My Top 11 Favourite Movies of 2017

Okay, so it's that time of year.  The time in which everyone who talks movies unveils their best of list. And 2017 was quite a year for movies. From big awards hitters like Three Billboards Outside Ebbing, Missouri, to indies like Free Fire, blockbusters like Baby Driver and even made to stream films like Okja, 2017 offered up a selection that's as great as it is varied. And ranking them is a daunting task indeed. I mean damn, this was a fantastic year, and the Oscars are no doubt going to be interesting.

Now, the rules for this list couldn't be more simple. As long as the film got its first wide theatrical release in 2017, it counts. And if the film was made for streaming, it counts as long as it started streaming in 2017. And that's it. Yep. It's that simple.

Also there were some films that I wanted to see that I just couldn't get around to seeing. Hopefully I'll catch them soon enough but for now, here they are:

Call Me By Your Name
Phantom Thread
The Florida Project
Detroit
Wind River
It
Logan Lucky
mother!
The Big Sick
The Death of Stalin
The Killing of a Sacred Deer
My Life as a Courgette
Wonder Woman
Mudbound
The Lost City of Z
Mindhorn
Good Time
Blade of the Immortal
Paddington 2

So yeah. I may have missed them, but fear not. I'll try to catch them as soon as I can!

Now, some honourable mentions:

Dunkirk- Yeah, everyone's film of the year doesn't even make my list. But don't get me wrong, this film is awesome. Christopher Nolan creates scenes with this great intensity and atmosphere,  and as a result he never gives you a moment to rest. The action is incredible, and the emotion is always felt in the film's more intense scenes. The only thing that holds it back for me is the nonlinear time. And I know it's kind of Nolan's thing, but it takes me out of the scene more often than not, and sometimes it felt quite unnecessary. But that's a nitpick. Dunkirk is a strong film overall, and one that deserves the acclaim it's generated.

Downsizing- This one's split opinions, and I'd be lying if I said it was perfect, but it is still an interesting watch. The first 35 minutes are incredibly slow, but the film picks up steam after that. Actually, once Hong Chau is introduced, things get good. I do really like Alexander Payne as a filmmaker, with The Descendants and Sideways both being awesome movies. Now, the idea of this guy doing a sci-fi may sound odd, but he takes his themes of mid life frustration, insecurity and masculinity, and channels them into a film that hits more than it misses. A mixed bag, but worth seeing to see where it ends up going

Logan- Proving that comic book films could have grit. It's a fantastic end to the story of Wolverine. It's kind of like a western-science fiction-action-drama film, and pleasingly does not hold back on the blood and gore. Which makes sense. There was an obvious effort made to be as faithful to the character of Logan as possible, and the result is a piece of grim, gritty and weighty cinema that thrills from beginning to end. Okay, maybe parts of it are a bit sloppy, like with the Wolverine clone, but overall it's a fitting swansong for this animalistic antihero.

I Don't Feel at Home in This World Anymore- Netflix released some humdingers last year, pushing the boundaries on what can be considered a film. And while this film isn't quite as good as some of the others, it's a decently thrilling crime comedy. Elijah Wood is awesome as always, and the ending is gleefully violent, but something's missing. It's a good movie, but it lack weight for me and that holds it back. Like Downsizing, it's worth seeing for where it goes rather than how it gets there, but it is still well worth a watch

Thor Ragnarok- I've ranted and raved about What We Do in the Shadows, so I do love Taika Watiti. And as someone who didn't like Thor, and hated Thor: the Dark World, hearing that Watiti was making Thor 3 was fairly exciting. And while it gets lost in its jokes sometimes,  when they work, they're gut busting. It's the exact place that Thor needed to go, and seeing it repeatedly parody itself was pretty hilarious. Okay yes, the jokes take away from the plot, and the climax is marred by its reliance on subversive humour, but overall, Thor Ragnarok is so much damn fun.

And now, without further ado, my top 11 films from 2017!

