My Thoughts on Isle of Dogs

I've talked about Wes Anderson on this blog before, and that's because he's kind of great. I've already talked about how much I love The Grand Budapest Hotel, and I'm gonna be honest.... it's not one of my favourite blogs that I've done. I love the movie, and I do think that the post reflects that, but I don't really think I expressed everything I feel about Anderson and his style. Because this guy would be one of my favourite filmmakers for sure. His films are deliciously and meticulously crafted, and his humour is so beautifully askew that you just have to love it. And God do I love it. I adore his style, and when the trailer for Isle of Dogs got released, I was ecstatic. It looked like the perfect blend of style, heart and humour. And when I got around to seeing it, it lived up to my expectations.

For those unaware, this is Anderson's second foray into animation. And his first, The Fantastic Mr. Fox, seems to split people. I like it. It's a great mix of deadpan, surreal humour, stylised sophistication, and beautifully detailed animation. It's not his best, but it's fun. But when I heard he was doing another animated film, I was very, very excited. Especially when I saw the cast, and the concept of Isle of Dogs. The core premise is that all of the dogs in Japan have been exiled to an island, on the orders of the mayor. His nephew, however, sets out to rescue his lost dog, Spots. He meets up with a gang of dogs on the island that they were sent to, the very aptly named Trash Island. From there it's a quirky romp across the island to find Spots.

Now, this being a Wes Anderson film, the cast is naturally excellent. Bryan Cranston is great as the gruff and aloof leader of the pack. His voice lends so much to the overall film, giving a viciousness and an odd kind of warmth to the character of Chief. The other dogs in the pack are well voiced too. Edward Norton gives a great poe faced (poe voiced?) seriousness with every line. Bill Murray makes his mandatory appearance in the film, and brings a good natured charm and silliness to the whole thing. Jeff Goldblum oozes charm with every rumour he tells, and Bob Balaban really sells the idea of a domestic dog out of his natural environment. They all act like actual dogs, and if dogs could talk, they'd probably say things like this. The way a dog behaves is perfectly anthropomorphised here, and that just adds to everything really nicely.

Everyone else contributes to the charm too. The characters that speak Japanese don't have subtitles, which is a very clever stylistic choice. Instead, the power of the Oscar nomination/ Oscar win translates most of the Japanese we hear. And yeah, Frances McDormand and Greta Gerwig add a really quaint, quirky charm to the whole thing. And it is strange how much mileage Anderson gets out of the use of language, but he uses it as an absolute hallmark of the film's style.

That style is a big draw for me here too. The film has a very distinct look to it. The design of the dogs is a great blend between realism and style, and the human characters have very quirky and odd designs that makes them very memorable (I'm a big fan of the Gerwig afro). The film has a real sort of jagged look to it, with the models being moved every second frame contributing to that in spades. The cotton wool clouds that erupt when they fight are an absolutely brilliant touch. And trash island looks great. It's run down, but oddly beautiful in it's own dilapidated way. It fits the style really well.

The plot as a whole is great. The idea of the dystopian island full of dogs is hilarious, but it's one that Anderson really sells. He was never one to do things by halves, and here is no different, turning an island full of dogs into an allegory for... something. And that's the beauty of the film. It can be read in a multitude of ways. The actual science fiction is done so well here that it actually just becomes part of the backdrop, so more room is left for the characters. And I love when a sci-fi film does that. We see how this affects each of the characters on an emotional level, and that results in some really sweet moments, particularly between Atari and Chief.

Unfortunately, I wasn't too keen on the subplot. I love Greta Gerwig, but the the storyline about her exchange student on a political crusade is a weak spot in the film. Some good jokes, for sure, and it does tie into the climax quite well, but it never becomes as emotionally resonant as the main plot. All of the satisfaction here only comes at the film's end, unlike the main plot, which continues to satisfy throughout, and then provides serious catharsis at the end. But it's not bad. Greta Gerwig keeps it charming, and as I said there are good ideas here. It's just not quite as interesting as it probably should have been. Which is a shame, but it's also the only major issue this film possesses.

So, Isle of Dogs. Wes Anderson's best?  No, but it's definitely great. None of the flaws that this film has can take away from the charm and humour of it. It's a well thought out, sharply scripted idea that will make you laugh and may even warm your heart. Wes Anderson views the emotions of his characters from a spectator's point of view in all of his films, and here is no different, making this a surprisingly enchanting tale of a boy and his dog that never feels mushy, but also never feels distant either. You can forgive it for the odd misstep, because when it works, it really does work. When it's funny, you'll laugh. When it's emotional (in a Wes Anderson way), you'll feel that emotion. And when it raises a point, you might just stop and think. And honestly, that's pretty special.

