1. GET OUT
When someone asks me what my favorite film genre is, I undoubtedly say “horror”—but I quickly follow that up by letting them know that I only like the “good” horror films (which of course are rare). Get Out is part of that small group of films that makes me truly love the genre. Its enormous tension is well-balanced with comedic relief, which is unsurprising, given first-time director Jordan Peele's career. But this is not a low level horror-comedy. It has the feel of a master filmmaker who is in complete control of how he is affecting the audience, like a conductor who is directing our emotions. This is a truly impressive achievement for Peele. Although this is his first time directing a film, it’s clear that his experience in front of and behind the camera has made him an expert in the language of film. As a fellow lover of the horror genre, it’s also evident that he's studied many of the best films of the genre and understands not only the tropes and themes in them, but more importantly: what makes them great. The reason Get Out is so strong is because, like the very best of the genre, Peele understands that sometimes using exaggerated genre conventions is the best way to shine light on serious issues in our society. To hear more on Peele’s inspiration for the film, I’d recommend checking out his interview on Fresh Air.
2. GOOD TIME
You have to experience this film to fully understand it. The pacing of it is absolutely insane. I had just seen Dunkirk a few days before watching this, and I thought that film was non-stop… but this film makes it pale in comparison. Good Time MOVES. Robert Pattinson is a revelation in the film starring as Connie, a man on a mission to get his younger, mentally disabled brother out of prison. I think this is one of the greatest New York films in years. It’s a modern counterpart of films like Taxi Driver and The French Connection. The Safdie brothers do a great job capturing a sense of the grittiness and hustle of the city, flexing the skills they learned making documentaries and films like Heaven Knows What (another great New York film). They focus on things that many filmmakers would gloss over, like Connie as he slowly and methodically solves the numerous problems that he encounters (with each solution of course creating more problems). Pattinson does an excellent job showing us this process. His character finds creative solutions by using what and who he has around him—often manipulating by charming them or lying. Like many great con men, it actually feels like Connie often believes the lies that he’s telling.
3. THE KILLING OF A SACRED DEER
I’m slightly ashamed to admit that so far I’ve only seen one other film by Yorgos Lanthimos, The Lobster, which was a cinematic breath of fresh air and clearly the creation of a unique and confident mind. Here, Lanthimos once again teams up with Colin Farrell, in a loose adaptation of Iphigenia at Aulis, a Greek tale in which Agamemnon is forced to sacrifice his daughter after accidentally killing a sacred deer that belonged to the goddess Artemis. Lanthimos is a complete visual master, with some of the most beautiful shots of the year in this film. He has a truly interesting sense of perspective, knowing exactly how to get you into the minds of the characters (and intentionally detach you at times as well). He brilliantly uses camera movement, and the lack of it, to build the feeling of claustrophobia and dread throughout the film. Lanthimos once again creates a tragic and darkly comic world in this film. Nicole Kidman and Farrell both do an amazing job bringing this unique world to life, but it's newcomer Barry Keoghan who is the real heartbeat.
4. THE FLORIDA PROJECT
Out of all the great films of 2017, The Florida Project had the biggest emotional impact on me. The film follows a young girl and her mother who are living in a rundown hotel just a few blocks away from Disney World. Although the proximity is close, they might as well be in a different world. Because the type of family who can afford to visit the amusement park is just as much of a fairy tale as the cartoon characters within it. We see helicopters above and the colorful glows from the fireworks, but it’s always understood that this alluring kingdom is not for them. This is a perfect film to summarize 2017, where our president spent his first year in office largely due to promising a better life to working class and impoverished voters. Director Sean Baker does a beautiful job portraying the duality of capitalism by peering into a part of America that many of us would prefer to see with a blind-eye. The actors utilize the freedom Baker creates for them exceptionally, especially Brooklyn Prince (seven years old) who delivers a stunning and truthful performance. Willem DaFoe is also fantastic as a benevolent and troubled manager of the motel. The cinematography is also stellar, with great compositions and vibrant pastel colors.
5. Phantom Thread
I was beyond excited when I first heard that Paul Thomas Anderson was once again teaming up with Daniel Day-Lewis. There Will Be Blood remains one of my favorite films of all time. I credit it to opening my teenage eyes up to a whole new way of looking at cinema. It was very obvious that every shot was carefully designed to aid in the telling of the story. And the performance by Day-Lewis still echoes in the back of my mind. So it was hard to not go into Phantom Thread without impossibly high expectations. But Phantom Thread is another masterpiece in its own way. The story follows the illustrious dress-maker Reynolds and his new muse Alma in post World War II Britain. Reynolds has a habit of disposing of his old muses after they prove too difficult for his obsessive work, but it’s evident from the beginning that Alma is different. Phantom Thread doesn't have a conventional storyline; instead, we follow the two lovers as they struggle to make sense of the dynamics in their relationship. The film is stunningly shot, as the camera often circles around beautiful dresses, or follows Reynolds as he speeds around in his Bristol sports car. Every frame is once again, carefully considered. Interestingly, PTA didn't work with a designated cinematographer on the film. He instead took on some of the responsibilities himself and collaborated with others on the set. In other instances, you could see this as diluting a director’s vision, but here it feels like it actually aided him in fully realizing his. Daniel Day-Lewis claims that this will be his last film ever. He is absolutely brilliant in the role, so while it would be a shame never to see him on the silver screen again, he'd be ending it on something special.
