer I appreciate the  story-telling even more. The film is based on Kumail Nanjiani, the star of the film, and the real-life love story of his relationship with his wife, Emily V. Gordon, who co-wrote the script. The film poses the question, “What happens when a Muslim man, a stand-up comedian in Chicago, meets a heckler in the audience during a performance, a white woman played by Zoe Kazan, who bed each other at the end of the evening, and surprisingly, the one-night stand is the start of a relationship?” Two major impediments threaten the blossoming relationship, first, Kumail’s parents, as is the tradition in their religion and culture, attempt to arrange a marriage for their son by screening potential appropriate candidates for his wife. Second roadblock, when the two argue about the lack of potential for a long-term relationship, they breakup and a few weeks later, Emily suffers a serious lung infection and doctors hospitalize her and put her into an induced coma. The dramedy ensues when Kumail visits Emily at the hospital and meets her parents played wonderfully by Holly Hunter and Ray Romano. There’s so much love — and so much to love about this film.
9. Get Out – Jordan Peele’s directorial debut, in which he also wrote the screenplay, is a hybrid of genres, part horror film, suspense thriller, dystopian satire, social commentary about race, dysfunctional romantic dramedy, and “meet the parents road trip.” Spoiler Alert: You know the film is going to be a little twisted when the protagonist, played by Daniel Kaluuya, as Chris, is rescued by his friend, a TSA Officer. There’s so much to like about this story — and more importantly — to think about afterwards and discuss with friends. As Chris, a black photographer, hits the road with his white girlfriend played by Allison Williams to meet her family, an accident occurs, killing a deer. The scene telegraphs things to come both in its symbolism and Chris’s treatment as a black man in a white enclave. Bradley Whitford, Caleb Landry Jones, Stephen Root, and Catherine Keener round out the supporting cast. Peele references The Stepford Wives as inspiration for combining both horror and satire genres to tell his story that deals with racism much like The Stepford Wives dealt with the backlash to the second wave of feminism.
10. Phantom Thread – Paul Thomas Anderson’s latest film, which he wrote and directed, displays his visual acuity and precise sense of place, time, and character. He mixes in metaphors and allegory to play with his art form and tease the audience, much like the secret messages Daniel Day-Lewis’s, London couture dressmaker, Reynolds Woodcock sews into his one-of-kind garments. Woodcock is driven by his talent, ego, and daily fixed routines, like a three-legged stool. When the balance of any one of the three is disturbed, he topples. The story takes place in the 1950s in all it’s buttoned-up reserve and posing. The status quo is upset when a new muse, Alma, a waitress in a country inn, played by Vicky Krieps enters his life. The third figure in this triangle is Reynolds’s sister and business partner, Cyril performed by Lesley Manville. All three people are strong-willed and exert their power overtly and covertly, much like practiced chess players. The film stitches together a thematic tapestry: A love story, a portrait of an artist, and a game of wills. The artistry displayed is both Daniel Day-Lewis in what is purported to be his final film performance and Paul Thomas Anderson’s screenplay and direction. Anderson’s filmography includes some of my favorite films, Boogie Nights, Magnolia, There Will Be Blood and Inherent Vice. Though I’ve always found the score and music choices to be a character in themselves, I was not a fan of the score by Jonny Greenwood, which in this filmgoer’s opinion was upstaging at times competing with the visuals for attention. I did enjoy the visuals: The luxurious fabrics and settings, the food and sounds at the dining table, and the impending intrigue that builds as the story unfolds. It’s both a romance and a skirmish with scissors and knives. It’s not my favorite film this year, yet I recommend it for its original storytelling (kudos to Anderson) and Day-Lewis’s mesmerizing performance.
11. Three Billboards Outside Ebbing Missouri – Three words: Grief, retribution, and redemption, like the three billboards in “Three Billboards Outside Ebbing Missouri” carry the message of the film. The movie, written and directed by Martin McDonagh, is a riveting roller coaster ride between tragedy and comedy. There are lots of laughs by the audience in this story, reverberating with recognition of our flawed and too familiar human condition. The film showcases a gamut of themes: Murder, rape, cancer, racism, religious hypocrisy, divorce, alcohol abuse, police violence, and small-town life, yet the story focuses on the main character, as she experiences one of the five stages of grief, anger, in its most vengeful actions and full-throated voice. Mildred Hayes (played compellingly by Frances McDormand) strives to bring