Why You NEED to Watch The Young Offenders

Okay, so I was kind of late to the party with The Young Offenders movie. In that I only saw it earlier this year. Which is a shame when you think about how amazing it is. There's an argument to be made about comedy movies not being as good now as they were. I think that the issue is that of all the bad films in a given year, the worst ones tend to be comedies. I mean, just look at the worst of last year. Snatched, Baywatch, The Emoji Movie, Father Figures, Rough Night and many more of 2017's shit list were comedy films. And that's a serious shame. Done right, a piece of comedy can be a truly special thing. The problem is, many of the comedies we get now are failing on the most basic level.

Apart from the obvious surplus of bad films, the big issue with the current state of comedy is that you're more likely to ignore the gems. If something looks stupid or crass, chances are you'll dismiss it based on the abundance of terrible comedies. This isn't a new thing, but it's much more apparent now because of how instantly accessable information about film is now. Word gets out quick, and so pigeonholing can occur at an alarming rate. Sometimes it's justified, but every so often something wonderful slips under the radar. Enter The Young Offenders.

It's a good time for the Irish film industry. In the last few years we've seen some stellar pieces of work from filmmakers like Lenny Abrahamson, John Carney, John Crowley and Martin McDonagh. Because for every Mrs Brown's Boys D'Movie, there's a Sing Street, or a Brooklyn, or a Garage. And that's exciting. And it's in 2016 that we saw one of the finest Irish comedies released, The Young Offenders.

Which I won't be talking about today.

For those unaware, the film did so well that they made a series out of it. Which is one of the best comedy series we've had in ages. And that's what I want to talk about. Because you need to see this show.

The Young Offenders centres around the misadventures of two Cork teenagers, Conor and Jock. The film sees them hunt for a missing bale of cocaine, hoping to make millions off of it. Even though I will be talking about the series here, you should absolutely see the movie too. It's hilarious and charming, and always entertaining. If you're looking for a recommendation for the film, I highly suggest that you watch it. It's not necessary to see the film before the series, but if you want to get a feel for it, or just want extended shenanigans, it does the job splendidly. It's got the stupid sense of humour and big heart that makes The Young Offenders what it is.

And one thing that pleasantly surprised me was how much carries over from the film to the series. I had some worries about the show taking large portions directly from the film, but apart from the odd retooled joke, the series does the source material justice, feeling like a legitimate extension of the film. It takes the idea and wonderfully adapts it to accommodate further adventures for these two to go on.

And holy shit, do they go on some adventures. Across the six episodes, the writers create a plethora of offbeat setpieces for Conor and Jock, and the show explores all of these quirky and off the wall premises really well. It's not just funny, it's creative, intelligent, and often has surprising amounts of pathos. These six episodes work so well individually, and I suppose that the best way to do them justice is to break them down one by one. If you want the short version of this post and don't want to hear each episode broken down in detail, then I cannot recommend this show enough. It's not perfect, but it has this boyish charm and rich sense of humour that seriously makes it work. It's absolutely wonderful.

I've talked about the difficulty of crafting a successful pilot. And The Young Offenders opener is.... maybe it's weakest episode. It contains a lot of the spirit of the movie, which is generally a good thing, but also tends to be this episodes downfall. It (re)introduces the characters to us, and although the plot of the episode is different to the series, this is the one with the most repeated jokes. The pilot takes a lot of gags and lines from the movie, which works more than it doesn't, but it works because the jokes worked in the first place.

It's still good though. I mean, with a cast like this, even a reused joke hits bullseye. The chemistry of the leads is still the biggest factor in making it work, and when this episode offers up an original setpiece, it really works. It serves its purpose as a pilot; introducing new viewers to these guys and their adventures, and reminding the people who have seen the film who these two are, but showing them in a different context. Newcomers won't notice the odd repeated story beat, and returning viewers will be reminded how likable the characters are, and it'll get everyone interested in watching the rest of the series. Yes, it's the series weakest episode, but a pilot shouldn't be better than the show it opens. It should peak viewers interest (which this does), introduce the world and ideas of the show (which this does), and in the case of a comedy, be funny, which this episode absolutely is. It's a good episode on it's own, but it's a great way to get you excited to watch more. It's a solid beginning to this show. The following episodes are better, but I think that's by design. As pilots go, this one does its job. And as an episode, it's damn entertaining. When a pilot is like this, it only really gets better from there.