11. Okja

First of all, the Cannes controversy (Cannestroversy?) thing was stupid. Okja is a film. Yes it was made for streaming, but it's still a piece of cinema. It doesn't matter what platform it was made for. Regardless, Okja rocks. This weird sci-fi satire tale of a girl and her giant pig was one of 2017 's happy surprises. It's a weird little idea, but one that goes a very long way. The movie it starts off being is pretty different to the one it finishes as. It starts off as being cute, fun and overly sweet as we see the girl and the the pig play around, but when the pig gets captured, things get good.

The whole animal rights thing is smart, legitimately funny and never preachy. It could have been in your face, and obnoxious, just trying to get a message across, but there's this air of self awareness that the film has that just makes it work. The transition between cutesy comedy and dark satire works surprisingly well. There's a scene near the end that takes place at a slaughterhouse that I can't spoil, but is fantastic without words. It's a beautiful and satisfying payoff to an interesting piece of work.

Bong Joon-Ho did a fantastic job with this one. It's weird as hell, but with Jake Gyllenhaal going way over the top (in a fun way) and Tilda Swinton playing entrepreneur twins, it was never going to be normal. But both of those performances become highlights under Joon-Ho's careful direction, which is over the top and farcical without being overly silly or stupid. And that's pretty impressive, considering it's a film about a giant pig. Okja rocks, plain and simple. Check it out if you haven't already.

10. Guardians of the Galaxy Volume 2

Marvel put out thee movies last year, and while Spiderman Homecoming was a great direction for its title character (and a strong coming of age tale to boot), and I've already said that I loved Thor Ragnarok. But it's the sequel to a movie that I already loved that gets onto my list. Guardians 2 may not be the most complex or layered film on the list, but it has to be one of the most purely enjoyable pieces of entertainment I saw last year. I mean yeah, the story's on the lighter side, and the humour is something of a crutch, but damn it I don't care.

This film is hilarious. I'm a well documented lover of comedy, and the lines here are witty and legitimately funny. The characters are so strong and able to support the huge string of gags, and if the film does rely on its jokes, you can easily forgive for just how strong they are. I wouldn't say that they take away from the story, because the story is written in a way that facilitates the comedy, so it works nicely. The gags with Kurt Russell's too good to be true human planet in particular had me in stitches.

And the soundtrack. Fleetwood Mac, George Harrison, Silver, Cat Stevens, ELO, the list goes on. The songs are fantastically edited into each scene they play in, and work not only by connecting Peter to his mother, but by telling the story with their lyrics. The use of Fleetwood Mac's The Chain to describe Peter's troubled relationship with Rocket is perfect, as is its return in the climax. The opening credits with Baby Groot dancing to Mr Blue Sky are beyond awesome; a single shot that encapsulates the fun and joyful nature of the film.

It's also nice to see the characters develop. Not just the Guardians themselves, but also the relatively underdeveloped side characters like Yondu and Nebula, both of whom are brought to the forefront and given some pretty great moments. They're both wonderfully fleshed out here. Mantis is a solid new addition, and she brings out a side to Drax that allows his admittedly simple character to move forward.

Overall, Guardians 2 is a riot. It's fun without sacrificing substance or derailing it's pre-established characters. It improves on the first film in all the right ways, and deviates from it in all the right ways too. It's less of a sequel, and more of an equal. But, I'd be lying if I said that it was 2017's best followup.

9. Lady Bird

I think that this goes without saying, but Saoirse Ronan is awesome. In Lady Bird and in general, she's just really fantastic. And she kills it in the sweet, gentle, yet legitimately heart warming coming of age story. It's a simple premise, a girl in her last year of school and her turbulent relationship with her mother (the incredible Laurie Metcalf), but in Greta Gerwig's capable hands, the film becomes so much more.

Okay, Lady Bird doesn't say anything about adolescence that other coming of agers haven't already, but it's really a matter of how this story was told rather than the plot itself. Gerwig's script and direction and Ronan's acting seem like they were made for each other. It's how well that these aspects compliment each other that makes Lady Bird work. Greta Gerwig takes the familiar aspects of coming of age films (doubts about college, strained relationships with parents, worries about losing virginity), and remixes them with a more personal touch (a lot of this film was based on Gerwig's own life and upbringing). This approach is near perfect in its execution. It's an old story, but through new eyes, and as such it's a fresh take on the subject matter.