renewed attention to the death of her daughter, who was raped while she was dying and then set on fire. There’s absolutely nothing funny about that event, yet McDonagh expertly introduces characters and backstories weaving this tale of revenge in a small town and bounces between the two poles of comic relief and gut-wrenching sadness. I was alternately rooting for Mildred and appalled and surprised by her actions. The same was true of many of the characters. The cast, both leads and supporting actors, were perfect together. We recognize many familiar faces, sometimes in roles playing against type, whose characters expressed the dichotomies of good and evil which live in most of us. I must admit however, for myself, my tolerance for violence is waning in this culture of “murder porn.” Though I recommend this film, I fear as a society we are becoming anesthetized to violence, whether committed as a crime or in retribution.
12. All the Money in the World – I saw the film on Christmas Day. I attended solo. It was mid-afternoon and the theater was full-to-capacity with families seeing films together during the holiday. As I waited in the lobby, I spent some time people-watching and struck up a conversation with a couple of women my parent’s age. We reminisced about movies, family, and the holidays. You may be wondering why I preface my review with this anecdote.  I do so because it was in sharp contrast to the family at the center of this true story, the Getty family, with the patriarch not only the richest man in the world at the time of this story, but the richest man in all of history. This is a story about how some individuals value things over people, money over relationships. Getty made his fortune in oil, and grew it by investing in art, real estate, and investments. When his beloved grandson was kidnapped by radical political terrorists, he did not want to pay the ransom, and instead held unto his money even tighter. The hero of the film was Abigail Getty, played rivetingly by Michelle Williams, the divorced mother of the kidnapped John Paul Getty III (nicknamed Paul). She made a bargain with the elder Getty when she divorced his son, forgoing any generous financial windfall and spousal support in exchange for only child support and custody of her children, which left her at the time of the kidnapping unable to pay any of the ransom. That negotiation would create the story’s pivotal arc, how can she rescue her son, when his grandfather, who possessed all the money in the world refused to let go of any of it. Christopher Plummer, replaced Kevin Spacey in that role after his sexual harassment allegations were made public, and director Ridley Scott, in this viewer’s estimation, seamlessly re-shot all the scenes. I can’t imagine Spacey’s performance surpassing Plummer’s, who was both credible and compelling as Getty. The only miscast character for me was Mark Wahlberg as Fletcher Chase, Getty’s trusted security specialist and former CIA operative, retained to negotiate with the kidnappers and protect Abigail and Paul. The story drags in places and slows down the tension yet ratchets it back up. It’s part thriller, suspense and adult-tuned action movie, based on true events depicting how power, wealth, and greed can corrupt, and that sometimes you can have all of the former and be left with nothing. It’s a story for our times. It’s not a perfect film, yet I recommend it with reservation.
13. Molly’s Game – I was looking forward to Molly’s Game for a number of reasons. First, Aaron Sorkin’s screenplay and directorial debut, Jessica Chastain as the title character, and lastly, my ex-husband was a talented card player: poker, duplicate bridge, and blackjack. There are a number of great films whose subject is gambling: The Hustler, The Cincinnati Kid, The Sting, The Cooler and Hard Eight to name a few of my personal favorites. Some of the casting was pitch perfect, beginning with Chastain, Michael Cera as Mr. X, playing against type, Idris Elba as Molly’s attorney, and the supporting cast, Jeremy Strong and Chris O’Dowd. On the flip side, Kevin Costner as Molly’s father didn’t work for me, some of it due to the writing, his character’s one-dimensional mansplaining, controlling behavior, and general unlikability. Lastly, my dislike of Costner’s full-of-himself presence in all of his performances (yes, I’m biased). The film is based on a true story and going in, Molly Bloom is clearly the protagonist who we will be rooting for, unfortunately Sorkin as screenwriter and director, layers on too much narration, too many fast-paced lines of dialogue, and not enough show, not tell. I missed the tension and drama displayed in the card play found in most gambling films. Without revealing any spoilers, the ending was not the payoff the build-up was leading to. When Molly Bloom should have had the last word, other characters (men in this case) spoke for her, which for me defeated the whole theme of the story. I lay the blame on Sorkin. Unfortunately, it’s a film in my view that could have been so much more impactful.