Episode 2 highlights two of the major changes between the film and the show. The first is the introduction of two new characters, love interests for Conor and Jock. Although they were introduced in the first episode, it's here that they really get fleshed out. And I have to say, as love interests go, they work really well. They're really funny in their own right, and the chemistry they have with Conor and Jock makes for some seriously amusing interactions. This is only made better by the second difference between the movie and the series, PJ Gallagher. In the movie, he was the vicious drug dealer hunting the boys down. Here, he's the father of the girls and the school principal, and he makes this episode great. His character may be different, but he's still a comic highlight in this show, with his overly gruff demeanour and outwardly hostile perception of Conor and Jock.

The second episode is an old story told with the humour and charm you'd expect from this series, being the most hilariously awkward and utterly disastrous family gathering you could imagine. The cast here is so strong that just having them bounce off of each other for half an hour proves to be incredibly entertaining. Which I think is the mark of a good cast. When just having them talk for the whole episode is both funny and charming, you've got something special. Which this episode, and show, definitely is.

The third installment is like an extension of the second, with Conor and Jock taking the two girls out for a day on the town, which turns out to be the worst date ever. But what else did you expect? The surprise of this episode is that it's not just funny, but it brings a surprising amount of pathos along with it. The reason for their outing is actually really touching, which is combined with the awkward sense of humour fantastically. The scene where they sing With or Without You will make you laugh, but may also tug your heartstrings at the same time.

It's easy to dismiss this show as crude or overly laddish, but this episode proves that there's definitely something more. Every episode does this too, but if you want the one with the most emotional heft, this is the one to go for. It demonstrates what makes this show great, it's effortless balance of jokes and soul. The characters here are never targets to laugh at, they're just especially inept individuals, but they're still people. People that constantly find themselves in unfortunate situations, but people nonetheless. If you wanted proof that this show was more than it initially appeared, watch this episode.

The second half of this show is where it gets really good for me. The first three episodes are good, but the last three had me utterly overjoyed week to week. Each of the episodes are funny, entertaining and damn charming. And it's the fourth episode, a road trip through Cork to get a new old fridge that makes for one of the best times that the show has to offer.

Despite the fact that the show is called The Young Offenders, the supporting cast is tremendously strong too. And for me, nobody is better than Mairead, Conor's abrasive mother, excellently played by Hillary Rose, who steals every scene she's in. And she makes for the perfect foil to Conor and Jock over the course of the worst road trip ever. And this for me is probably the funniest episode (although the sixth is a blast too, but we'll get there soon). The whole episode hinges on the interaction between these three characters, but the comic chemistry is so great that it just works. Even when they're just talking in the car, it's funny. When they encounter a cantankerous farmer with a vendetta against a rowdy duck, it's hilarious. Especially when the payoff to that joke comes in later on.

The fourth episode also delivers one of the movie's story beats, which actually has an impact on the status quo going forward. And that's kinda interesting. The ending also has one of the series's more dramatic moments, and like all of these dramatic moments, it's done with tact. It's taken seriously. This show isn't one that keeps it's characters in stasis, like so many sitcoms do. Their situations can change, and the status quo isn't a set in stone thing. I love that this show does that.

It's the moments like that that give this show substance. It's not just a silly funny lad show. It's a hilarious show about funny people, and it never shies away from portraying the moments of emotion. While also being an absolute blast to watch, filled with some seriously funny jokes. The scene when they try to lift the car kills me.

The fifth episode on the other hand, is some seriously offbeat fun. Conor and Jock steal a fish, and have to transport it across Cork. It's a pretty strange premise, but it's one that the show pulls off quite well. One thing I love about these guys is that they do everything with good intentions, and this is no exception. The thinking behind the fish theft is really funny and oddly charming.

The things that they encounter on their quest make for some very, very funny gags, and having Conor and Jock hang out with each other for an episode just works. These guys play off each other really well, and without that chemistry, an episode this quirky mightn't have worked. But it does. The interaction between them keeps this episode grounded, and makes it an absolutely joyous watch. The fish theft episode may not be a staple of the sitcom just yet, but the show's fifth installment makes that unusual concept work.

And the fifth episode's ending drops a bomb on the audience that leads right into the ultimate episode.

The final episode of the show is probably my favourite. It's a little bit like Speed meets Dog Day Afternoon.... in Cork. Basically local thug Billy Murphy accidentally kidnaps a busload of people, and things go south very quickly.

