The Best Theatrical Releases of 2017
HomeThe Best Theatrical Releases of 2017
Posted December 31, 2017 10:36 PM by Brian Orndorf
Spider-Man doing the Blitzkrieg Bop, a castaway lifetime, Gerwig's redemption, Missouri rage,
penitentiary hell, a director's legacy, fashion world rot, Pattinson's evolution, grief in the Middle
East, and the pains of marital captivity. Blu-ray.com's Brian Orndorf takes a look at his favorite
films of 2017.
Three Billboards Outside Ebbing, Missouri
Writer/director Martin McDonagh specializes in violent tales and rascally characters, but his filmmaking command comes into full view during "Three Billboards Outside Ebbing, Missouri," which ripples with rage, dark comedy, and bitterness. It's not an especially friendly motion picture, delving into unspeakable areas of grief, but the magic of the picture is found in its capacity to surprise, with McDonagh finding ways to disrupt expectations and take the material into fresh directions. Having Frances McDormand deliver career-best work helps the cause, giving the feature a rich sense of character and emotional resonance, adding a sense of urgency to an already riveting effort.
Lady Bird
Perhaps I've been hard on actress Greta Gerwig in the past, generally finding her indie film eccentricity about as welcome as a steak knife rubbed across the knees, but "Lady Bird," which marks her second outing as a writer/director, is a revelation. Remaining behind the camera, Gerwig captures the beating heart of adolescence, depicting the ups and down of an average teen entering her experimental phase, dealing with the fussiness and cruelties of friendships, boyfriends, and family. It's clear-eyed scripting from Gerwig, who summons universal experiences while remaining respectful of fringe players, achieving a sense of life on the screen, instead of soaking in cliché. Supporting the effort are stunning performances from Saoirse Ronan and Laurie Metcalf, providing a mother-daughter dynamic that's unnervingly authentic.
Spider-Man: Homecoming
There have been outstanding Spider-Man movies before, but not one in quite some time. Co-writer/director Jon Watts joins the Marvel Cinematic Universe team with his exuberant "Spider-Man: Homecoming," which helped to restore faith in the wall-crawler as a viable big screen superhero. In a year of brightly designed comic book entertainment, this was the most electric, jovial, and unexpected, restoring elements of adolescence and wonder to the brand name, while star Tom Holland makes for a spirited costumed hero. "Homecoming" is a crowd-pleaser and a competently scripted caper, aided by a victorious turn by Michael Keaton as the picture's heavy. One doesn't need specialized glasses to experience the tonal 3D of the effort, with Watts displaying exhilarating command of heart and soul, and the web-spinning spectacle was equally impressive.
The Breadwinner
The latest release from Cartoon Saloon is their finest. Coming after "The Secret of Kells" and "Song of the Sea," "The Breadwinner" continues the studio's dedication to stories of empowerment and emotion, this time bringing audiences into the forbidding atmosphere of Taliban-controlled Afghanistan to meet a girl forced to alter her identity to save her father. The chilling reality of such oppression is felt throughout, but director Nora Twomey finds the humanity under the history, constructing a challenging sit, and one that masterfully balances loss and life, sold with imaginative animation and some of the most expressive voice work heard in recent memory.
Spielberg
It's impossible to cover the span of Steven Spielberg's career in one 147-minute-long documentary, but director Susan Lacy comes incredibly close. Providing a smartly curated, tightly edited journey through the years of one of Hollywood's great filmmakers, Lacy makes marvelous discoveries, connects hidden artistic interests and family ties, and provides an overview of the legendary helmer's finest works, supported with insight from the creator himself. "Spielberg" is educational and taps into primal geekery, and it pulls off an absolute miracle: it manages to provide an understanding of motivation and career choices, confidently juggling nearly 60 years of creative accomplishments.
Phantom Thread
After lacking a bit of oomph and focus with his last two efforts, writer/director Paul Thomas Anderson returns to full power with "Phantom Thread," reuniting with star Daniel Day-Lewis to craft a story of obsession, contempt, and control. Gorgeously mounted, with superior tech credits all around, "Phantom Thread" is a feast for the eyes, but it leaves its deepest scar with its take on demanding artists and the private worlds they inhabit, isolating outsider horrors. Commanding three sensational performances from Day-Lewis, Vicky Krieps, and Lesley Manville, Anderson returns to themes and volatile moods he's exceptionally skilled at summoning, making this long overdue reunion with Day-Lewis a sinister delight.
