2017 was a banner year in movies, almost by accident. Sometimes, without it even being intentional, a year in entertainment can capture the zeitgeist of a moment, and such was definitely the case in 2017, after the total bummer nearly across the board that was 2016, which saw the entertainment industry lose some of its brightest stars.
With the near-unprecedented election of a freaking reality-TV star to the highest position in the land, you better believe the ripples of that were felt throughout the land- and not just in America, mind you. In spite of the way 2016 ended, it set the stage for what truly became the Year of the Woman, and as much as I hate to admit it, a lot of the reason for that lays at the feet of He Who Must Not Be Named. Nothing quite rallies people together like a good villain, right?
No sooner had Mr. Twitterpants been elected than women collectively had a Network moment and gathered together en masse in an outpouring of mutual hatred against one person that I've never quite seen the likes of in my lifetime.
Somewhat ironically, this was all set in motion sometime before, with the one-two-punch firing of FOX News head honcho Roger Ailes in 2016, followed in 2017 by FOX commentator Bill O'Reilly. Many thought, after the infamous Access Hollywood tape, that Mr. MAGA would swiftly follow suit, but such turned out sadly to not be the case.
But there's a silver lining to every cloud, and in this case, it seems to have been that, just as his election drove people apart in many ways, it also drew firm lines in the sand for others.
Suddenly, the racists and other deplorables were exposed for the awful people they were, now no longer hiding, but in plain sight, and even the good people who made a bad choice by playing a part electing you-know-who slowly-but-surely began to realize they'd made a dreadful mistake, as the Year of Chaos began in earnest. (Contrary to what some would have you believe, those who voted for him weren't ALL bad, just misguided by the Mother of All Snake Oil Salesmen.)
The wreckage continued as women- and even a few men- began to take down other powerful men, one by one, especially in Hollywood: the once-untouchable producer Harvey Weinstein, much-beloved character actor Kevin Spacey (who, as it turned out, was not so beloved within the industry), Louie C.K., Brett Ratner, Danny Masterson, James Franco, Casey and Ben Affleck- the list goes on- hell, even Aziz Ansari got taken down for what amounted to a really bad date!
The movement didn't stop there- it continued on into everyday people's lives as well, with the #MeToo and Time's Up splinter movements, which saw other powerful in ALL manners of industry starting to fall, from politics (Al Franken, Roy Moore- albeit barely- Rob Porter) to the media (Matt Lauer) to the cooking industry (Mario Batali) to the finance and business industry- no powerful person was spared.
Rogue's Gallery, Volume One
While it could be argued that a bit of a tipping point was reached with the whole Aziz Ansari thing, there's no denying that a lot of people got what was coming to them.
Interestingly, a lot of what was going on in the movies reflected these events, despite the fact that many of the films that came out in 2017 were already shot or well underway before the floodgates were truly opened.
In many ways, it was if the movie anticipated the movements, making for some truly great film-going experiences. As such, for once, I had a harder time narrowing down the list than in many a moon- hence my making it a Top 15 list instead of the typical Top 10.
To that end, here is the first installment of my list, and I hope you enjoy it. It may have been a trying year all around, but a lot of good things came from it, things which I genuinely hope help clear the way for a better future on down the line. Until then, there's always the movies, to both help us confront our greatest fears and frustrations- and escape them.
15. Split
If you had told me that a freaking M. Night Shyamalan movie would make my list even a few years ago, I'd have told you that you were out your damn mind, and yet, starting with The Visit, he started to make a modest comeback by going back to basics, and damned if it didn't work like gangbusters.
With Split, Shyamalan also sought to bring things around full circle, tying the film back to his hey-day, specifically (spoiler alert) Unbreakable, which this film dovetails with beautifully, setting the stage for a Shyamalan showdown of epic proportions.
However, as much of a kick as that was, what really made this film for me was two components: James McAvoy's stellar, award-worthy performance as a man with 23 personalities, who finds himself going up against- what else? - a group of headstrong women, who band together to take him down.
Chief among them is 2016 breakout star Anna-Taylor Joy, of The Witch fame, another movie that preconfigured the women's movement beautifully, even if it wasn't for everyone's tastes, thanks to glacial pacing and its period setting.
Joy, a force to be reckoned with, really brings the fire here, as a woman who won't let herself be defeated by this erstwhile monster, using her wits for a battle of the twisted minds that was truly something to behold.
Her character, Casey, a victim of past sexual assault by a family member, came out of the film stronger, wiser and ready to take on the horrors of the world in a brand-new way than she was previously- much like a lot of women in the post-election, post-women's movement world.
For that reason, and for the strong performances across the board, I'm willing to look past the controversy that arose as a direct result of the perceived stigmatization of mental illness portrayed here- it is, after all, only a movie, folks, and a damn good one at that. Here's hoping M. Night keeps up the good work- one can only stand so many movies like The Last Airbender and After Earth.