I love when a show can just put characters in one place for the whole episode, and have it be really funny and entertaining. And this episode does that in spades. Billy wasn't really focused on in the other episodes, but this one fleshed his character out in some really great ways. He's kind of terrible at keeping hostages, but that provides most of the laughs here. You have to laugh at how inept he is, but come the end of the episode, you kind of want to see him succeed. That that's done in a homage to Spartacus is even better.

And story beats and story arcs throughout the series are resolved here too. The fake Billy plot finally reaches a conclusion here, and all of the characters relationships are brought to a satisfying point, one that provides closure for now, but remains open for a new series. The fourth episode might just be the funniest, and the third one might have the most emotional weight, but it's the finale that becomes my favourite adventure for these two lovable idiots. Because it's the full package. Lots of laughs, plenty of character moments, heart and charm, well structured plot, satisfying end and some great potential for a second series. This episode demonstrates why you should watch this show. A good pilot gets you interested. But a good finale reminds you why you loved the show in the first place. And this one does that. By the time you reach the season's close, you're invested. And the climax should provide a good payoff to the season. When you reach this episode, you'll be reminded why this is one of the strongest series this year so far.

And that's what this is, one of the highlights of 2018's winter season. Okay, it has it's flaws, and I'm not gonna deny that, but when The Young Offenders works, it really freaking works. It's funny, it's charming, it's so entertaining and it's just a solid show. For how hard it is to transition between film and television, Peter Foott has done so effortlessly. Most of what makes the movie great is preserved here, and the new things that they do add actually feel organic and fresh. It would have been easy to jump the shark and try to up the ante right off the bat, but instead the show opts for the smarter route, retooling the film into a new beast entirely. Each of these six episodes hits the mark, and I found that they got progressively better as the show went on. I had my doubts at first, especially after seeing how much the pilot borrowed from the film, but all of my expectations for where the show was going were pleasantly surpassed. It builds on the chemistry of the characters, and has no trouble introducing new ones. It takes these characters and drops them into gleefully odd plots without having them seem out of place or out of character. And most importantly, it's just funny. And for a comedy series, that's everything. So, if you haven't seen this series, absolutely do. It's a highlight of this year for sure.

Why Bone Tomahawk is One of the Best Horror Films in Years

So, I've talked about horror quite a bit on this blog. And rightfully so. I love horror films. From 30s monster movies to 80s slasher flicks, and modern takes on classic ideas, horror is awesome. And one of the best things about horror as a genre is it's ability to meld with other genres. Combine it with comedy and you get An American Werewolf in London. Combine it with science fiction and you've got The Thing. Throw drama in there and you'll get The Babadook. But what happens if you make a horror western? What do you get when two seemingly different genres are put together? Well, you get one of the best horror films in recent memory, Bone Tomahawk.

Kurt Russell is an interesting actor to say the least. On one hand, he's a product of the 80s. With his masculine bravado, fabulous hair and suavely gruff demeanour, he's the ultimate 1980s action hero. But something quite interesting about Kurt Russell is that he's actually making a sort of comeback. From Quentin Tarantino to Marvel, this guy is making quite the return. And few films in his entire catalogue make as much of an impact as Bone Tomahawk.

I mean, considering Russell is significantly older now, you'd assume he'd struggle with heroic roles. His whole archetype doesn't really suit him now, so making a western set horror movie with him as the lead is a very strange idea. But it makes for a very pleasant surprise when you sit down and watch it.

The 2010s have been good for horror. Okay yeah, some bland stuff here and there, and the studio influenced saturation hasn't been too kind to the genre (hello Rings), but overall, the movies gods have granted us some genuinely scary films. Australian mental health demons, STDs that hunt people down, and Guess Who's Coming to Dinner meets Being John Malkovich, there's been no shortage of gems over the last few years. But it's S. Craig Zahler's strange marriage of the west and hell that really wows.

Bone Tomahawk is a little bit like True Grit..... if it was made by Eli Roth. A man's wife is kidnapped by a strange group of savages, and he teams up with the sheriff and a small posse to rescue her. The film is this fantastic road trip across the plains, and contains all sorts of brutality and amorality along the way, as any good western should. Actually, for the first two thirds, it's not even a horror film. It's a very atmospheric western, one that analyses the bigotry and moral ambiguity that permeated the outlooks of people at that time.