6. COLUMBUS
Can art heal the soul? That's essentially the big question that Columbus poses as the two main characters discuss life and explore the architectural mecca of Columbus, Indiana. Jin (John Cho) is visiting from Korea to see his estranged architect father, who has recently fallen into a coma. He meets, Casey, a young woman who dreams of becoming an architect but has always had to take care of her recovering addict mother. It’s lovely to see John Cho showing his rarely seen dramatic side as the haunted Jin. I've been a big fan of Kogonada's video essays for a long time because they get to the essence of what makes certain filmmakers so great. His videos do an excellent job of distilling the root of their visual language. So it's really awesome to see him taking the leap into creating his own films. As someone who’s spent so much time studying films, Kogonada’s reflective nature shines through in his debut film. There are tons of traces from the filmmakers he's studied so meticulously, particularly legendary Japanese director Yasujirō Ozu. Every frame is brilliantly composed and mirrors the thoughtful architecture of the city it takes place in. The soundtrack by Hammock is another highlight. It's an incredible first entry into filmmaking for Kogonada, and I can't wait to see what he has in store in the future as he continues to develop his own voice to be as strong as the directors he's spent so much time studying.
7. LADY BIRD
Greta Gerwig is another first time director who absolutely kills it in her first film. This is a unique coming of age story that takes place in Sacramento. The subject matter isn't new territory, but it's executed excellently by Gerwig who is able to capture the struggles of growing up and the complexities of parent-child relationships in an authentic way. It's funny, poignant, and the core of it feels truthful. It's easy to feel that a lot of this was taken from Gerwig's personal experience. As always, cinematographer Sam Levy's work is excellent, serving the story with graceful compositions and lighting. I've had the privilege of learning from Levy and I consider him a big influence in my own work. He has a refreshing minimalistic approach to cinematography and knows how to elevate the story without distracting the audience. In addition to honest characters, Lady Bird has a great sense of place (Sacremento) and time (early 2000's), and it's told in a clear vision that makes me excited to see what Gerwig does next.
8. CALL ME BY YOUR NAME
Another beautifully told coming of age story, Call Me By Your name, tells the story of a teenager, Elio, as he falls for the handsome and charismatic Oliver in northern Italy. This film is breathtakingly gorgeous and told with a remarkable elegance and efficiency. The whole film was shot on a single 35mm lens, and every filmmaking decision feels motivated by the story. There are many long takes in the film, and when there are cuts, it feels mostly invisible. The blocking is particularly strong as well. Director Luca Guadagnino has a strong understanding of the relationship between the camera and his actors. Instead of being distracted by flashy shots, you are eased into the beauty of the world and the emotions that the characters are experiencing. Amazing work by Armie Hammer and Timothée Chalamet. Chalamet in particular shows incredible vulnerability and does a wonderful job portraying what it’s like to be young and figuring out who you are. Sufjan Stevens delivers a great soundtrack as well.
9. Dunkirk
The only reason I can’t rate this film any higher is because I know it’ll never be as good as the way I saw it in theaters. I was fortunate enough to be able to see it in 70mm IMAX at AMC Loews Lincoln Square theater. After seeing it on this screen, seeing it on anything else seems offensive. And watching it on a phone would be downright criminal. Nolan is back as a master of tension and sensory terror as this film puts you in the shoes of three different sets of characters as they struggle to survive the battle of Dunkirk, on land, in the sea, and in the air. The high point of the film is the stunning aerial IMAX photography that is probably the closest any of us will get to flying a WWII fighter plane. Nolan is in complete control of the suspense as it continues to build throughout the film. The sound design is excellent as well as the Soundtrack developed by frequent collaborator Hans Zimmer. The frantic nature of the story is intensified by a fascinating auditory illusion in the score called the Shepard tone.Interestingly, Nolan chooses not to show any of the German enemies in the film. This decision works not only because it puts us into the perspective of the soldiers who often couldn’t see their enemies face-to-face, but because it makes the true enemy something we can all relate to: time. Time is always running out.
10. The Shape of Water
Guillermo del Toro's intense passion for slimy creatures is evident in all his work. The Shape of Water hits the mark for me, although not to the same level as his best films (Pan’s Labyrinth and The Devil’s Backbone). The Shape of Water is a love story about a mute janitor and an Amazonian river monster in the top secret government facility she works at. It’s both a love letter to and an important criticism of the American monster films of the 1950’s, which it’s inspired by. Many of those films were a reflection of their time and depict blatant racism and sexism. The Shape of Water tries to comment on those themes and show that the silenced do have power when they come together. The production design brilliantly depicts mid-century America through a murky, almost noir veil. Del Toro beautifully glides his wide angle lensed camera throughout these sets. The design of the monster was also fantastic, as del Toro perfectly blends practical effects with CGI. Although the film attempts to comment on fairy tales through a new lens, it unfortunately suffers from some of the same limitations as many fairy tales. Some of the characters end up feeling a bit one-dimensional at times. However, despite the thinness of their characters, the actors do their best at fully committing to their roles. Michael Shannon gives a powerful performance as the villain of the film. Although the characters were at times one-dimensional and certain sequences didn’t work for me, the beauty and passion with which del Toro tells this story are palpable.
