Swampflix’s Top Films of 2017

1. Get Out – Jordan Peele’s debut feature displays an encyclopedic knowledge of horror as an art form as it pushes past discussion of explicit racism to explore the awkwardness of microaggressions, the creepiness of suburban culture, and the fetishization and exotification of people of color. It’s a staggeringly well-written work that has convincingly captured the current cultural zeitgeist, becoming instantly familiar & iconic in a way few movies have in our lifetime. It’s a horror film that families should watch together, especially if you have some of those white “I’m not racist, but” family members. Let it flow through you and inform you about the daily experiences of people of color in our country. Let it teach you a lesson about the power of cell phone video as a liberator, and about the frequent hypocrisy of white liberalism. Let it be the light for you in dark (and sunken) places. Let its truth live in you and affect your daily life, teaching you to recognize the toxicity within yourself. Live it.

2. mother! – A sumptuous movie with haunting imagery, strong performances, an excellent cinematic eye, and an amazing cast. A movie about which it’s impossible to be apathetic but completely acceptable to feel ambivalence. A beautiful, messed up, literally goddamned movie that might just be the most important major studio release of 2017.  mother! demands discussion & analysis in a way most major studio releases typically don’t. The important part of that discussion is not whether you are personally positive on the film’s absurdist handling of its Biblical & environmentalist allegories or the way it makes deliberately unpleasant choices in its sound design & cinematography to get them across in a never-ending house party from Hell. The important thing is recognizing the significance of its bottomless ambition in the 2010s Hollywood filmmaking landscape.

3. Raw – The debut feature from director Julia Ducournau is one of the more wonderfully gruesome horror films of 2017, but it’s also much more tonally & thematically delicate than what its marketing would lead you to believe.  A coming-of-age cannibal film about a young woman discovering previously undetected . . . appetites in herself as she enters autonomous adulthood, Raw is actually pretty delicate & subtle, especially for a remnant of the New French Extremity horror movement. Although there are plenty horror elements at play, the movie also works as a dark (dark, dark) comedy. It’s gross, but it’s also hilarious, and surprisingly endearing.

 

4. I Don’t Feel at Home in This World Anymore – A movie about getting justice for yourself and fighting the assholes of the world, this is the sweetest tale of revenge that ever was. Part Coen Brothers, part Tarantino, but uniquely its own thing, I Don’t Feel at Home in This World Anymore deftly balances itself between romcom and gritty revenge flick. Melanie Lynskey’s mission of principle— not in search of compensation, but for the simple demand that “people not be assholes”— boasts an absurd, intangible goal and the movie itself never shies away from matching that absurdity in its overall tone, but impressively still keeps its brutality believably authentic. It vacillates between grave-dark humor and truly grotesque outbursts of violence, but it also demonstrates a wealth of heart and subversiveness.

5. The Shape of Water – A vision of hope & empowerment. Revisionist justice for the monster in Creature from the Black Lagoon. Guillermo del Toro’s latest is emotional comfort food for the outcasts, downtrodden, and misfits of the world. A brutal, lushly shot fairy tale, The Shape of Water is a beautiful love story between a disabled woman and an aquatic humanoid. It’s also a powerful punch in the face of the fascist ideologies that are infiltrating our daily lives bit by bit, especially in seeing the world’s true, institutional monsters overcome by an alliance comprised of the “other”: a “commie,” a woman of color, a woman with a physical disability, an older queer man, and their sexy fishman accomplice.

6. Split – A near-borderless playground for James McAvoy to villainously chew scenery. He does so admirably, fully committing to the film’s morally dodgy, but wickedly fun D.I.D. premise. Split is a thriller that makes you feel the fear and anxiety of the protagonist (The Witch‘s Anya Taylor Joy), whom McAvoy holds hostage. That horrible trapped & confused feeling overwhelms even as the film descends into gleefully trashy genre tropes that don’t at all deserve the attention to craft M. Night Shyamalan affords them.

7. IT – Steven King’s novel IT is a lengthy screed about friendship and the loss of innocence upon the road to maturity, a book that holds the record for “Product Most Obviously Created by a Coked-Up Lunatic.” It’s not King’s best work, but last year’s film adaptation finds the kernel of perfection in it and brings it to life. Many were quick to compare it to the terribly boring TV miniseries adaptation from 1990, but the film is a major improvement on that attempt. Loaded with jump-scares and legitimately terrifying sewer clown action, IT was the best true-horror film of the year, an excellent wake-up call to the value of mainstream horror filmmaking done right. While indie filmmakers search for metaphorical & atmospheric modes of “elevated” horror, IT is a declarative, back to the basics return to Event Film horror past, a utilitarian approach with payoffs that somehow far outweigh its muted artistic ambitions, which tend to lurk at the edges of the frame.

8. Logan – A somber meditation on age, obsolescence, loss, and death, this R-rated X-Men film’s throat-ripping hyperviolence offers a legitimate glimpse into the grim future of Trump’s America. It also breaks new ground as a superhero narrative that finally tries its hand in genre contexts outside the action blockbuster. This is a neo-western set in a dystopian, dusty, economically depressed future in which life is cheap, crossing the border into Mexico is an ordeal, and Canada provides asylum to those on the run from an authoritarian government that hates them because they are different, all while said government not only condones but supports the imprisonment of and experimentation on children of color and treats Mexico like its dumping ground. It’s perhaps the starkest look into our likeliest future that came out all year.

9. The Lure – Gore has never been so glamorous! The Lure beautifully mixes fairy tale lore with glitterful violence and a fantastic synth-heavy soundtrack to deliver a mermaid-themed horror musical that’s equal parts MTV & Hans Christian Andersen. Far from the Disnified retelling of The Little Mermaid that arrived in the late 1980s, this blood-soaked disco fantasy is much more convincing in its attempts to draw a dividing line between mermaid animality & the (mostly) more civilized nature of humanity while still recounting an abstract version of the same story. The film somehow tackles themes as varied as love, greed, feminism, addiction, body dysmorphia, betrayal, revenge, camaraderie, and fluid sexuality while still maintaining the vibe of a nonstop party or an especially lively nightmare.

10. Marjorie Prime – The best hard sci-fi film of the year is a deeply introspective and meditative piece on the nature of grief, memory, loss, and family. Love and grief have a profound effect on the way that our memories evolve and devolve and undergo a metamorphosis as we age. The ravages of time on the human body and mind also contribute to our imperfect personal narratives. This serene, philosophical stage play adaptation about artificial intelligence dwells on these themes at length, mostly to the sounds of distant waves crashing and softly spoken dialogue. Marjorie Prime is the most quietly elegant film listed here, but it’s also the most philosophically rewarding in its reflections on memory, truth, and the erosive nature of time.

Read Alli’s picks here.
Read Boomer’s picks here.
Read Brandon’s picks here & here.
Read Britnee’s picks here.
Hear James’s picks here.

-The Swampflix Crew

Alli’s Top Films of 2017

It has been a year, both good and bad, mostly bad, but it’s the worst years that inspire some of the best art. Or at least that’s the bit we’re all told, as suffering artists. There were a lot more original stories of note for me this year, rather than remakes and book adaptations, so there may be something to that.

It being a rough year for me, though, which meant I fell behind, and because of that I’m keeping my ranked list short at 5.

1. The Shape of Water – It’s a tragedy to me that the monster in Creature from the Black Lagoon got treated so badly. It’s an injustice that scientists would resort to killing and maiming a creature instead of just trying to avoid and passively observe it in the hopes of understanding it. The Creature always deserved better, and I’m so glad that I’m not the only one who thinks so. The revisionist justice of this movie is emotional comfort food for me.