It's a violent film. That statement may sound obvious, seeing as it's rated 18, but there's more to the violence than pure gore. The gore's there too, but it's important to remember that the violence comes from both genres, and it exists here for other reasons. I mean, of course it ties into the horror, and makes the conflict unbelievably real feeling, but most of the violence in Bone Tomahawk comes from the western aspects.

It's easy to forget that movie violence goes deeper than what you see on the screen. Violence isn't just in the visuals. It's in the ideas that the film presents, too. That's a key idea in the western, the violent ideologies that people have, and how they affect society and the people in it. Bone Tomahawk uses its violence not just to scare it's audience with gory visuals, but to make them stop and think about that world and it's attitude to hate and conflict. There's a fantastic scene involving a group of Mexicans thats particularly poignant, and exposes a lot of the bigotry and hate that swirls under the surface of the cowboy film.

The sheriff and his gang don't tolerate those that they encounter. Much like The Wild Bunch or any Sergio Leone spaghetti westerns, Bone Tomahawk explores the violence that it portrays on screen, and uses that to dissect human nature. It's bleak and unflinching in it's take on our bloodthirsty tendancies, but it offers a take on violence that's interesting and different. How far do we go to pursue justice? Can we justify violence against other people? And most crucially, are the cowboys any better than the savages that they hunt? Maybe not. Zahler breaks these issues down and applies them to all of the characters. The heroes aren't heroic, and the people they fight are terrible, but that's just the kind of world that Bone Tomahawk is set in. A world of violence, and outlaws, and savages. It's gore and brutality is used to ask some big questions, and leaves it to the viewer to decide on an answer.

But the violence is also a big part of the fear factor too. Yeah, its used to explore the film's themes, but it's so extreme that it becomes disturbing. Okay, gore fests aren't automatically scary, but when put in a bleak atmosphere and wrapped in questions about human nature, extreme violence becomes unsettling. Because it's not just the gore that's scary. It's the outlooks that cause peoe to commit violent acts that frighten. And that goes for every act of violence in the film. There's horror in the cowboys bigotry and hate, but there's also absolute terror in the acts that the tribe commit, which are never fully explained. And Zahler let's the scary parts of those mindests sink in.

This film is truly disturbing all throughout, but it's the climax that terrifies. When you actually meet the tribe, and witness their violent acts firsthand, things get good. The film is scary when the violence comes from an understandable place, but when the violence is random and unexplained, it's freaking terrifying. When you see what the tribe do, you're seeing it from the sheriff's point of view. He's an outsider to their culture, and doesn't understand their rituals. When you view it from this perspective, everything becomes unfathomably scary, because you never understand these happenings. Zahler uses the fear of the unknown and the brutality of the violence on display to elevate the climax to terrifically scary proportions, and it works.

That's the real horror. It's not like "oh these cannibals are murdering people how scary". It's the brutal realism and horrifying motives of the violence that makes Bone Tomahawk come alive. It's portrayal of violence is terrifying, because it gets right to the root of it, and finds the fear along the way. It's not just a gory bloodfest, but an exploration of violence, which is a naturally disturbing idea.

So, what have we learned? Well, for one, the horror and western genres have an interesting link. Violence. Both of these genres contain ideas about violence in some way, and it's through finding the middle ground that Zahler is able to craft such a spooky experience. Because it's old West values and horrific visuals combined. And that's surprisingly scary. These are both ideas that allow Zahler to explore violence as an idea, and he finds both fear and pathos in his conclusions.

So while a horror-western may sound odd, it actually makes a huge amount of sense when you think about it. They're both genres that dissect violence, and they both create bleak, uneasy atmospheres when they do so. And here is no exception. Bone Tomahawk is a gruesome, tense and surprisingly human experience. So maybe Kurt Russell was an odd choice, but this movie dates to bring him back, and does so in style. Russell perfectly sells the jaded amorality of the western hero, but also has the sympathy and humanity of the horror victim. It's a wonderful performance that effortlessly revives it's star. It's not just a scary cannibal film, it's a chronicle of the darkest parts of humanity that scares with it's brutal violence and fearless gaze into the human mind. Bone Tomahawk shouldn't have worked, but it did, and it provided a thoughtful look into the human mind in the process. It may seem a bit B movie-ish, but trust me, there's a beautifully brutal allegory in there somewhere. And it's well worth watching to find it.