And the acting makes it. I mean, I've already said that Saoirse Ronan is great, but it's something I can't stress enough. She makes this film what it is. She's funny, she's sympathetic, she's relatable, she's just fantastic. And one thing I love is that Gerwig isn't afraid to make her occasionally unlikeable. She does things that aren't right, and she makes mistakes, and she acts out, but the film states that that's all a part of growing up. But ultimately she does have a good heart, and you do root for her all throughout the film. She's a wonderful protagonist.

And the rest of the cast are great too. Laurie Metcalf knocks it out of the park as Lady Bird's mother, Timothée Chalamet oozes pretentious indifference, Tracy Letts does a fantastic job as a man struggling with his unemployment, everyone is just fantastic. You believe these characters exist, and you believe the way that they interact. Come the end of the film, you feel like you know these people.

Lady Bird isn't anything groundbreaking. It's not a revolutionary piece of cinema. But it is great. It's a sweet, honest and ultimately feelgood coming of age story that never sugarcoats anything, but still manages to be uplifting. This is one that stands alongside the likes of American Graffiti, The Breakfast Club and Dazed and Confused.

8. Coco

I love Pixar. It's impossible not to love Pixar. And their latest is one of their strongest in a while. This was one that I had high hopes for, and safe to say that they were met, if not exceeded. Coco is Pixar's visual best in my opinion. The land of the dead is so vibrant and beautiful and richly colourful. Every frame in that place is glorious. I love colourful animation, and Coco more than delivers on that front. I also love the character design. Not just the dead characters, but the living ones too. They're in this middle ground of cartoonish realism. That sounds odd, but if you've seen Pixar's human designs, you'll have an idea of what I mean.

Coco also has one of the best stories that Pixar has done. The rules of the land of the dead make complete sense in context and add tension, conflict and urgency to Miguel's quest. The story beats, while occasionally predictable, still have a big impact when they occur. I did see one central twist coming from quite some way, but when it did happen it worked. The story balances a simple message (family love and support each other no matter what), with smart and fresh twists and ideas that really make it work. The core twist that I was talking about that I did kind of predict was massively improved by one key factor that gives it so much more impact and weight. I'm not gonna spoil that here, but trust me, it adds a lot to this film.

It's also Pixar's first musical. Music is central to the film, and the way that songs are used as storytelling beats is really great. The use of Remember Me in particular is fantastic, and the way that it gradually changes meaning over the course of the movie is really something special. It's this key emotional moment foreshadowed from the first moments. The rest of the music is great too, scored by the irreplaceable Michael Giacchino. It's soulful and full of heart, like the film.

Overall, Coco is awesome. It's a strong story that, while occasionally predictable, succeeds on the strength of its characters and emotional beats, and does so with a cultural richness that hasn't really been seen in a film like this (except for The Book of Life, which is pretty good too, and won't be the last mention of Guillermo del Toro on this list). Visually it's stunning, it's story is solid, it's characters are very well fleshed out, it's music is great, it's just one of Pixar's best. Remind me to talk about these guys in the future, I love them too much not to.

7. Free Fire

Ben Wheatley is one of the most original and interesting filmmakers in the industry today, and his sixth film definitely proves why. It's a shootout. No, seriously. The whole film is just a shootout. Sound dull? It really, really isn't. It is in fact, one of the year's strongest action films. An arms deal goes wrong, leaving a group of criminals locked in a Mexican standoff that unfolds in real time. That's the whole plot, but thanks to Wheatley's tight direction, there's a sense of danger to Free Fire that is never lost. Without that constant claustrophobic tension, the film would fail, but it works so damn well because everything has consequences. Every bullet fired feels like it's going somewhere. It has an impact. Its going to hit someone. That's something I love in this film, the madcap danger and intense risk that makes it such a fantastically adrenaline packed 90 minutes.