Besides the Creature getting a better ending, The Shape of Water also serves as a countercultural rallying cry. The outcasts, downtrodden, and misfits work together to foil the plans of the establishment. Working class women, the lowest paid of anyone in America, actually get back at condescending bosses. Del Toro gives us a vision of hope and empowerment.

The cast is fantastic! Michael Shannon is horrifying. Sally Hawkins sweetly plays a mute rebel. Octavia Spencer gets a great role as a proud black woman in the time of the Civil Rights movement (when many proud black women made a difference and provided a strong backbone to the movement, only to be unfortunately overlooked). Doug Jones, though. He has played some of the most iconic del Toro roles: the Faun and Pale Man of Pan’s Labyrinth and the ghosts of Crimson Peak. Now, he will forever be known as the sexiest fish man onscreen.

I already knew I would love this movie just from del Toro’s name alone. He is one of my favorite currently working directors. The art he creates is lush and fantastic. He has a way of preserving the fun and excitement of fairy tales while also never letting his audience forget that there’s a real terror to them. With The Shape of Water he hands us another original modern fairy tale with a bittersweet ending, because he knows exactly what people like me want: a beautiful love story between a disabled woman and an aquatic humanoid.

2. Get Out – What can I say? So many writers have written so many pieces that offer better words than I could.

I’m glad that it didn’t just focus on the horrifying explicit racism, but the neoliberal hypocrisy that comes from the wealthy elite “nice white people.” The awkwardness of microaggressions, the creepiness of suburban culture, and the fetishization and exotification of people of color all help it succeed not only as a political movie, but also as a horror. The final act is a bloody catharsis that reminds me in many ways of the famous Anansi “get angry” monologue from the TV adaptation of American Gods:

Angry is good. Angry gets shit done. You shed tears for Anansi, and here he is, telling you you are staring down the barrel of 300 years of subjugation, racist bullshit, and heart disease. He is telling you there isn’t one goddamn reason you shouldn’t go up there right now and slit the throats of every last one of these Dutch motherfuckers and set fire to this ship!

American media has been rightly political in recent years. Get Out is another wonderful commentary on how weird and messed up the good old USA is.

3. mother! – I’ve always had mixed feelings about Aronofsky. I hate Requiem for a Dream, but absolutely love Black Swan, as Brandon and I discussed in the Swampflix Podcast episode about “ballet horror.” I went into mother! knowing it was one of those movies that elicits extremely polarizing reactions. I tend to be in the love it camp when it comes to those, and this was no exception.

It’s full of religious allegory, sure, but it also plays out like the absolute worst anxiety dream ever. I felt so personally offended by all the rude guests Mother had to deal with. The sink isn’t braced!! You weren’t invited! Just leave already!! Then the movie just totally breaks down into bonkers chaos, with literal bombshells and mobs. It’s all so gorgeous and frustrating.

I like the audacity of pointing out the wrongs and bizarreness of the Bible in an often heavy handed and overly dramatic movie. (I mean, what is the Bible itself if not heavy handed and overly dramatic?) The mother is so often referenced in Christianity, but where is she? The women of the Bible are so taken advantage of. It’s not right. Not in their own homes.  As the titular character played by Jennifer Lawrence screams at the godlike character of Javier Bardem, “YOU’RE INSANE!”

Really, that one line sums up the whole beautiful, messed up, literally goddamned movie.

4. I Don’t Feel at Home in this World Anymore – Superhero movies are everywhere and, because of that, vigilante justice is normalized to a certain extent. We cheer when robbers and thieves actually get caught and put in their place by Spider-Man or Batman or whoever else decides to focus on small criminals that day. Realistically, going after bad guys and taking them down is terrifying and scary, yet we’ve all had the temptation to put a bike thief or burglar in a headlock. This movie is about giving into that, getting justice for yourself, and fighting the assholes of the world.

Part Coen Brothers, part Tarantino, but uniquely its own thing, I Don’t Feel at Home in This World Anymore elegantly balances itself between romcom and gritty revenge flick. Melanie Lynskey strongly carries this movie on her back. She somehow doesn’t even get outshined by Elijah Wood playing an awkwardly sweet “sword guy” with a dog named Kevin! The chemistry between the two of them is sweet and wonderful here. The concept of revenge is dissected and not glamorized at all. The gory violence, raging criminals, and shady underbelly of the world are put on full display.

The world is a horrible place, but if you have a katana-swinging nerdy neighbor with a rat tail, it’s probably going to be A-Okay.

5. Ingrid Goes West – Is there a more relevant movie to the times that will soon be completely obsolete and irrelevant? iPhones, Instagram aesthetic, self-made social media personalities . . . What will the future think of our preoccupation with that culture? A charming fixation on the New or beating a dead horse with a stick? Either way, the cynical approach Ingrid Goes West takes is a new direction and tone, not the wariness and fright of Unfriended or other social media based horror.

Instead of following the victims, we follow Ingrid, Aubrey Plaza, an Instagram obsessed stalker who just wants to be friends with and be like the popular girls. So much so that she assaults a girl and has a stay at an inpatient facility for her mental health. Shedding some of her usual deadpan delivery, Plaza opens up at points and shows true vulnerability. Ingrid is not an easy character to empathize with. She’s manipulative and pathetic, but like all of us she has problems. It’s hard not to observe her flaws and see them as exaggerated versions of your own insecurities and needs. Plus, the people she aspires to be are the intolerable rich hippie types who curate their own Instagram aesthetics: found object art, mason jars, “sun bleached” hair, and airplants. It’s hard to feel sorry for try-hard rich kids who attempt to look “just thrown together.”

At times Ingrid Goes West feels like another, “damn kids with their phones” rant, but honestly we all know people like the ones in this movie, and we all wish they would just get off Instagram for a minute (at least).

Honorable Mentions

Movies I desperately want to talk about but couldn’t quite rank:

The Little Hours – Aubrey Plaza is on a roll. I hope she never stops. Although here, Kate Micucci steals a lot of the spotlight.

I can’t say too much about this movie other than it’s ridiculous, hilarious, and made a lot of Catholics upset. My favorite scene is where a few nuns get drunk and start singing.

A Ghost Story – Problematic as hell, of course. Brandon has every right to hate it and people have every right to judge me for appreciating a lot of it. I hate the choice to work with Casey Affleck. I hate him and his male entitlement, and honestly him being in this movie feels totally unnecessary. Luckily, most of the time his face is covered with a sheet. And he barely gets any dialogue. Yes, he scares off a hardworking single Latina mother by breaking all her plates. Yes, it’s sort of pretentious on top of all of that.

But it’s extremely emotionally manipulative and I feel like that bears saying. At the end, I even thought it was good. I like the concept of a ghost being a loser who can’t let go, stuck in a fixed point. I like the idea of the classic image of a ghost in its burial shroud as the costuming. Also, in the end, he was the negative vibes of the house he desperately wanted to stay in, so it feels revelatory to watch this jerk bro silently face infinity itself. I like to imagine when he gets the note at the end of the movie it just says, “My boyfriend is a jerk.”

I wish this movie had been made with a different cast and a different sort of ghost. Why not the ghost next door even?

It Comes At Night – Speaking of anxiety dreams! I have in the past suffered from a bunch of different parasomnias, including but not limited to: night terrors and sleep paralysis. I typically try to avoid movies that play off of those, but this one is just too good and too spooky. I found a little bit of the acting to be off and I still think the ending is a little weak, but it’s well worth the watch if you want a slow burn creep-out.