Good Time
Robert Pattinson hasn't impressed much during his career, but the actor marched into 2017 with renewed determination to do something different with his vanilla filmography. Professional rejuvenation began with "The Lost City of Z" and fully blossomed with "Good Time," where the "Twilight" star achieves a character transformation so strong and exciting, he ends up with the best performance of the year. "Good Time" is a gritty on-the-run crime thriller from the Safdie Brothers, who secure sharp suspense and shocking sincerity along the way, wrapping the effort in synth and color, also achieving some type of record for sweaty close-ups. Go for Pattinson, stay for the unforgettable movie.
The Red Turtle
As pure art, "The Red Turtle" is riveting, delivering a viewing experience that's expertly animated (co-produced by Studio Ghibli) and created without dialogue, depending on the visuals to achieve all storytelling goals. There's a fantasy element to the tale, but "The Red Turtle" really hits home as a study of life itself, with director Michael Dudok de Wit traveling through the human experience, dressed up as a castaway saga. Besides being hypnotizing and soulful, the picture also contributes a profound understanding of the parental experience, communicating guardian behaviors and considerations with striking insight.
Lady Macbeth
Arriving in the guise of a traditional costume drama, "Lady Macbeth" quickly goes for the throat with its tale of isolation, revealing an unsettling desire to expose all kinds of diseased behavior. Director William Oldroyd works to break down subgenre conventions, keeping the material feral and the lead performance from Florence Pugh dizzyingly complex and, when necessary, absolutely ferocious. While it arrives in the form of yet another tea-and-dismissal viewing experience, "Lady Macbeth" has more on its mind than a simple display of manners, exploding with sex and viciousness. It's bleak but dynamic.
Brawl in Cell Block 99
S. Craig Zahler, director of "Bone Tomahawk," returns with "Brawl in Cell Block 99," adding to an already impressive helming career with a brutal prison picture that brings out the best in star Vince Vaughn, who hasn't been this excitingly non-verbal in ages. "Brawl in Cell Block 99" is not for the faint of heart, but for those who can stomach some frightening ultraviolence, Zahler fashions a concrete-and-blood western, teeming with broad villainy, moral choices, and a lead character who isn't someone to mess with. It's a slow-burn genre exercise, but once Zahler gets up to speed, his vision for punishment is equally hostile and electrifying, best viewed between fingers covering both eyes.
Also of Note: John Wick: Chapter 2, I Am Not Your Negro, The Disaster Artist, Thor: Ragnarok, The Killing of a Sacred Deer, War for the Planet of the Apes, Incredible Jessica James, Blade Runner 2049, The Salesman, It, Graduation, Our Souls at Night, After the Storm, Prevenge, and The Void.
Please check out the Blu-ray.com community 2017 theatrical picks here
Three Billboards Outside Ebbing, Missouri
Writer/director Martin McDonagh specializes in violent tales and rascally characters, but his filmmaking command comes into full view during "Three Billboards Outside Ebbing, Missouri," which ripples with rage, dark comedy, and bitterness. It's not an especially friendly motion picture, delving into unspeakable areas of grief, but the magic of the picture is found in its capacity to surprise, with McDonagh finding ways to disrupt expectations and take the material into fresh directions. Having Frances McDormand deliver career-best work helps the cause, giving the feature a rich sense of character and emotional resonance, adding a sense of urgency to an already riveting effort.
Lady Bird
Perhaps I've been hard on actress Greta Gerwig in the past, generally finding her indie film eccentricity about as welcome as a steak knife rubbed across the knees, but "Lady Bird," which marks her second outing as a writer/director, is a revelation. Remaining behind the camera, Gerwig captures the beating heart of adolescence, depicting the ups and down of an average teen entering her experimental phase, dealing with the fussiness and cruelties of friendships, boyfriends, and family. It's clear-eyed scripting from Gerwig, who summons universal experiences while remaining respectful of fringe players, achieving a sense of life on the screen, instead of soaking in cliché. Supporting the effort are stunning performances from Saoirse Ronan and Laurie Metcalf, providing a mother-daughter dynamic that's unnervingly authentic.
Spider-Man: Homecoming
There have been outstanding Spider-Man movies before, but not one in quite some time. Co-writer/director Jon Watts joins the Marvel Cinematic Universe team with his exuberant "Spider-Man: Homecoming," which helped to restore faith in the wall-crawler as a viable big screen superhero. In a year of brightly designed comic book entertainment, this was the most electric, jovial, and unexpected, restoring elements of adolescence and wonder to the brand name, while star Tom Holland makes for a spirited costumed hero. "Homecoming" is a crowd-pleaser and a competently scripted caper, aided by a victorious turn by Michael Keaton as the picture's heavy. One doesn't need specialized glasses to experience the tonal 3D of the effort, with Watts displaying exhilarating command of heart and soul, and the web-spinning spectacle was equally impressive.