Not that it's all action. The dialogue is equally fast paced. The quips and wisecracks are delivered in the same manner as the bullets are fired, and often have the same violent intentions. This makes it incredibly funny and stylised in a way that enhances the instant cultishness that this film revels in. It's unlike anything else that came out in 2017. It's pure style, but it's not style over substance. The razor sharp and lightning fast script utterly cement this film in stylish bliss. That it's all delivered by actors like Brie Larson, Sharlto Copley, Cillian Murphy, Micheal Smiley and Jack Reynor who can carry it off perfectly is just the cherry on top.

The thing that disappoints me is how far this flew under people's radar. I'm not saying it's for everyone, but it's so unlike anything else we got in 2017 that it needs to be seen. And especially in this time of overblown, bloated, generic, messy and hollow action blockbusters, we need this brand of glorious simplicity. I have no doubt that Free Fire will gain a cult following, and it honestly warrants it. It's a pure thrill ride. It may owe a lot to Reservoir Dogs, but considering that's one of my favourite films of all time, I have no problem with this. Definitely check it out. It's one of 2017's underappreciated gems. Although in fairness, 2017 did see some other good action films released.

6. The Meyerowitz Stories (New and Selected)

So, something insane happened in 2017. Something unprecedented. Unpredictable. Borderline unfathomable. It blew my mind, it took my breath away, it damn near changed the way I view the world. What was this strange occurrence, you ask?

Adam Sandler gave a fantastic performance.

Not passable, mediocre or just okay, legitimately one of the best performances I saw last year. It's nuanced, it's complex, he expresses subtle emotions pitch perfectly, he is excellent. He's great as this man who, while funny, is funny in a way that seems completely natural and human. He's also vulnerable, frustrated, exhausted and achingly insecure about his life. He's layered, he's three dimensional, you root for him, you want to strangle him, you pity him, you laugh at him, you want him to succeed but above all, you believe him. You believe that this man exists, that he's struggling, that he needs a break. You believe the good things that happen to him as well as the bad things. He's human. And that's more than you can say for other Sandler performances.

But I'm ahead of myself, what is The Meyerowitz Stories? Put simply, the best thing Netflix put out last year. Noah Baumbach is a filmmaker that I really like. The Squid and the Whale is pretty good, and while Meyerowitz doesn't say much that that film didn't, it says those things much better in my opinion.

Squid and the Whale was good, but I did feel that it was missing something. And this film kind of showed me just what it lacked. Because that film, while great, lacked the humanity that this one has. It's still great, but the characters here feel real. Don't get me wrong, I recognise Adam Sandler, Dustin Hoffman, Ben Stiller and Emma Thompson, but I also believe that these people are people. Their performances are all wonderful, oozing a natural, real, empathetic charm.

It helps that Baumbach knows how real people talk. The dialogue all sounds like real people talking, especially in the way Baumbach writes these two way conversations, with two characters talking about different things, but communicating regardless. Or not communicating, in some cases. And there's a wonderful understated drama and tragedy in the dialogue. The characters don't say how they feel, they express it by talking about random shit. And you know why? Because that's what people do. Baumbach gets it, and that allows him to make the characters seem like real people having real conversations about the things that matter, and the things that don't. And it's a seriously great slice of neurotic drama with the comedy of day to day life. And Sandler should have gotten the Oscar nod. I'm not even kidding

5. Get Out

So, Get Out was one that came right out of nowhere, and my god its come some way. For a film with a surprisingly low budget (a modest 4.5 million dollars), this is one that did incredibly well. It was always going to be one of my favourites of 2017, and is definitely one of the best horror films of recent years. It's basically Guess Who's Coming to Dinner, but with kidnapping and strange happenings that I'm loathe to spoil. It's a simple film yes, but one that unfolds in such a way that each reveal hits more than the last. No spoilers here, but once you find out why the family have kidnapped him, it becomes unlike any other horror you're likely to see this year.

Jordan Peele has created this piece of film that's not just terrifying, but smart and darkly satirical too. I wouldn't call it a comedy horror, but it has this wickedly humorous edge to it that makes it a uniquely scary experience. The humorous aspects are subtle. They're understated, existing not just to lighten the mood, but to sharpen the critique that the film presents. And it balances tone in a such a fantastic way. Even the purely funny scenes have a place, and often actually come from the same source as the horror; the dark absurdity of the situation and the grim outcome of its characters.