-Alli Hobbs

Britnee’s Top Films of 2017

1. Raw – The debut feature from director Julia Ducournau is hands-down my favorite film of 2017. What I adore the most about this coming-of-age cannibal film is that its terrifying plot feels so real. The main character, Justine, was so relatable to me, even though our lives are vastly different. The way she is able to portray her emotions when encountering new, unfamiliar social situations while trying to figure out her internal struggles was unlike anything I’ve ever seen before in a fictional character. Aside from the emotional side of the film, Raw also has some of the coolest/grossest gore scenes of the year. This is definitely not one for those with weak stomachs.

2. Split – James McAvoy is one of my all-time favorite actors because he gives every performance his all, and that’s exactly what he does in his lead role in Split. It’s a thriller that’s able to make you feel the fear and anxiety of the protagonist, whom McAvoy holds hostage. That horrible sense of feeling trapped and confused overwhelmed me to the point that I had to remind myself that I was in my own bedroom, where I do most of my movie-watching. Like with most M. Night Shyamalan films, Split is an endless puzzle. Just when you think you’ve figured it out, you get slapped in the face with an ending that is guaranteed to blow your mind.

3. Get Out – This is a horror film that families should watch together, especially if you have some of those white “I’m not racist, but” family members. Get Out is the perfect blend of horror, comedy, science fiction, and tear-jerking moments, so there’s a little something for everyone. The sound of a teaspoon stirring in a ceramic teacup has haunted me just as much as the film’s surprise ending.

4. IT – Loaded with jump-scares and legitimately terrifying sewer clown action, IT was the best true-horror film of the year. Many were quick to compare it to the terribly boring original television miniseries, but the film is completely different in the best way possible. For a film that centers on a killer clown, the spooky clown scenes are sparse; but when they occur, they are absolutely terrifying. This was the only film I saw last year in 3-D, and it was on of my most memorable 2017 film experiences for sure.

5. Okja – The silly CGI super pig Okja completely stole my heart, weird farts and all. Okja is a wild ride filled with themes relating to food production and animal rights, but it never loses focus on the main point of the story: the friendship between a young girl and her pet/best-friend. I watched Okja with my dog (who looks a bit like Okja), and I squeezed her so tight for some of the tear-jerking scenes. It’s amazing how a CGI super pig has made me question many of my life choices.

6. The Lure – This was the last film I watched in 2017, as it was featured at Brandon and CC’s New Year’s Eve movie-watching extravaganza. It was nothing short of a blessing. Gore had never been so glamorous! When it comes to movies about mermaids (possibly my favorite “mythical” creature), they’re either fairy tale-like or violent; The Lure is able to beautifully mix the two into a swirl of Polish horror insanity. Oh, it’s also a musical packed with loads of fantastic synth-heavy music that I immediately fell in love with.

7. mother! – The hype for mother! was just as enjoyable as the film itself. Advertisements branding the film as the “most controversial movie of the year” were around every corner, but when the film actually came out, people began to shit on it so hard. That’s when I became even more interested in watching it! It received a lot of criticism for containing very obvious allegories, but that’s one of the qualities I enjoyed the most, as it added to its unintended silliness. The bottom line is that mother! is just a lot of stupid fun and has a pretty sick scene at the end that shouldn’t be missed.

8. The Babysitter – This Netflix original teenybopper horror-comedy about a satanic babysitter is just as amazing as it sounds. The Babysitter is a satirical throwback to 80s teen horror, loaded with vibrant colors, fun musical numbers, and hilariously violent death scenes. Of all the movies in my top ten, I have watched The Babysitter the most. It’s just a fun movie to throw on after a long day of work.

9. Hounds of Love – Not only is this the title of my favorite Kate Bush album, but it’s also one of my favorite films of the year! Hounds of Love reminds us that human beings can be complete monsters. The film is loosely based on the Australian Moorhouse murders, and it does a great job of depicting the real-life tragedy that involved the capture and torture of a young woman by a sadistic couple. This is one of those movies that would be difficult to watch more than once, but as a true crime fan, I can’t rave about it enough.

10. I Don’t Feel at Home in This World Anymore – If you’re wondering what Elijah Wood has been up to lately, he plays a dorky rat-tailed neighbor to Melanie Lynskey in I Don’t Feel at Home in This World Anymore (possibly the longest movie title of the year). The film follows the eccentric Batman and Robin-like duo on their quest to get stolen goods back from a group of dangerous criminals. It’s the sweetest tale of revenge that ever was.

-Britnee Lombas

Brandon’s Top Films of 2017

1. The Florida Project – Captures the rebellious punk spirit that laughs in the face of all authority & life obstacles among the children who run wild in the extended-stay slum motels just outside the Disney World amusement parks in Florida. The Florida Project doesn’t dwell on or exploit the less-than-ideal conditions its pint-sized punks grow up in, even when depicting their most dire consequences; it instead celebrates the kids’ anarchic energy and refusal to buckle under the false authority of adults. Although financially locked out of The Happiest Place on Earth, they defiantly turn the Magic Castle & Futureland Inn knockoffs they are allowed to occupy into a punk rock amusement park all of their own.

2. We Are the Flesh – Disorients the eye by making grotesque displays of bloodshed & taboo sexuality both aesthetically pleasing and difficult to thematically pin down. The subtle psychedelia of its colored lights, art instillation sets, and unexplained provocative imagery (a pregnant child, close-up shots of genitalia, an excess of eggs, etc.) detach the film from a knowable, relatable world to carve out its own setting without the context of place or time. Its shock value sexuality & gore seem to be broadcasting directly from director Emiliano Rocha Minter‘s subconscious, attacking both the viewer & the creator with a tangible, physical representation of fears & desires the conscious mind typically compartmentalizes or ignores.

3. The Lure – Synths! Sequins! Sex! Gore! What more could you ask for? The Lure is a mermaid-themed horror musical that’s equal parts MTV & Hans Christian Andersen in its modernized fairy tale folklore. Far from the Disnified retelling of The Little Mermaid that arrived in the late 1980s, this blood-soaked disco fantasy is much more convincing in its attempts to draw a dividing line between mermaid animality & the (mostly) more civilized nature of humanity while still recounting an abstract version of the same story. A debut feature from Polish director Agnieszka Smoczyńska, the film somehow tackles themes as varied as love, greed, feminism, alcoholism, body dysmorphia, betrayal, revenge, camaraderie, and (forgive my phrasing here) fluid sexuality all while feeling like a nonstop party or an especially lively, glitterful nightmare. It’s astounding.

4. Tom of Finland – Depicting the adult life of Finnish illustrator/pornographer Touko Valio Laaksonen as he drew his way into queer culture infamy, Tom of Finland excels as a kind of filmmaking alchemy: it turns an unlikely tonal mashup of Cruising & Carol into the feel-good queer drama of the year. While its sexuality isn’t quite as transgressive as the leather daddy-inspiring art of its subject, it’s a passionate, celebratory work that sidesteps the typical pitfalls of queer misery porn dramas, yet still manages to feel truthful, dangerous, and at times genuinely erotic. It’s hard to believe the film is half as wonderful as it is, given the visual trappings of its subject & biopic genre, but its leather & disco lyricism lifts the spirit and defies expectation.

5. Your Name. – From its tale of star-crossed, long distance romantics to its mildly crude sexual humor, bottom of the heart earnestness, supernatural mindfuckery, and pop punk/post-rock soundtrack (provided by the appropriately named Radwimps), Your Name. is the distilled ideal of a teen fantasy film in the 2010s. It’s also the most beautifully animated and strikingly empathetic picture I can remember seeing on the big screen in a long while. Small town angst & romantic desperation, cornerstones of teenage inner life, dominate its early proceedings, but several monumental narrative shifts completely disrupt those concerns as the co-protagonists’ stories strive to intertwine in a shared, physical space. The film almost operates like Persona in reverse, where two jumbled identities slowly detangle and then have to desperately search for common ground.