My Thoughts On Annihilation

Here's an idea. Take Apocalypse Now, Jurassic Park, The Thing and 2001: A Space Odyssey and throw them into a blender. Now imagine them by the guy that did Ex Machina and you've got Annihilation. Now, I'll admit that I have some problems with it's limited release, especially the reasoning, but having seen it, I have to say that it isn't a factor when it comes to quality. Limited release or not, this is some solid stuff. I've already talked about how much I love 28 Days Later, and Ex Machina was also a fantastic piece of science fiction cinema. But Alex Garland's most recent effort is also one of his best, a fantastic blend of sci-fi horror and surrealist storytelling that seeks to take the viewer on a journey through claustrophobic horror and unfamiliar insanity.

But let's backtrack. What is Annihilation? Well a soldier goes missing in an unusual ecosystem, and his biologist wife goes into the forest to investigate the natural phenomena. That's the core premise, but as time goes by, things get dark. Fast. The Shimmer contains a variety of anomalies, and the experience of being inside it gradually takes it's toll on the people within it.

This makes Annihilation a fairly interesting and often dreamlike experience. It's an idea that maybe could have been confusing in the wrong hands, but with Alex Garland at the helm, it's easy enough to follow while still being completely open to interpretation. That's a hell of a balancing act, but it's something that Garland never struggles with.

The film is one that's more driven by atmosphere and tone over story. There is a plot here (and a pretty good one at that), but it takes a backseat to the ideas on display. This results in a beautifully strange and dreamy ride through a world rich with interesting ideas concerning science, nature and life. It's pure cinematic experience, one that's simultaneously distributing and beautiful, and always impossible to take your eyes off of.

The performances as well are fairly good too. With a cast like this, you're guaranteed some strong turns, and the acting here is pretty great. Natalie Portman is a great lead, one that you sympathize with, being likable but never flawless. And watching here quest to get to the lighthouse is always fascinating.

The support is phenomenal. Oscar Isaac is great as a bewildered and traumatized soldier, who becomes the subject of some very disturbing reveals as the plot progresses. Jennifer Jason Leigh is really good as the leader of this investigation, and soon becomes ambiguously trustworthy, further increasing the doibt and fear of the characters. Tessa Thompson rocks too, being introverted but always charming. She's definitely one of my favourite up and coming actors, and this film proves why. She sells her character's quietly determined nature.

But it's Gina Rodriguez who steals the film for me. I adore Jane the Virgin. It's one of the best shows I've seen in a while, and Gina Rodriguez is a big part of that. When I heard she was in this I was pretty excited, and she did not disappoint. She effortlessly conveys her character's descent. She's always believable, and makes this seemingly simplistic character sympathetic and interesting. You always understand why she does what she does, and you empathize with her when things get hairy. I really need to gush over Jane sometime.

So, Annihilation. I was looking forward to this one, and for the most part it lived up to it. Okay, so it's occasionally incoherent, especially towards the end, but it's a potentially confusing idea told in an accessible way. Is it for everyone? No. Is it Garland's best? No. Is it good? Most definitely. It's fantastically directed, wonderfully atmospheric and contains some great visuals. The performances support the plot effortlessly, and the whole experience of drifting into a hellish ecosystem is a fairly strong one. It's a visceral film, one that you experience alongside the characters, and as a result, it works. Go see it, I assure you it won't be too intellectual for you.

Okay, I'll let that go now.

My Thoughts On Black Panther

So, with how densely populated the superhero genre is, you think that it'd be easy for releases to blend together and get lost. And while that is an issue for some, safe to say that it's something that Marvel rarely struggles with. I do understand the complaints about the MCU, and their essential mass-production of superhero blockbusters. But for me, they do it with a surprising amount of personality. I'm not some rabid fanboy leaping to defend the MCU, because I have my problems too. Some of their films do exist just to serve the interconnected universe (Thor: The Dark World), and sometimes the writing can be sloppy (Avengers: Age of Ultron), but the thing is, these movies, for the most part, are hugely enjoyable blockbusters. And one thing that Marvel has been doing is giving pre-established filmmakers free reign over how they tell their stories (except for the ice cream guy. The ice cream guy didn't get to tell any stories). It's a step in the right direction, because they can bring their own voice to the table, and subvert the expectations you would have for an action blockbuster.

So, yeah, the MCU is pretty good in my books, and with Infinity War always looming on the horizon, what better time to review Marvel's latest, Black Panther? This film has been making waves and breaking boundaries. And rightfully so. Ryan Coogler takes the no nonsense approach he used with films like Fruitvale Station and Creed and applies it to the superhero film, and it absolutely works. Coogler takes the idea of the superhero story and films it through a lens of cultural identify that's rarely been seen. And that's a shame, because Black Panther's take on heroism is an absolute breath of fresh air in the MCU.