The slow buildup to each devastating reveal is truly marvellous. Peele keeps the truth just under the surface, only keeping the sense of unease apparent. When the truth comes out, it's so insanely unpredictable, but actually makes a great deal of sense. Small details in the storytelling cleverly foreshadow that reveal, and when it does hit, the film becomes excellent. Pure tension. My heart was in my mouth for the entirety of the climax. Jordan Peele keeps key details hidden, so when you think that you have everything worked out, it turns out that you really didn't, and there's something even nastier waiting to be revealed. And suburbia has never looked scarier. The nice, pleasant facade hides truths that are so wonderfully rich and dark. And once out, you're left with an experience that is truly something.

Subtle, smartly put together, freaking terrifying, dreamlike, surreal, oddly comic, warped, honest, true, sharp, relevant, poignant, entertaining, rich with symbolism and just damn awesome. Get Out is a landmark for modern horror, one that went beyond its low budget to entrance and frighten audiences, but also stirring discussion and provoking contemplation. Nerve wracking. Utterly, devastatingly nerve wracking. Nothing like it came out last year, and I'm not sure an awful lot like it will come out this year. Superb stuff for a first timer.

4. Baby Driver

Edgar Wright is the movie nerd's filmmaker. He has an attention to detail that perfectly compliments his deep love of film and penchant for homage. As I said, he's the filmmaker for film buffs. Which means I adore him, and his work. The Cornetto Trilogy is superb, and Scott Pilgrim vs. the World is a sublime adaptation of the graphic novel series. But it's Wright's incredible ode to film like Bullitt, The Driver and The French Connection that utterly captivates.

Baby Driver's opening sequence says it all. It's pure visual storytelling, perfectly set to Bellbottoms by The Jon Spencer Blues Explosion. It sets this insane, thrill ride of an action film up perfectly. The action and stunt work is phenomenal. Mostly practical and set to 2017's best jukebox soundtrack. The editing is fast paced and exhilarating, just what you'd expect from Wright.

The film as a whole is a jolt of adrenaline. It's a film that demands to be seen on the big screen. Everything from the aforementioned opening to the insane climax is so damn fun. It's joyfully fast and energetic, but there's this stylised glee to it that sets it apart from some of the other blockbusters we got in the summer. It's just awesome, with a wide variety of rythmic and flowing shootouts and chases. It's not just action for the sake of it, it's absolutely necessary.

And the plot is written in a way that fully supports the stylish action. It's a simple "criminal tries to go clean but it's not that simple" kind of deal, bit the way it's structured makes the action feel impactful. What happens to Baby at the end of the film won't be spoiled here, but it subverts your expectations in a fantastic way that makes so much sense. The characters are larger than life and bursting with personality but you can actually get invested in them. Even minor characters and antagonists are thoroughly likable in Wright's hands.

So yeah, 2017's best action film? Quite possibly. Baby Driver is pure cinematic fun. With its excellently put together set pieces, great performances (Jon Hamm is superb as the rascal thief Buddy, never without a quip and a shit eating grin), fabulous soundtrack, surprising amounts of weight in the quieter, slower moments and an overall atmosphere of adrenaline packed action, this movie is one that goes from nought to sixty pretty damn quick, and gets away scott free.

I'm not even sorry for those puns.

3. Blade Runner 2049

I love the first Blade Runner. How could you not, what with its dark ambiguity, thought provoking science fiction ideas and surprisingly deep and complex antagonist ("I've seen things you people wouldn't believe"). It's one of the greatest sci-fi films ever, with a fiercely dedicated following. So following it up isn't actually a bad idea in theory. I was really excited for this movie when I saw the trailers, but the closer we got to its release, the more worried I got that it would let me down. So, does Blade Runner 2049 disappoint?

What do you think.

THIS FILM IS FREAKING INCREDIBLE. As far as followups go, few match the original like this one. None of the complexities of Ridley Scott's film are lost, quite the opposite actually. Through the eyes of K, Ryan Gosling's replicant blade runner, we see the themes and ideas of the original in a different way. It goes from just a sequel to a film that matches the original's musings on humanity, dreams, memories and origami. Well, wood carvings in this case.