6. Brigsby Bear – 2017 was the year Kyle Mooney made me cry in a comedy about an animatronic bear, a time I never knew to expect. Although a darkly funny film that builds its narrative around a fictional television show that stars said bear & adheres to an Everything Is Terrible VHS aesthetic, Brigsby Bear is remarkably earnest, with genuine emotional stakes. I never thought I’d see the best parts of Room & Gentlemen Broncos synthesized into a single picture, but what’s even more impressive is that this film manages to be both more emotionally devastating & substantially amusing than either individual work. My only real complaint is in the frustration of knowing that I can’t be locked in a room to watch a few hundred episodes of The Brigsby Bear Adventures myself.

7. The Shape of Water – Easily one of Guillermo del Toro’s best features, assuming that you’re just as much of a sucker for brutal, lushly shot fairy tales as I am. The Shape of Water rights the wrongs of old school monster movies like Creature from the Black Lagoon by paying attention to how their supposedly villainous beasts are spiritually in line with the oppressed & the marginalized, depicting their governmental enemies as the true monsters instead of the assumed heroes. It also functions as a love letter to the visual delicacies of Jean-Pierre Jeunet (whether intentional or not), an aesthetic I never tire of. Behind The Lure, it’s only the second best film of 2017 about interspecies fish-fucking, but the competition was surprisingly stiff for that honor.

8. mother! – The most important major studio release of 2017. From the rapturous praise to the horror stories of angry, vocal walkouts during its violently bonkers third act, mother! demands discussion & analysis in the way crowdpleaser comedies, superhero action epics, and computer-animated cartoons about talking animals typically don’t. The important part of the discussion it sparks is not whether you were personally positive on the film’s absurdist handling of its Biblical & environmentalist allegories or the way it makes deliberately unpleasant choices in its sound design & cinematography to get them across in a never-ending house party from Hell. The important thing is recognizing the significance of its bottomless ambition in the 2010s Hollywood filmmaking landscape.  There aren’t nearly enough major player Hollywood studios taking chances like this.

9. Good Time – Essentially a mutated version of Refn’s Drive with all of the sparkling romance thoroughly supplanted with dispiriting grime, Good Time filters an old-fashioned heist plot through Oneohtrix Point Never’s blistering synths and the neon-soaked cinematography of Sean Price Williams (who also shot Queen of Earth). That sounds like it could be a blast, but The Safdie Brothers employ those electric lights & sounds for a much more grueling purpose than you’ll find in typical action movie entertainment. The film is defined less by neon glamor than it is soaked in the economy-driven discomfort of state-sanctioned psychoanalysis sessions and the cold glow of television-lit hospital rooms. Good Time aims to disgust & discomfort, offering all of the surface entertainment of a film like Drive without softening its real life implications with the fantasy of movie magic the way that film does so well.

10. My Life as a Zucchini – A French language black comedy written by Céline Sciamma, director of Girlhood & Tomboy, My Life as a Zucchini is more spiritually aligned with the quiet comedic gloom of Mary and Max than the kid-friendly antics of more traditional stop motion works like Shaun the Sheep & A Town Called Panic. Its coming of age plot is quietly simple. Its stop motion animation style is adorable, but unambitious. However, its empathetic portrait of young, lonely orphans in search of a family to call their own is rawly authentic and had me crying like an idiot baby throughout. Still, it isn’t overly maudlin or emotionally manipulative. It’s just honest. One of my favorite aspects of My Life as a Zucchini is that (with very few exceptions) there are no real enemies driving its central conflicts. Life is just difficult.

11. It Comes at Night – Distinctly captures the eerie feeling of being up late at night, alone, plagued by anxieties you can usually suppress in the daylight by keeping busy, and afraid to go back to sleep because of the cruelly false sense of relief that startles you when you slip into your stress dreams. It’s in these late night, early morning hours when fear & grief are inescapable and nearly anything seems possible, just nothing positive or worth looking forward to. Trey Edward Shults stirs up that same level of anxious terror in his debut, Krisha, with the same deeply personal focus on familial discord, but It Comes at Night features a new facet the director couldn’t easily afford until this better-funded follow-up: beauty. The film’s nightmares & late night glides through empty hallways are frighteningly intense, but they’re also beautifully crafted & intoxicatingly rich for anyone with enough patience to fully drink them in.

12. Get Out – Instead of a virginal, scantily clad blonde running from a masked killer with an explicitly phallic weapon, Get Out aligns its audience with a young black man put on constant defense by tone deaf, subtly applied racism. Part horror comedy, part racial satire, and part mind-bending sci-fi, Jordan Peele’s debut feature not only openly displays an encyclopedic knowledge of horror as an art form (directly recalling works as varied as Rosemary’s Baby, The Stepford Wives, Under the Skin, and any number of Wes Craven titles); it also applies that knowledge to a purposeful, newly exciting variation on those past accomplishments. It’s a staggeringly well-written work that has convincingly captured the current cultural zeitgeist, becoming instantly familiar & iconic in a way few movies have in our lifetime.

13. Split -A near-borderless playground for James McAvoy to villainously chew scenery. He does so admirably, fully committing to the film’s morally dodgy, but wickedly fun D.I.D. premise. When an M. Night Shyamalan film is great, it’s brilliantly stupid, combining over-thought & over-stylized art film pretension to an empty, trashy property that doesn’t at all deserve it. When a Shyamalan movie is bad, it’s boringly dumb, the worst kind of limp, undercooked cinematic inanity Hollywood dumps into wide distribution without giving enough thoughtful consideration. Split is brilliantly stupid.

14. Okja – Too much of an ever-shifting set of complexly self-contradictory tones & moods to be wholly described to the uninitiated. Okja is both a scathing satire of modern meat industry & a slapstick farce poking fun at the activists who attempt to dismantle it. It’ll stab you in the heart with onscreen displays of animal cruelty, but will just as often giggle at the production of farts & turds. I could describe the film as an action adventure version of Death to Smoochy or a more deliberately adult reimagining of Babe 2: Pig in the City, but neither comparison fully covers every weird impulse that distracts & delights Bong Joon-ho as he chases his narrative across multiple continents. It’s not something that can be readily understood or absorbed on even a scene to scene basis, but its overall effect is deliriously overwhelming and expectation-subverting enough that it feels nothing short of magnificent as a whole.

15. Raw – One of the more wonderfully gruesome horror films of 2017 is much more tonally & thematically delicate than what its press would lead you to believe. Early reports from the festival circuit sold Raw as a shock-a-minute gross-out that requires barf bags & potential trips in an ambulance. That reputation is definitely more a facet of its marketing than anything the film itself is attempting to accomplish. The heart of its story about a young woman discovering previously undetected . . . appetites in herself as she enters autonomous adulthood is actually pretty delicate & subtle, especially for a remnant of the New French Extremity horror movement.

True story: the first time I saw it in the theater, someone brought their tiny, tiny kids. They almost made it to the end credits too, despite the toddlers’ screams. Incredible.