The Breadwinner
The latest release from Cartoon Saloon is their finest. Coming after "The Secret of Kells" and "Song of the Sea," "The Breadwinner" continues the studio's dedication to stories of empowerment and emotion, this time bringing audiences into the forbidding atmosphere of Taliban-controlled Afghanistan to meet a girl forced to alter her identity to save her father. The chilling reality of such oppression is felt throughout, but director Nora Twomey finds the humanity under the history, constructing a challenging sit, and one that masterfully balances loss and life, sold with imaginative animation and some of the most expressive voice work heard in recent memory.
Spielberg
It's impossible to cover the span of Steven Spielberg's career in one 147-minute-long documentary, but director Susan Lacy comes incredibly close. Providing a smartly curated, tightly edited journey through the years of one of Hollywood's great filmmakers, Lacy makes marvelous discoveries, connects hidden artistic interests and family ties, and provides an overview of the legendary helmer's finest works, supported with insight from the creator himself. "Spielberg" is educational and taps into primal geekery, and it pulls off an absolute miracle: it manages to provide an understanding of motivation and career choices, confidently juggling nearly 60 years of creative accomplishments.
Phantom Thread
After lacking a bit of oomph and focus with his last two efforts, writer/director Paul Thomas Anderson returns to full power with "Phantom Thread," reuniting with star Daniel Day-Lewis to craft a story of obsession, contempt, and control. Gorgeously mounted, with superior tech credits all around, "Phantom Thread" is a feast for the eyes, but it leaves its deepest scar with its take on demanding artists and the private worlds they inhabit, isolating outsider horrors. Commanding three sensational performances from Day-Lewis, Vicky Krieps, and Lesley Manville, Anderson returns to themes and volatile moods he's exceptionally skilled at summoning, making this long overdue reunion with Day-Lewis a sinister delight.
Good Time
Robert Pattinson hasn't impressed much during his career, but the actor marched into 2017 with renewed determination to do something different with his vanilla filmography. Professional rejuvenation began with "The Lost City of Z" and fully blossomed with "Good Time," where the "Twilight" star achieves a character transformation so strong and exciting, he ends up with the best performance of the year. "Good Time" is a gritty on-the-run crime thriller from the Safdie Brothers, who secure sharp suspense and shocking sincerity along the way, wrapping the effort in synth and color, also achieving some type of record for sweaty close-ups. Go for Pattinson, stay for the unforgettable movie.
The Red Turtle
As pure art, "The Red Turtle" is riveting, delivering a viewing experience that's expertly animated (co-produced by Studio Ghibli) and created without dialogue, depending on the visuals to achieve all storytelling goals. There's a fantasy element to the tale, but "The Red Turtle" really hits home as a study of life itself, with director Michael Dudok de Wit traveling through the human experience, dressed up as a castaway saga. Besides being hypnotizing and soulful, the picture also contributes a profound understanding of the parental experience, communicating guardian behaviors and considerations with striking insight.
Lady Macbeth
Arriving in the guise of a traditional costume drama, "Lady Macbeth" quickly goes for the throat with its tale of isolation, revealing an unsettling desire to expose all kinds of diseased behavior. Director William Oldroyd works to break down subgenre conventions, keeping the material feral and the lead performance from Florence Pugh dizzyingly complex and, when necessary, absolutely ferocious. While it arrives in the form of yet another tea-and-dismissal viewing experience, "Lady Macbeth" has more on its mind than a simple display of manners, exploding with sex and viciousness. It's bleak but dynamic.
Brawl in Cell Block 99
S. Craig Zahler, director of "Bone Tomahawk," returns with "Brawl in Cell Block 99," adding to an already impressive helming career with a brutal prison picture that brings out the best in star Vince Vaughn, who hasn't been this excitingly non-verbal in ages. "Brawl in Cell Block 99" is not for the faint of heart, but for those who can stomach some frightening ultraviolence, Zahler fashions a concrete-and-blood western, teeming with broad villainy, moral choices, and a lead character who isn't someone to mess with. It's a slow-burn genre exercise, but once Zahler gets up to speed, his vision for punishment is equally hostile and electrifying, best viewed between fingers covering both eyes.
Also of Note: John Wick: Chapter 2, I Am Not Your Negro, The Disaster Artist, Thor: Ragnarok, The Killing of a Sacred Deer, War for the Planet of the Apes, Incredible Jessica James, Blade Runner 2049, The Salesman, It, Graduation, Our Souls at Night, After the Storm, Prevenge, and The Void.