Gosling is great in the lead role. He's different from Deckard in all the right ways, and as a protagonist you do really enjoy watching him. The fact that he's a replicant takes the themes of the first film and reinvents them with a completely fresh perspective. That's what a Blade Runner sequel should do, and K makes that all possible.

And Ford as Deckard. Oh my. Harrison Ford is one of my all time favourite actors, and Rick Deckard was one of my favourite roles of his. And seeing him reprise it makes me so happy. There's this great closure of his character that comes from his performance. It evokes the first film in all the right ways but at the same time it's organic and independent of the original. His introduction is organic and natural. It's not like he's only there because he was in the first one. Instead, it feels like even without the first one, he'd be here. And that's impressive. A film that runs independent of its sequel. Unrelated in all the right ways, and a lot of that comes down to Ford.

Visually it's utterly stunning. The mouth wateringly gorgeous cgi with beautiful cinematography and incredible set design makes this one an absolute treat for the eyes. Zimmer and Wallfisch's score provide a treat for the ears. And Villeneuve's direction is a treat for the brain.

2049 is the year's best sequel. Expands on the first in all the right ways, deviates from the first in all the right ways, expands the world, updates the ideas for the 21st century, it's fantastic. It's everything you could want from a Blade Runner sequel. I'm happy that it's didn't suck. I'm pleased that it was good. I'm delighted that it's excellent. It was guaranteed a spot in the top three for sure. Considering films like Kingsman: The Golden Circle were massive disappointments for me, this was the sequel I needed. One that isn't just a serviceable sequel, but and outstanding film in its own right. Wonderful stuff.

2. Three Billboards Outside Ebbing, Missouri

I loved In Bruges. It was dark, funny, intricate, quirky and just a blast to watch. It cemented Martin McDonagh as one of my favourite filmmakers, and as such I was quite excited to see what his latest film would be. The result is Three Billboards Outside Ebbing Missouri, a masterful southern parable of rage, grief, guilt and sorrow. I suppose tonally it's similar to In Bruges, but it contains this great compassion that that film didn't really have. And it's that sense of love that makes Billboards work.

It's not a film about hate. It's about anger and grief, and how they compel us to commit hateful and bigoted acts. And McDonagh's handling of this is truly something wonderful. This tale of a grieving mother seeking a development in the investigation of her daughters murder is fantastically scripted. There's a great deal of anger and insult in the dialogue (it's a Martin McDonagh film), but there's also black humour, and empathy and even a sort of kindness. Sort of. McDonagh scatters that love under the bitter and visceral dialogue, and that changes it from a preachy morality tale to a wickedly funny, honestly moving and unbelievably relevant story about, among other things, the pursuit of justice, and how far people will go to obtain that justice.

It does help that the acting is nothing short of masterful. Frances McDormand is sensational as Mildred, the grieving mother who erects three scathing billboards to.... motivate? Yeah let's say motivate. To motivate the police department to continue the investigation. With McDormand's performance you always get an sense that all of this is coming from a place of sorrow, guilt and regret rather than a place of hate. She's not exactly likeable, but she's such a fantastic protagonist. You root for her to succeed, even if you don't necessarily agree with the things she'll do to succeed. Her performance is fantastic, it's three dimensional and effortlessly expresses huge amounts of emotional depth. Throughout it all, you feel everything she feels. Even when you do the agree with her, you absolutely empathise with her.

And it would have been easy to portray the police as vindictive, cruel and fairly dim men who don't do an awful lot of good, but McDonagh forgoes that simplistic portrayal in favour of Woody Harrelson's Chief Willoughby. Granted, he does use that character type for Sam Rockwell's vindictive, cruel and fairly dim Officer Dixon, but he then proceeds to subvert that stereotype later on.

Harrelson's Willoughby is actually the more level headed of the three leads, and instead of being any sort of antagonist, he's just a man doing his job. One scene when he reads three letters is fantastically emotional and incredibly done. Over the course of the film, it becomes apparent that Willoughby does actually care about the case, billboards or not, and you do want to see him crack that case. Which is also something McDonagh subverts, but that's for another day.