16. Icaros: A Vision – Upon recovery from a near-fatal bout with breast cancer, visual artist Leonor Caraballo traveled to Peru to seek therapeutic guidance from the country’s local ayahuasca clinics to help emotionally process her unexpected confrontation with mortality. While participating in the religious ritual of ingesting the psychotropic plant with the guidance of shamans, Caraballo saw a vision of her own death. She returned to her home in Argentina convinced of two things: 1) that she was going to die of the cancer’s soon-to-come aggressive return and 2) that she had to make a film about her experience with the ayahuasca plant. The result of these convictions, Icaros: A Vision, partly serves as a therapeutic processing of dread & grief personal to Caraballo’s story. However, the film also strives to capture the religious reverence Peruvian people find in plants like ayahuasca and to poke fun at outsiders who treat the ritual that helped the filmmaker through her darkest hour like a colonialist act of tourism.

17. The Untamed – Not quite as structurally sound or as thematically satisfying as We Are the Flesh, but employs a similar palette of sexual shock value tactics to jolt its audience into an extreme, unfamiliar headspace. It adopts the gradual reveals & sound design terrors common to “elevated horrors” of the 2010s, but finds a mode of scare delivery all unto its own, if not only in the depiction of its movie-defining monster: a space alien that sensually fucks human beings with its tentacles. The Untamed alternates between frustration & hypnotism as its story unfolds, but one truth remains constant throughout: you’ve never seen anything quite like it before.

18. Nocturama – I’m not sure the world necessarily needed a movie that makes acts of terrorism look sexy & cool, but with so few transgressive places left for cinema to go you’ve got to respect Nocturama for finding a way to push buttons in the 2010s. Nocturama is certain to ruffle feathers & inspire umbrage in the way it nonchalantly mirrors recent real life terror attacks on cities like Paris & London. That incendiary kind of thematic bomb-throwing is difficult to come by in modern cinema, though, considering the jaded attitudes of an audience who’ve already seen it all. It helps that the film is far from an empty provocation; it’s a delicately beautiful art piece & a hypnotically deconstructed heist picture, a filmmaking feat as impressive as its story is defiantly cruel.

19. I Don’t Feel at Home in this World Anymore -As cartoonishly silly as I Don’t Feel at Home in This World Anymore often feels, director Macon Blair does his best to place it in the context of a real, relatable world. Light beer, country music, upper-deckers, meth, and sudden bursts of intense violence all sketch out a real world playing field where Melanie Lynskey’s unreal vigilante warpath can be staged. Her mission of principle— not in search of compensation, but for the simple demand that “people not be assholes”— boasts an absurd, intangible goal and the movie itself never shies away from matching that absurdity in its overall tone, but impressively still keeps its brutality believably authentic.

20. The Little Hours – Profiling the sex & violence pranksterism of nuns running wild in a Middle Ages convent, Jeff Baena shines at his leanest, funniest, and most visually beautiful. Not only is his latest film an unbelievably tight 90 minutes of blasphemous, hedonistic hilarity; it’s also a gorgeous indulgence in the grimy, sunlit beauty of 1970s Satanic horror & nunsploitation cinema. Although obviously informed by improv experimentation, the film is sharply edited down to its most bare essentials in a way more modern comedies could stand to be. I especially appreciated the opportunity it affords Kate Micucci to run absolutely feral among her more seasoned vets of chaos castmates (Aubrey Plaza & Allison Brie). It’s also wonderful to see Baena let loose from his usual high-concept, emotionally dour black comedies to deliver something much more unashamedly fun & light on its feet.

-Brandon Ledet

Boomer’s Top Films of 2017

What a year it’s been! 2017 was a pretty mixed bag, all things considered. I had a pretty bad fall and busted my arm so bad that I had to have four screws put in, and that forced me to miss a few releases. On the other hand, between the Alamo Drafthouse showing Inferno back in January and closing out the last Terror Tuesday at the Ritz with the mildly-Christmasy Deep Red, plus the 4K remaster of Suspiria that screened at Austin Film Society, I got to see three Dario Argento films on the big screen last year, which is nice. On top of that, for the first time in my life I can say that I was definitively both smarter than the president and more attractive than the “Sexiest” Man “Alive” (surely I wasn’t the only person who read that news and was immediately concerned that Michael B. Jordan had died, right?).

As is my personal tradition (see here and here), let’s start out with a look back on the year, and specifically mention the things I wish I had seen so that this list could be more complete, but which I (for whatever reason) missed. Austin was lucky enough to be one of the premiere cities for The Square, but my roommate passed out at a friend’s house and his phone died the night before we were supposed to see it, and it ended up being only a one week engagement. Call Me By Your Name has yet to appear in my market (and Beach Rats completely passed me by while I was laid up with a broken arm for most of the summer), and although Austin Film Society hosted screenings of both Dolores and Carpinteros, both films were gone before I could get my ducks in a row. I kept putting off watching Brian Jordan Alvarez’s Everything is Free (I loved The Gay and Wondrous Life of Caleb Gallo) because it didn’t seem like it was going anywhere, but an attempt at a recent viewing party with friends was thwarted when it turned out the film had been removed from YouTube. I am keeping my fingers crossed that this means it’s getting an actual release, because that would be lovely. A Ghost Story, Baby Driver, The Lego Batman Movie, Beatriz at Dinner, and especially I Am Not Your Negro were all movies that I planned to see, but it’s been a long, weird year, and some things are bound to fall through the cracks. Brandon didn’t care for The Bad Batch, but given that he and I have vastly different opinions of A Girl Walks Home Alone at Night, I would likely have ended up giving Ana Lily Amirpour’s latest a more favorable rating, or at least a place on this list. As it is, however, I missed it (and my roommate, who responds to the mere mention of A Girl Walks… with a fervent hatred that is the only rift between us, is unwilling to give it a try despite the fact that it is on Netflix). And, unfortunately, I completely forgot Professor Marston and the Wonder Women was going to be a thing before it came to theaters. Finally, it should be noted that I’m composing this list prior seeing The Last Jedi or the released-at-the-very-end-of-the-year-for-some-reason of Downsizing, which I’m pretty excited about given how much I love Alexander Payne. But let’s get to it!

Movies I saw but you won’t be seeing on this list in any form, so let’s put them here now so that you’re not holding your breath:

1. Alien: Covenant: I didn’t hate this movie. It would have had to make me feel something in order to hate it. Instead, I feel mostly indifference and disappointment at the wasted potential, and I hate what it represents. You can read a more in-depth discussion of the film’s faults here. An excerpt: “Before Scott dreamed up a reason to call it an ‘Engineer,’ the Space Jockey was just one more part of an unsolvable riddle: a giant dead body from an unknown race, seemingly eviscerated with its chest open, fossilized. It’s a tableau that induces anxiety because the riddle doesn’t seem like it can be solved, with the perpetrator and the victim both lost to time immemorial–or so it seems until the monster is born again when a group of little humans, completely unprepared for the horrors that exist beyond the fragile atmosphere of their world, stumble into the killing fields of an implacable star beast they cannot comprehend or reason with. Until Prometheus came along, there was no reason to believe that the Space Jockey had anything to do with the creation of the xenomorph; instead, he seemed to represent a previous incarnation of the cycle of violence, another innocent stargazer who happened upon a living nightmare in an earlier time and succumbed to it, its titanic stature further cementing just how fucked Ripley and her comrades are.”

2. Blade Runner 2049: I love the original Blade Runner, despite all of what the modern audience might consider faults, both inaccurately (i.e., introspective pacing) and accurately (i.e., the fact that Deckard is a straight up sexual assailant). When the sequel was announced, my reaction was more “Whyyyyyy? And why now?” than excitement; over time, though, as Denis Villeneuve was announced as director and more news came out, I came around on the idea of a Blade Runner sequel, even building up a modicum of excitement for it. But for all of this film’s beautiful vistas, stunning colors, and strong acting, I was left completely cold by it. Maybe it’s the largely unfocused nature of its narrative, or the fact that I find the idea of considering Rachael and Deckard to be endgame to be gross, or that I could live the rest of my life without another “born to be the chosen one” narrative. I’ve never seen a prettier film that left me feeling so empty.