Documentaries

1. Faces Places – This past Saturday, I saw the documentary, Faces Places, (French: Visages Villages) at the UW Cinematheque with my art-adventuring friend, Louise to my Thelma. The film, a collaboration  between Avant Garde photographer, artist and filmmaker Agnès Varda, and JR, a young photographer with the help of his poster papering crew, travel around the French countryside and take large format portraits and paste them to buildings to the delight of the subjects, townspeople, and workers. The film was screened at the 2017 Cannes Film Festival and won the L’Ceil d’or.  Amy Taubin of Film Comment, called the film an “unassuming masterpiece”, describing it as “both personal and populist, a celebration of artisanal production (including cinema), worker solidarity, and the photographic arts in the face of mortality.” My favorite documentary of 2017.
2. Abacus: Small Enough to Jail
3. Dina

(The following three documentaries were broadcast on HBO)

4. The Newspaperman: The Life & Times of Ben Bradlee
5. 32 Pills
6. Spielberg 

The Best Foreign Film

1. Thelma – The film directed by Joachim Trier, Norwegian filmmaker, whose previous works include Louder than Bombs, Oslo, August 31st and Reprise. I saw Louder than Bombs at the 2016 Wisconsin Film Festival and it was my favorite narrative film of the fest. It was the English language debut of director, Trier and screenwriter Eskil Vogtand, the team behind Oslo, August 31st (WFF 2012) and Reprise who created a mesmerizing family drama that portrays the ripple effect of an unexpected death on each survivor and their relationships. The film starred Jesse Eisenberg, Isabelle Huppert, Gabriel Byrne, with supporting roles by Amy Ryan and David Straithairn, and a breakout performance by Devin Druid. Thelma is a more difficult film to describe. It is a hybrid of a number of genres: psychological thriller, supernatural mystery, family drama, and lesbian love story. Without revealing any spoilers, Thelma, a university student in Oslo, on meeting another student, Anja, begins having seizures of inexplicable cause. The experience precipitates a bond and ignites more than a friendship between the two women. Thelma is under the watchful eyes of her parents as she reports to them daily by phone or text. It becomes apparent that there is a strong religious foundation to their values and efforts to monitor Thelma’s behavior. As Thelma begins to assert her independence and explore her life as a young adult college student away from home joining a social community of her peers, unexplained tension builds with disastrous results. My main criticism of the film is its slow pace, which in my view, lessens the impact of the impending doom. The cinematography however is captivatingly beautiful and creates a point of view for the filmgoer as a detached witness to these supernatural and tragic events.

Honorable Mention (includes narrative and documentary films)

1. The Killing of the Sacred Deer – I’m a fan of the director’s previous film, The Lobster, so I went into this experience having some familiarity with Yorgos Lanthimos directorial POV, themes, and art house style of imagery and camera angles. He uses lots of tracking shots that follow the characters down long hallways and from a distance, reinforcing a degree of detachment, or hovers above the scene like a drone. The dialogue is also very mundane and matter-of-fact, delivered with an unsettling lack of emotion, until the clock begins ticking and the impending doom of the inevitable outcome of this allegorical horror revenge story is ratcheted up to an unsettling, squirm-in-your-seat, degree. The protagonist has a villainous secret and in this Shakespearean-like tragedy, needs to pay his pound (and more) of flesh. In this story, the payment is made to a dark, cold-blooded, equally villainous antagonist who stalks his prey. It’s a visually beautiful film, with well-crafted images, perfectly-executed score, and credible characters, each very watchable. This is one of those films that when leaving the theater, I would not recommend it to most filmgoers, yet reflecting back on it, its thought-provoking themes linger. Recommended for art house audiences and film buffs, not for the literal-minded or squeamish movie goer.
2. Maudie
3. Baby Driver
4. War for the Planet of the Apes
5. Blade Runner 2049
6. Dunkirk