Having already gotten the general idea of the character in Civil War, as well as knocking out most of his origin story in the process, Black Panther is able to forgo the exposition in favour of an on the move, thrilling and inventive plot. This isn't an origin story, it's a continuation. We know this guy already, so instead Coogler just pulls us into his world and shows us what he's going through post Civil War. And I love that. It's not a sequel that just exists to be another part of this franchise, it's a chronicle of a part of this universe that absolutely feels like it's just another story going on in the world of Marvel. And it would have been easy to just introduce a character purely to serve the brand, which the MCU did kind of do initially. But instead Coogler takes what we know about the world and shifts it to another part of this universe. It's not tied to the other movies, but it's not entirely separate either; it runs alongside them, and that's what makes a universe. That idea that outside of this film, other things are going on. In this time of cinematic universe fatigue, the fact that we get an organic expansion to the MCU is pretty great.

And the plot itself, which centres on T'Challa becoming king after his father's death in Civil War, is very good. It always reminds us that, yeah, he's a vigilante who's also the king of a small nation who's got a shedload of gadgets, but he's also human. Before anything else, he's just a man. And that'd something that Coogler always reminds us. It would have been easy to have this unkillable hero who can't be stopped *cough* DCEU Superman *cough*, but instead he's flawed. He's imperfect. One of my favourite ideas here is T'Challa being stripped of his superhuman ability to accept the challenge of the throne. He's got a clearly defined arc that acts as the backbone of the film. That's the core: T'Challa's progression over time and his ultimate acceptance of his responsibilities. He's far from perfect, but with Chadwick Boseman's nuanced and patient performance, he's likable and real.

Micheal B. Jordan is great as the villain, Killmonger. He's menacing and evil, but Jordan plays him with a surprising amount of pathos. His backstory, plan and motivation allow the audience to pity him, but his methods still make him an effective antagonist. He's almost a tragic villain, but is unlikeable enough for us to want to see him defeated. Or rather, we can sympathise with him, but understand that he needs to be defeated. Which is a great archetype for a villain. Because like how T'Challa is a human feeling hero, Killmonger is a completely real villain. He's not the simplistic personification of evil commonly seen in superhero fare, he's just a guy who feels like he needs to bring order and equality. That's his basic motive, but is built upon incredibly well with sketchy methods and debatable morals.

The rest of the cast thrills too. Lupita Nyong'o is an awesome foil to Boseman,  and an incredibly protagonist in her own right. But it's Letitia Wright who consistently steals the show. She's a great gadgetmaster, and her one liners brim with humour and wit. Andy Serkis is suitably seedy, and Martin Freeman is great as a fish out of water CIA agent. I wasn't a huge fan of his character in Civil War, but he's great here, essentially acting as the audience, experiencing Wakanda for the first time.

So, problems? Well, despite being one of the MCU's more accessible films, it does help to have seen most of the previous installments before this one. Especially some of the end credits scenes which depend on your knowledge of previous movies to really understand them. Some of the CGI is occasionally kinda ropey, and for every action scene with a clever set piece and good choreography, theres some of the scenes in the climax that don't really have the visceral and crunchy feel of some of the other fights.

But overall, this was the perfect direction for the MCU to go in. It takes the superhero genre in a fresh and richly cultural direction, while also being a solid fleshing out of a character that we didn't really know too well first time around. The villain is strong, the supporting cast nail it, the plot is simple but pretty effective and the action is fluid and fast paced for the most part. Yeah, not everything works, but it's still one of Marvel's best in ages. It's something that we don't see much of in comic book films; an identity and personality that goes beyond just acknowledging that it's based on a comic. It's not just serviceable, it's great in it's own right too. Strong solo outing.

Infinity War can't come soon enough if you ask me.

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.

My Thoughts on A Futile and Stupid Gesture

So while I was reflecting on last year's best films, Netflix released a movie that I've been anticipating for quite some time; A Futile and Stupid Gesture. Regardless of how you feel about the increase of made for streaming movies recently, you have to admit that it is having an effect on cinema. Some hate this development, and others are fine with it, and I must say that I'm in the latter category. I think that it's a good thing that film is evolving in this way, and these streaming services are producing films that deserve to be mentioned in the same breath as big-budget studio productions. I enjoyed several Netflix original films last year, and when the trailer for A Futile and Stupid Gesture came out, I was pretty excited. Anyone who has spent even a minute on this blog will know that comedy is my favourite genre, so I'm very familiar with National Lampoon.