3. I really wanted to like XX. I really, really wanted to. While the overall quality averaged much higher than other recent anthology horror films like Holidays or The ABCs of Death, it had neither the highs nor lows that made those films so memorable. Considering Holidays in particular, XX never plumbs the depths of bad storytelling and stupidity like the former film does in shorts like Halloween, Christmas, or New Year’s Eve, but neither does a single frame of it have the same staying power as the images in Mother’s Day, Easter, or especially St. Patrick’s Day. While XX’s The Box is a small, personal story that haunts you, it’s impossible to say that it’s not at least a little narratively unsatisfying. The short Her Only Living Son can take credit for giving me a really strange dream while under the influence of painkillers after my arm surgery last summer (the plot of which was basically the same as that of the short, but also starred Tyne Daly as a desert mystic and leader), but while its creep factor is decent, it was still underwhelming. Most disappointing is the short Don’t Fall, as it contains not a single frame of film you haven’t seen before, and doesn’t do anything really inventive with its bare-bones premise.

4. Justice League: It’s big, loud, inexplicably cheap looking, and completely absurd! I may have given this a relatively decent star rating (with the Camp Stamp, of course), but no way does it belong anywhere on the list of best films of the year. You can read my review here. Here’s an excerpt: “I’m not going to lie to you: this movie is clearly half-baked and it makes a lot of mistakes. When you think that it’s being clever, it’s actually just a goof. […] The most important thing I can tell you if I’m trying to give you an idea as to whether or not you should see this film is this: Justice League works, if you accept it not as part of this franchise, but as an entry into the larger cultural understanding of Superman specifically and DC in general.”

Honorable Mentions:

1. I was a big fan of Train to Busan. It technically didn’t get a release in the US until 2017, so in some ways, it could fit on this list, but it would be a bit of a cheat since it was produced and released in 2016. Starring a literal train’s worth of very attractive folks to fit everyone’s type, the film is a pretty great watch. Here’s an excerpt from my review: “Train to Busan doesn’t reinvent the wheel; in fact, there’s an awful lot of 28 Days Later in its DNA, what with the Rage-like zombies, the urban environments, the involvement of military forces (although there’s no unsettling discussion about repopulating the earth by force here as there is in Days), and the ending. Still, placing the action on a train puts a new spin on things, as when one group of survivors is trying to reach another group in a distant compartment, with the horde between them. The interplay of light and darkness, the addition of color, and a child character who’s actually quite likable (serving as her father’s conscience) are all touches that this genre was missing. It’s such an obviously great idea that I’m honestly surprised it was never done before (despite searching my memory and the internet, I can find no evidence of previous zombies-on-a-train films). It’s worth checking out at the earliest opportunity.”

2. Like its predecessor, John Wick: Chapter 2 comes blazing right out of the gates and barely lets you catch your breath. I missed the first John Wick when it came out because I couldn’t be bothered, frankly. No one expected the movie to be such a fantastic return to form both for Keanu Reeves and the action genre as a whole. Fifteen years ago, no one could have predicted that the shaky-cam aesthetic that The Bourne Identity introduced to the world and which made that film feel so fresh would eventually become the de facto shorthand for “This is action!” Since then, that style has been beaten into the ground, buried, resurrected, and beaten again, and the first film brought us back to the good old days of yore, with extensively choreographed action sequences and beautifully balanced camera movement that never distracts or tries to hide any flaws (of which there are none). This second film builds on the first’s strange but rewarding decision to create an underworld society of high class assassins, enlarging the scope of this world and taking it international. It’s definitely worth seeing, especially as a double feature with the original.

3. I can’t in good conscience say that this was one of the best films of the year, but I will say that the first ten minutes of Valerian and the City of a Thousand Planets (and just the first ten minutes) makes for a perfectly composed short film about an idealized human future in space. The rest of the film doesn’t live up to those expectations, unfortunately. You can read my review here, and here’s an excerpt: “The effects in Valerian are so effective at rendering a beautiful world that you can’t help but get lost in it. It’s so engrossing that, when a supposedly emotional moment is happening between Laureline and Valerian near the end of the film, you forget to pay attention to the plot, such as it is. Combine that with some heavy-handed (and questionable) use of the Noble Savage trope, a dramatic “reveal” of the film’s villain that is anything but, and a notable lack of chemistry every time DeHaan and DeLevigne are on screen together, and you’ve got a beautifully imagined world captured in a fairly lackluster film.”

And now… Boomer’s Top 15 Films of 2017

15. Nothing pleased me more this year than when Brandon sent me a screenshot of a tweet from one of his podcaster friends complimenting my review of Killing of a Sacred Deer. You can read my review here; here’s an excerpt: “The emotional distance evident in dialogue is a resounding success here, as the cold world of surgeons and diagnoses, children getting slapped (and worse), long walks with ice cream, and even awkward sexual advances are all treated with the same clinical dispassion, instilling the film with a feeling of extreme detachment that resonates in every scene. This only increases the mood of growing tension that is intentionally invoked, as the audience feels their anxiety rising like a tide while the characters observe the changes in their world and worldview with infuriatingly cold tempers.”

14. No one is more surprised than I am that an X-Film about my least favorite popular mutant was not only a great movie, but actually a favorite for the year. Logan the comic book character is, as I described him in my review, a straight white male power fantasy for people with aggressive tendencies. Logan the film, on the other hand, is a somber meditation on age, obsolescence, loss, and death. This is a neo-western in a dystopian, dusty, economically depressed future in which life is cheap, crossing the border into Mexico is an ordeal, and Canada provides asylum to those on the run from an authoritarian government that hates them because they are different, all while said government not only condones but supports the imprisonment of and experimentation on children of color and treats Mexico like its dumping ground. It’s perhaps the starkest look into our likeliest future that came out all year, and demands to be seen for that reason if no other.

13. I will let my opening lines for my review of Kingsman: The Golden Circle speak for themselves: “I approached this sequel with a fair amount of trepidation. The first Kingsman was an anomaly in that it seemed to fly under most people’s radar (it was in its third week when I saw it, on a Thursday afternoon, and there was not another soul in the entire theater) but was successful enough via word of mouth (after all, there is a sequel now) that it became a bit of a cult film almost instantaneously. The press for the film has been overwhelmingly negative, and I had reservations about seeing how far a follow-up to one of my favorite films of 2015 could possibly stray into territory that garnered such negative feelings. And frankly, I just don’t get it. This movie is awesome.”

12. I recently finished Haruki Murakami’s infamously long novel 1Q84 after letting it sit on my shelf for nearly five years; I simply never felt ready to tackle its 1157 page girth. That’s about 20 pages more than most editions of Stephen King’s novel of IT, but never during the reading of Murakami’s work did it ever feel like the book was desperately in need of an editor, as I did when reading IT, even as a teenager. Even if you’ve never read it, you were undoubtedly assaulted last year by dozens of thinkpieces about the film and the novel on which it was based (and every single one of them seemed to think they were the first one to be reporting the hot scoop about the book’s creepy sex scene, even though Cracked was all over that more than a year ago). If you managed to somehow dodge all of those slings and arrows, then you should know that IT is a lengthy screed about friendship and the loss of innocence (and other things) upon the road to maturity, and also that I’ve never in my life read anything that could compete with the book for “Product Most Obviously Created by a Coked-Up Lunatic.” It’s not King’s best work (for my money, that’s The Dead Zone), but last year’s adaptation finds the kernel of perfection in that work and brings it to life, and I couldn’t recommend it more. Read Brandon’s review here.