Films I Haven’t Seen Yet

(And likely would have been considered for the Best Films list, includes narrative and documentary films)

1. Film Stars Don’t Die in Liverpool
2. Star Wars: The Last Jedi
3. Mudbound
4. The Square*
5. Coco (animated)
6. Ex Libris: The New York Public Library (documentary)
7. Jane (documentary)

*Update 02/09/2018: I watched a film On Demand yesterday that was on my “must-see list” that I missed (it had only one showing in Madison). “The Square” is a Swedish satire and  dark comedy which won the Palme d’Or at the 2017 Cannes Film Festival. The film, directed by Ruben Östlund, stars Claes Bang, Elisabeth Moss, Dominic West and Terry Notary. It takes a wry and critical look at art, the museums which display it, the benefactors who underwrite the installations, the curators who select and mount exhibits, how shows are marketed, and lastly how curators and artists talk about their work. It is also much more. Add in real life that sometimes resembles performance art, performance art that challenges our perceptions of life, class differences and the prejudice it can evoke, leading to clashes between the “haves and have nots”.  The artist’s statement for the installation at the center of the story is the film’s theme, “The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.”  Our protagonist is Christian (Claes Bang), the Stockhlom museum’s curator, who on his way to work one day is a victim of a con game in a public square, which sets off a series of events that involves, art, money, sex, revenge, retribution, and apologies. I have always believed that part of what makes art, “art,” is how the artist, the exhibitor, and the art-goer talks about the experience. This film fills “The Square” at the center of the story with plenty of themes to think about. See this film.   

Guilty Pleasures

(Films by favorite directors, actors and/or genres. The first of the two films fall into the romantic comedy genre, with a subgenre of dysfunctional family dramedies. The third film is a growing genre of stories about baby boomers looking back at the legacy of their lives and questioning their choices. The final film features one of my favorite actors, Joel Edgerton, a dystopian future subject matter, and an upcoming director that I’m following, Trey Edward Shults.)

1. Landline
2. The Lovers
3. Brad’s Status
4. It Comes at Night

Films I Wanted to Like More Than I Did

1. Downsizing – This was a film I was really looking forward to seeing. The trailers were funny, positing engaging ideas, the creation of an alternate universe to address the issue of how humankind’s disastrous impact on the environment could be prevented by “downsizing,” shrinking humans to reduce the size of our carbon footprint and the amount we consume of our planet’s remaining natural resources. It’s a dystopian comedy. What’s not to like? The answer to that rhetorical question is…the second half of the movie! Alexander Payne, who produced, directed, and wrote the screenplay, is a filmmaker whose work I’ve enjoyed and admired. He’s often been able to take serious subjects and tell a story with a light touch and relatable human scale (pun intended). Some of his films include Nebraska, The Descendants, Cedar Rapids, and Sideways. Matt Damon, Kristen Wig, and Christoph Waltz give capable performances (sidebar: I’m angry at Matt Damon for some of his insensitive and ignorant remarks about sexual harassment, women and black filmmakers). Without revealing spoilers, the second half of the film meanders in worlds and story lines that failed miserably. There were a multitude of themes that potentially could have been explored, but Payne unfortunately got lost in his small world. I don’t recommend this film. I was disappointed. 

Films I Chose Not to See

1. Darkest Hour – I saw one award-winning and nominated historical film about Dunkirk, and didn’t possess the desire to see the same war fought again. Plus, I have some concerns regarding Gary Oldman’s domestic abuse history. I’ll watch it ON Demand when some time passes.
2. The Disaster Artist
3. The Greatest Showman
4. Roman J. Israel, Esq.
5. Beauty and the Beast
6. Victoria and Abdul

Dream Double Features

(Films to watch together)

1. All the President’s Men & Newspaperman: The Life & Times of Ben Bradlee

Additional Related Reading from Mixed Metaphors, Oh My!

A Filmgoer’s Guide to the Best Films of 2016

Filmgoer’s Guide to the Best Films of 2015

A Filmgoer’s Guide to the Best Films of 2014

Hotel Bar

Another Trip Around the Sun