Rockewll is magnificent as Dixon. As I said, McDonagh initially takes the easy option with his character, making him the vindictive and cruel cop that you may have expected from this story, but as you get to know him you see that that isn't the case. He's got his own problems. He's not as bad a guy as he first appears. His development is natural and organic feeling. He's no hero at any point in the story, but by the end you believe in him, and you believe that he is actually a halfway decent guy.

So yeah, Three Billboards Outside Ebbing Missouri. A social commentary that tears into the issues affecting America right now. It's one that I know I'll come back to over time. McDonagh's direction is understated and tight. Carter Burwell's score is incredible. McDormand is fantastic; an empathetic and fleshed out lead that we identify with but are never expected to like. Harrelson and Rockwell provide ample support that prevents the issues portrayed from ever feeling simplistic. It's McDonagh's best. It's such a great film, a relevant and emotionally charged social comment that leaves the viewer thinking about it long after its finished. Absolutely glorious.

But what could top it?

I have a feeling you know already....

1. The Shape of Water

I love Guillermo del Toro and his odd beasts, I really do. Pan's Labyrinth is absolutely incredible, one of my favourite ever movies. But everything this guy has done has been pretty good so far. He approaches classic fairy tale tropes and ideas in such an unusual and interesting way. His films at thir best are pure love letters to both fairy tales and the motion picture. They explore historic themes and ideas through a lens of fantasy and wonder, and sometimes even horror. He's no doubt one of the most interesting voices we currently have in cinema.

And his latest film is a goddamn masterpiece.

The Shape of Water was a tough one to place because it's so unlike anything else we got last year. But the I realised that that's what makes it special; it's so beautifully unique and fantastic and intricate. It's a love story at its core. But the deep and passionate romance between Elisa, the mute cleaner of a government facility and the fishman living within its walls is so incredibly wrapped in cold war intrigue, social commentary, McCarthyism, eggs, science fiction allegories and so much more. del Toro does everything he can to express the passion felt by these characters.

The outsider love is fantastically realised. Without words, del Toro says it all. The love these two share is wonderful. At first it's just an odd couple romance, but over time you realise that you're watching two people who don't really belong, who have found each other and finally have a purpose. And the way every aspect of their love is explored is marvelous, creating this portrait of deep passion, brought to us by a man who evidently cares a great deal about the story and the two leads. Their chemistry is so fantastic that even when there's a freaking dance number, it doesn't feel out of place. That's impressive.

And the acting is sublime. Sally Hawkins acts entirely without words, but you always know exactly what she's thinking. The one scene when she's trying to convince her neighbour that the fishman is just like her is heartbreaking. Doug Jones wows as the (surprisingly randy) fishman, even under all of that makeup he still oozes longing and passion. Richard Jenkins is great as the neighbour who feels like he lacks a place in the world, while Octavia Spencer is fantastic as Elisa's brash best friend and provides great support. Michael Shannon nails his all American colonel. A man who has such a terrifying dedication to maintaining perfection. Who provides a tense and terrifying portrait of Cold War paranoia. He's a magnificent villain, menacing and evil. The true monster of the piece.

Shape of Water is such a lovingly rendered and passionate film. I was incredibly excited for this one for some while before I saw it. I was worried that it would fail to live up to expectations, but it absolutely surpassed them. And that's something that I do far too much. Get too excited, only to end up let down. But this seriously lived up to my expectations. In a time of big budget studio cash grabs that make hollow fluff about lifeguards and emojis, a film that's so phenomenally and deeply passionate is so refreshing. A pure passion project for del Toro, and his love can be felt on screen. Throw in Alexandre Desplat's score and some jaw dropping cinematography and you've got a wonderful piece of movie magic. It's stuff like this that makes me love the movies. An incredible film for sure.

So, that's my list. Feel free to tell me how wrong I am while I catch up on the must sees that I missed. But seriously, I'm very much looking forward to seeing what 2018 has to offer. For now, The Shape of Water is my favourite film of 2017.