11. When people have asked me about my 2.5 star review of mother!, the question that I get most often is if I really thought it was that bad. After all, it’s certainly a much more technically proficient film than a lot of things that I’ve given higher reviews. And there’s no mistaking that this is a sumptuous movie with intriguing visuals, haunting imagery, strong performances, an excellent cinematic eye, and an amazing cast. Even as I was writing my piece on it, I knew that I was going to be giving the film a negative rating but also that it would be on my list of 2017’s best films; this is a movie about which it’s impossible to be apathetic but completely acceptable to feel ambivalence, the perfect execution of an utterly flawed concept, and the most highly budgeted student film of all time, with all the heavy philosophical implications and themes that are so important to sophomores who just smoked weed for the first time after school with their tree-hugger friend. Those are all backhanded compliments, but they’re also completely sincere. Normally, you could call something like this a “pretentious pile of shit,” but it’s not; it’s a pretentious pile of razorblades masquerading as… diamonds? I hate it, but I also love it.

10. The Netflix original flick Clinical is one of my favorites for the year. As I wrote in my review: “Response to this film has been overwhelmingly negative, which is both disappointing and a demonstration of just what a negative and profound impact the past decade of ‘jump scare’ horror has had on western film consciousness and casual criticism. It’s not a good sign that every armchair critic is complaining about how ‘slow’ and ‘dull’ this throwback gem is, or bragging about how early they caught on to the ‘twist.’” Brandon tells me that my review of the film is currently its highest rating on Letterbox, and I couldn’t be prouder. It also prompted me to send him my impression of the kind of person I assume wrote such negative reviews, which I’ll reproduce here for posterity: “Hi, my name’s Chet and my favorite horror movies are Insidious, Insidious 2, and the last 8 years of Obummer lol jk but not really. My favorite movie is Boondock Saints (seen it 50 times!!!). I wish I could give Clinical ZERO stars because it’s soooo boring af!1!! The only hot chick in the movie is covered in blood the whole time and there are no jump scares or tits. Avoid this movie!”

9. I first saw this film on a date (yay!) with someone who later ghosted (boo!), but as with Winter Soldier, any movie that accompanies a personal tale of woe but upon which I can look back with fondness has a special place of reverence. That’s the case for Baahubali 2: The Conclusion. At the time I went to see this sequel, I hadn’t seen the first film, although my date had (albeit without subtitles). There was a valiant attempt to explain the backstory, but this one holds up enough on its own that I don’t think an understanding of the first film is strictly necessary. The movie is a completely new story set in a magical fantasy India of the past, although when I first saw the film I was under the impression that it was an epic film adaptation of a classic Indian myth, like a Tollywood The Ten Commandments, although I was later disabused of this notion. The story follows the journey of Amarendra Baahubali (Prabhas), the nephew and foster son of the Queen Mother Sivagami (Ramya Krishnan) and heir apparent of the real ancient city Mahishmati, much to the dismay of her trueborn son Bhallaladeva (Rana Daggubati) and his wicked, conniving father Bijjaladeva (Nassar). Although he possesses superhuman strength, Baahubali is sent to wander the kingdoms in order to better learn to be a great leader, accompanied by Kattappa (Sathyaraj), a slave and leader of the Kingsguard; Baahubali chooses to pretend to be a simpleton in order to see how the people of various areas treat those who are “lowest” in society. While on this journey, he meets and falls in love with Princess Devasena (Anushka Shetty), but his evil uncle manipulates things back home so that she is betrothed to his cousin instead, resulting in a schism between Baahubali and the Queen Mother when he returns and leading to tragedy. Imagine a colorful, fanciful, and a little bit over-the-top amalgamation of King Arthur, Moses, and Hercules, but originating in the culture of the subcontinent instead of the western or Judaic traditions, and you’ve got the right idea. Both the original film and this sequel are currently available on Netflix (in three different languages!), so if you’ve got 5 (or just 2.5) hours to spare, check out this modern epic. Also, as we enter 2018, make it your resolution to have some decency and don’t ghost people; that’s just rude.

8. It wouldn’t really be fair to the rest of the films on this list to break the MCU’s output this year into separate segments, as that could end up pushing out a pretty worthy competitor. The year started strong with Guardians of the Galaxy Vol. 2, which followed up on the threads left by the previous film while also being the most successful MCU follow-up since Winter Soldier. Further, it features an improvement over much of the franchise’s output by creating a film that is motivated entirely by character development, rather than having a plot that relies on setpieces, action sequences, and character familiarity to produce audience investment: Peter and Rocket, Gamora and Nebula, Peter and Ego, Peter and Yondu, Rocket and Groot, even Mantis and Drax. Spider-Man: Homecoming followed up on this ably, with a plot that showed us the motivations of villain and hero alike and went in depth to show how a world really would be altered by the consequences of the kinds of earth-shattering events we’ve seen in previous films. It didn’t hurt that it was charming and hilarious, either, or that every actor was charismatic as all hell (except for Downey, who I never really like, although he was used perfectly here). Taika Waititi’s Thor: Ragnarok closed out the year on another light-hearted, fun note. Check out my reviews of each of these movies for more information, and be on the lookout for our continuation of the Agents of S.W.A.M.P.F.L.I.X. now that we’ve built up enough of a backlog for it to be fun to proceed again.

7. I wrote my review for The Shape of Water less than a week before submitting this list, so all of my ideas on the film are already on paper and too recent for me to have any additional insights, other than to say that I loved this movie and I don’t care who knows it. So, allow me to present this excerpt in lieu of a new blurb: “Strickland is a villain in the vein of Pan’s Labyrinth‘s Captain Vidal: a terrifyingly familiar figure of fascistic adherence to a nationalistic, ethnocentric, exploitative, and phallocentric worldview. Whereas Vidal was the embodiment of Fascist Spain and its ideals, Strickland is the ideal embodiment of sixties-era Red Pill morality: a racist, self-possessed sexual predator empowered by his workplace superiority. Strickland is a man who professes Christian values out of the left side of his mouth while joking about cheating on his wife and threatening to sexually assault his underlings out of the right side. He mansplains the biblical origins of Delilah’s name to her while, for the sake of her job and perhaps her safety, she plays along with his assumptions of her ignorance. This is above and beyond his inhumane (and pointless) torture of the Asset, an intelligent being that he cannot recognize as sentient because of his own prejudices and assumptions about the world.”

6. In his review of I Don’t Feel at Home in this World Anymore, Brandon referenced Falling Down, a film about an unhinged person who goes on a spree following a traumatic event and triggered by the kind of acts of aggression that most of us see but ignore in our everyday life (with a few exceptions). When I saw I Don’t Feel at Home, I felt it was more of a spiritual successor to Bobcat Goldthwaite’s 2011 opus God Bless America, in which an unassuming insurance salaryman learns he has a brain tumor and spends the rest of the film tracking down and doling out justice to those individuals he believes are responsible for the ills of society. His is a sporadic cross-country trek that involves the destruction of Super Sweet 16 brats, reality TV judges who destroy people on national television, and the occasional real monster. Our heroine in I Don’t Feel at Home isn’t on quite that level, and her pursuit–not of justice but of an apology–is much more reasonably presented and linear, and thus favorably compares to Goldthwaite’s picture. There’s the same vacillation between grave-dark humor and truly grotesque outbursts of violence that Bless has, but there’s also more heart and more subversiveness. I also love that Elijah Wood is essentially playing a gender flipped Manic Pixie Dream Girl in this movie, with his bizarre fashion sense, eccentric behavior, and lack of any apparent life outside of assisting the protagonist in reaching his, or in this case her, potential. It’s refreshing but also highlights how real people would consider such a person to be, as he says he has been accused of being, “obnoxious.”