Or so I thought I was. See, as a lover of comedy movies, I was only really familiar with the films associated with National Lampoon. I actually knew very little about the magazine or Doug Kenney. And what a biopic. When it was announced, I was certainly interested. When I saw the trailer, I was really looking forward to it's unconventional, humour filled approach to telling Kenney's life story. When it was released? I couldn't have enjoyed it more. I know that it's only the first major release of 2018, but hot damn, this is a strong start to the year.

At the start of this film, a brilliantly clever joke is told on the people who don't really know about Douglas Kenney (myself included). What the movie does won't be spoiled here, but trust me when I say that it's used to great effect. Those who do know about Kenney's life can appreciate  how the story is told, and the payoff of that opening scene. As I said, I knew very little about Douglas Kenney going in, and I was totally fooled by the reveal. A twist in a biopic isn't the most common thing, but it's used to such a phenomenal effect, but more on that in a bit.

First things first, the casting. Will Forte is surprisingly good in the lead role. Again, I don't really have anything to compare him to, but he really captures the essence of a man who is completely isolating himself from those around him. And yet he's hilarious. He's so much fun to watch, and never turns the film into anything overly serious. I mean yes, there is drama, but it's never overly heavy, and the film never gets caught up in the unpleasant details of Kenney's life, a lot of which I think does come down to Forte. He creates this great sense of self destruction, one in which he masks his inner turmoil with banter and comedy. But where Forte excels is at portraying the man beneath the humour. He'll be cracking you up and breaking your heart all in the same scene.The supporting cast really succeeds at portraying the people in Kenney's life too. I'd have never thought that Joel McHale would have been a good Chevy Chase, but hey, I guess four seasons on the same show results in a pretty decent impression. Domhnall Gleeson (who I swear appears in every film being made now) is a fantastic foil to Forte, playing Henry Beard, who I'll admit I knew nothing about. He's such a great counterpart to Kenney, simultaneously his best friend, gretest critic and ultimately, an object of envy for Kenney.

I also love the fourth wall breaking style. Having modern Douglas Kenney appear to comment on certain events really gives the film an edge, and enhances the reveal at the end. It really gives the dramatic moments a comic edge, and hell, it makes the ending so much smarter than its probably should be, because the stupidity of what happens at the end is suddenly combined with a cleverly subversive joke that delivers one of the strongest finishes to a film in recent memory.

And the film really succeeds at leaping between tones. It's quite hard to do a good comedy drama, as one can overpower and undermine the other very easily. But by telling a story that's both inherently funny and fairly tragic, the film can operate between the two. It's never just funny and then just dramatic, it does them simultaneously and really succeeds. It undercuts dramatic moments with sharp one liners, and grounds funny moment with heartbreaking truths. The end of the film is a good example. It's a fairly sad moment, but it never gets caught up in its own tragedy, instead immediately switching to a joke that really, really works and brings this hilariously melancholic story to a fitting close.

All of this builds to create a fairly strong film, one that'll probably be hard to top in 2018. I mean, near perfect balance of comedy and drama, performances that cycle between hilarity, charm and melancholy, subversive and smart fourth wall breaks that never get obnoxious and one of the smartest reveals I've seen in a while. Netflix has quite a few excellent original films so far (I'm especially fond of Okja and The Meyerowitz Stories), but this may be their best yet. A great biopic is a special thing. It can provide an insight into the life of a well known figure, but with a personal touch that gives it a human edge. A Futile and Stupid Gesture goes above and beyond, being so much smarter than I would have expected a biopic to be. And so much funnier. I have a feeling that the filmmakers knew that not too many people actually know who Doug Kenney is, so instead of enlightening the audience though conventional means, they turn it into a massive joke that laughs at the people unfamiliar. And for those who do know, it's a fantastic gag that fits Kenney's character so well. And in general it leads to a fantastic experience. Odd as it is to say, this biopic makes fantastic use of it's reveal, which might actually be the best thing in the film. That's not me exaggerating, it's so good that it massively enhances the already excellent film. The only complaints I have are that sometimes the comic interludes in the quiet dramatic scenes are a little too in your face. The fake infomercial about being Doug Kenney in particular is so poorly placed that it actually cheapens the effect of that scene. They do actually do it well with Kenney's wife leaving him via a comicstrip, but it's when they just shove a joke into what should have been a quiet moment of reflection that it becomes slightly problematic. But that's honestly about the only flaw that really effects the film in any significant way. Everything else seriously works here. The bar has been set. Your move, 2018.