14. Train to Busan
I'm a horror movie guy, and it was a pretty decent year for horror, overall, I thought. Sure, there were some inevitable clunkers (The Bye-Bye Man, It Comes at Night, Don't Knock Twice, etc.), but if you're a long-time horror fan, you know that sort of thing comes with the territory. Sometimes, you've got to sort through the refuse to find the jewels buried underneath, you know?
I put off watching this one for some time, being all zombied-out for the time being, thanks to having binge-watched The Walking Dead for my then-job of reviewing TV shows, after having fallen behind on it somewhat. But people kept talking about it in my Facebook groups, and, astonishingly, it even made some top critics' Best of the Year lists.
As such, I finally broke down and watched, not in the least because my own list was a bit light on the horror-oriented side, and I try to include a few on general principle, when I can.
Boy, were they right. Train gets so much stuff right it's kind of astonishing. It takes its sweet time setting things up, letting you get to know the characters one by one. Sure, not everyone gets the same amount of "getting to know you" time spent, but the casting is just solid enough that you get the idea and can fill in the blanks on the side.
Even so, it also carefully sets up an undeniable sense of dread that, when it finally pays off, boy does it pay off in earnest. Yes, at near two hours, it's a bit long, but there's a reason for that, and I think it almost justifies being that long in the way it subtly sets up things you don't quite notice until they come back into play later.
Beyond that, it's a tense experience. One might think that the whole "zombies on a train" thing would be over pretty quickly, but the way the movie deftly plays with our expectations and finds clever ways to sustain and expand the action is a thing of beauty, and the cast truly is endearing- even those that seem like assholes (or in some cases, really are) at first.
I also love the way the movie takes up the baton from zombie sub-genre mastermind George Romero and doesn't explain too much. You get only a vague sense of what caused it in the first place, and that's it.
You don't need anything else, but damned if you don't get it, as this is a Korean film, and, much as each of the Romero zombie films reflect the times in which they were made, so does this one reflect the pot-boiler of existence living in spitting distance of a fascist regime, and the repercussions of that.
When reports first start coming in of the attacks, they are dismissed by the media as "fake news" (another telling by-product of the current administration), then as "riots" by protesters that just got out of control. It's a brilliant twist, and one that the late Romero, who sadly passed away in 2017, surely would have appreciated, even though he famously hated the "New Wave" of zombie movies and TV.
Granted, the zombies here may be of the somewhat-reviled "fast-moving" type, which die-hard zombie purists (including myself) don't typically cotton to, but damned if this flick doesn't pull it off like no movie since the decent 28 Days/Weeks Later movies.
I can't recommend this one enough, even if you normally hate subtitles. Trust me, it's worth it, and think of it this way- after a certain point, you don't get a lot of subtitles anymore, as the action takes center stage. Easily one of the best zombie movies ever, and believe me, I've seen quite a few.
13. Molly's Game
Perhaps inevitably, the directorial debut of notoriously verbose writer Aaron Sorkin- he of The West Wing and The Social Network fame- is almost relentlessly talky, but what talk! Honestly, I could listen to his dialogue all day, and I didn't even much care for TWW or TSN. With this film, though, Sorkin's source material finally lined up with my own particular tastes in film and hits the sweet spot for me by being based on a true story.
As per my intro, the film revolves around a strong woman- Molly Bloom, played by Jessica Chastain, in perhaps her finest performance to date, and that's saying something when your resume includes the likes of Zero Dark Thirty and Take Shelter, two of my favorite films of the past decade so far.
After an injury costs her a burgeoning career as an Olympic-level skier (also timely), Molly turns to waitressing, putting off what could have been a promising career in law. This, in turn, leads her into the world of underground poker, which she slyly slides into taking over, first in L.A., then in NYC, after a former male ally takes over her game in L.A. simply because he thinks she gets too big for her own good and steals her clients away after she accuses him of being unethical.
Needless to say, at nearly every turn poor Molly is having to deal with one male jerk after another, trying to slow her roll, or, barring that, scare her out of the business altogether. Molly is one tough cookie, and without fail, she fights back every step of the way. You'll be cheering by the time she has her triumphant moment at the end.
Now, did a movie about poker really need to be well over two hours long? Hell, no. That's precisely why I ranked it lower than I might have if there had been some judicious editing, but that's what first movies are for- there's a learning curve.
Fortunately, Sorkin shows he has what it takes behind the camera, as well as his continued prowess in the writing room, so we'll chalk it up to getting a little carried away his first time out- after all, look at his previous efforts: long-form TV shows and movies that regularly also cross the two-hour line. He'll learn, hopefully.
Even if he doesn't, this is a fine effort, filled to the brim with excellent turns from an ace cast that also includes Idris Elba (so good here, it almost makes up for The Dark Tower- almost), Michael Cera (leaning into his more hissable qualities for once), Kevin Costner (as Molly's demanding father- another unpleasant male figure in her life) and the always-welcome Chris O'Dowd (who killed it in the TV version of Get Shorty last year).
As an extra added bonus, if you like poker, boy are you in for a treat. (I myself used to fall asleep watching it on TV in my early college years- interestingly it was hosted by Leeann Tweeden, aka she who brought down Al Franken.) Even if you don't, this is solid entertainment with a welcome dose of girl power to boost it up.
12. The Big Sick
I love it when a movie you expect almost nothing from surprises you. Such was the case with this, the latest offering from the seemingly never-ending Judd Apatow production line. Don't get me wrong, I like some of his stuff, even if I'm among those that think his movies would be a damn sight better if they were a good half-hour shorter and left the extensive ad-libbing for the DVD/Blu-Ray bonus features, where they belong.
But every now and again, he gets one right, even if he isn't directly involved. His instincts to make the true-life story of stand-up comedian and actor Kumail Nanjiani (Silicon Valley) and his then-girlfriend, writer/producer Emily Gordon (The Carmichael Show), into a film were spot-on.
I love movies that give a window in on things you wouldn't experience otherwise- most of the films on my list have that quality to some extent or another- and this is no exception.
Nanjiani basically plays himself at the time, a struggling stand-up looking for his big break, when he meets the snarky heckler Emily (played by the winning Zoe Kazan, Ruby Sparks, who has filled the movie void left by Zooey Deschanel after she went to TV as America's designated indie manic pixie dream girl, albeit slightly new-and-improved). He's smitten, but wary of what his traditional Indian family will think, who are constantly trying to foist an arranged marriage on him.
Eventually, this becomes a problem, and they break up, which is traditionally where a rom-com will put an obstacle or two in our clearly-destined-to-be-together couple's path, only for them to conquer it handily and end up living happily ever after. However, in this movie, it's where the story actually begins, as Emily is shortly thereafter diagnosed with a mysterious, unknown illness. Keep in mind this is AFTER they break up.
Feeling terrible about it, Kumail visits the hospital, where Emily is in a coma and he runs afoul of her parents (Holly Hunter and Ray Romano), who aren't too happy with his being there, knowing all about his past with their daughter.
An unlikely bond forms between the three as they wait patiently on Emily's recovery- if it ever will come. Naturally, it does, or it wouldn't be a very eventful movie, and just sad.
But how will Kumail and Emily get past the fact that Kumail dumped her beforehand? Or that he never even acknowledged her to his family? Is he there just out of guilt, or is it something more?
Obviously, we know the answer, or if you don't, it's pretty easy to find out online, but long story short, things go from there, and the end result is both delightfully original and heartbreaking at times.
And did I mention it's the best romantic comedy I've seen in ages? Possibly one of the best ever? For those who need a frame of reference, it's sort of like a better version of How to Be Single crossed with Terms of Endearment, but funnier than both, and not as much of a downer as the latter.
Nanjiani makes for a winning, atypical leading man, and the story is unpredictable and manages to avoid a lot of the pitfalls of most rom-coms, thank God. Check it out, even if you don't traditionally like this sort of thing.
11. Logan
To be honest, I wasn't expecting much of this going in- I wasn't a huge fan of the two previous stand-alone Wolverine movies, and the character itself has largely been a sort of hulking machine or even a punchline (albeit a good one- see X-Men: First Class) in the latest trilogy of X-Men movies. Then came the surprise success of the R-Rated Deadpool and suddenly prospects seemed better for a decent Wolverine movie than ever before.
Logan delivers the goods and then some, and though purported to be the last- at least with star Hugh Jackman in the role- better late than never. If his intention was to go out on a high note- and by most accounts it was- then mission accomplished. Logan is nothing less than one of the best superhero flicks ever made, bar none.
And it's not just because of that R-Rating, mind you- though it goes a long way towards capturing the real Wolverine that fanboys have wanted to see all along than any previous effort- but because, it's just plain a great movie.
Helping immeasurably are strong supporting performances from the stalwart Patrick Stewart as Professor X, but of course, as foul-mouthed and cranky as we've ever seen him, and delightfully so; as well as a strong debut from newcomer Dafne Keen, a chip-off-the-old-Wolverine (literally), who does her fair share of vicious slaughter her own self- and did I mention she's 12?
This being the last one, a sizable number of women no doubt got to see a whole new side of their men when they were reduced to blubbering messes after certain twists and turns in the plot, which (spoiler) doesn't end well for certain characters. I managed to get through the first biggie, but yeah, I'm not gonna lie, that last one got me. How could it not, as a fan? After all, a lot of us have grown up with these characters for most of our lives. I'm not made of stone!
But even beyond all that, this is also an action-packed flick that delivers the gory goods once and for all, pleasing those longtime fans something fierce along the way. Superhero flicks don't get much better than this, and in a year that featured some stand-outs Logan stood leaps and bounds above most of the rest.
Join me tomorrow for installment two, in which we'll tackle #10-6. Thanks for reading and let me know what you thought so far in the comments down below!
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