5. In her review of Wonder Woman, Alli wrote “I’m going to admit up front that this movie was not made for me.” That’s reflected in the film’s 3.5 star rating, which will haunt me to my grave. If there’s one superhero movie that came out in 2017 that belongs in the Swampflix canon, Wonder Woman is it. Not only is it visually stunning, hilarious, exciting, empowering, and overall just a hell of a lot of fun, it actually manages to bring the overall average of DC’s output up by several points. I loved this movie. I loved, loved, loved it. It was everything I wanted and more. As I noted in my Justice League review, when I was a kid, the DC comics characters were much dearer to me than Marvel’s, and it’s for that reason that I’ve been so disappointed by DC’s attempts to ape the success of the House of Ideas, not out of any loyalty to Marvel. In fact, when I was a kid, my favorite character was Batman. I never wanted to be Batman, though, I wanted to be Wonder Woman, because she was the coolest. With her lasso, jet, magical creation (I’m not about these retcons that she wasn’t made from clay), royal heritage, tiara, bullet-deflecting bracelets, and her personality as the living embodiment of compassion, truth, and justice, she was an amazing model of citizenship and a role model that one could aspire to be. Gal Gadot is perfection in this role, and she perfectly encapsulates all the traits of Diana, Princess of Themyscira, that made my childhood heart soar. Every actor in this film is perfectly cast, and I have never been happier to see an actress have a career renaissance than I am every time I see Robin Wright on screen. In almost any other year, this would be my number one movie, despite the fact that the ending does peter out a bit (the climactic finale gets a little first-draft nonsensical, but that hardly drags it down).

4. Every single trailer for Lady Bird made it look like exactly the kind of cloying, overly sentimental coming of age piece that I could live the rest of my life without ever seeing again. When we saw the preview as part of the coming attractions at our screening of Killing of a Sacred Deer, my roommate and I turned to each other in unison and made the “finger at the throat means puke” gesture, and made a rude noise or four. I wouldn’t have even given the movie a chance except that a friend I don’t get to see enough desperately wanted to go, so I joined him. Never let it be said that I cannot admit when I’m wrong: this movie was beautiful. I cried three times, big beautiful tears rolling down my face. Saoirse Ronan is fantastic, but the real MVP here is Laurie Metcalf, who’s been hiding out of sight for too long. Every performance is pitch perfect, and Greta Gerwig captures the honesty and earnestness of youthful dreams and the anxieties of class distinction (and how that distinction affects families at every level, and how class reverberates through a person’s whole life regardless of talent, brilliance, or desire). I want to wrap myself inside of this movie like a warm blanket for days on end. The cynic in me is sick to the point of near death when it comes to narratives about people who want to move to New York; I honestly feel that people whose sole desire in life is to move to The City are shallow people with unimaginative dreams. Sure, every one of us has had that desire at some point in their life, but even a deeply entrenched cinephile like me who can’t have a single conversation that doesn’t involve pop culture knows better than to let television and movies make my choices for me, and I’m not an idiot so I’m deeply conscious of the fact that the “New York” that everyone dreams of moving to hasn’t existed since the Giuliani administration Disneyfied the whole place. But in this movie, as the shallow dream of a deeply real, flawed teenage girl who doesn’t understand just how good she has it, it works for me, against all odds. No one needs to be told that this is one of the best movies of 2017, as it’s been all over the place, but if you’re feeling contrary like I was, listen to a coal-hearted Grinch like me: it’s worth it. (You can also read Brandon’s review here.)

3. Lady Bird wasn’t the only major feature to star Lois Smith last year. Smith is also featured as the title character in Marjorie Prime, a deeply introspective and meditative film about the nature of grief, memory, loss, and family. I can’t recommend it more highly without going too deep into the film and revealing more than I should, so I suggest reading my review for a clearer picture of whether or not this film will touch you as it touched me. Perhaps it’s that my grandmother, who passed away last Christmas, was very much like Marjorie in her own last days, but there’s a verisimilitude to this story that transcends personal experience as much as it is informed by it.  “As Tess (Geena Davis) points out, when we remember an event, what we’re actually remembering is the last time we remembered the event, back and back and back, like a series of photographs slowly fading out of focus in a recursive loop. Or, as underlined in another of the film’s conversations that mirrors the plot, one of Tess recounts how one of her students had inherited their father’s parrot, which sometimes still spoke with the dead man’s voice, even twenty years after his death. Love and grief have a profound effect on the way that our memories evolve and devolve and undergo a metamorphosis as we age, and the ravages of time on the human body and mind also contribute to this imperfect personal narrative.”

2. I’ll try not to repeat what I already wrote in my review of Raw (original French title Grave). I recently rewatched the film with a different group of friends following its release on home video, and loved it even more the second time around. We ordered a pizza, and I asked if they were still down to watch Raw even though we were eating. Friend 1: “Wait, is the movie gross?” Me: “I think that we’ll be finished eating before it gets gross.” And boy, does it! Friend 2 had to turn away from the screen during a certain scene (at the risk of giving too much away for those who haven’t seen it, it’s the scene with Alex’s finger), which was also the point in the film that infamously prompted audience members at Cannes to flee, vomit, or faint, all of which are completely reasonable reactions. Roommate of Boomer was delighted, however; he had also seen the trailer for Raw at the Alamo Drafthouse many times and assumed it was going to be a basic horror movie with delusions of grandeur, and was pleasantly surprised to find that, although there are horror elements at play, the primary genre the movie fits into is that of dark (dark, dark) comedy. Raw is gross, but it’s also hilarious, and surprisingly endearing and sweet at certain moments. It’s also now streaming on Netflix, so check it out while you can (and if you think your stomach can handle it).

1. What else is there to say about Get Out that hasn’t already been said? What tiny pieces of information could I pick up, turn over, and inspect for a deeper meaning that haven’t already been inspected to the point of total knowledge by various other critics, people talking about their lived experience, the black twittersphere and blogospheres, and every other person under the sun? This is the best movie of 2017. There’s not much more to say about it that you haven’t read elsewhere and from a better writer than I am. If you haven’t seen it, watch it. Let it flow through you and inform you about the daily experiences of people of color in our country. Let it teach you a lesson about the power of cell phone video as a liberator, and about the frequent hypocrisy of white liberalism. Let it be the light for you in dark (and sunken) places. Let its truth live in you and affect your daily life, teaching you to recognize the toxicity within yourself. Live it.

-Mark “Boomer” Redmond

Get Out (2017)

EPSON MFP image

fourstar

Although they’re often (rightly) called out for their inherent misogyny, there’s a popular reading of slasher films that claims they’re subversively, politically progressive because they ask a traditionally male audience to identify & empathize with a female victim’s POV. Aligning horror nerds’ sympathies with a Final Girl archetype might not seem like the height of radical discourse, especially considering what typically happens to those characters on-screen, but it does have a cultural value to it that might not be the first thing that comes to mind when discussing sleazy 80s slashers. The directorial debut of comedian Jordan Peele recognizes this function of horror audience sympathies and shifts its culturally critical eye from feminism to racial politics. Instead of a virginal, scantily clad blonde running from a masked killer with an explicitly phallic weapon, Get Out aligns its audience with a young black man put on constant defense by tone deaf, subtly applied racism. Part horror comedy, part racial satire, and part mind-bending sci-fi, Peele’s debut feature not only openly displays an encyclopedic knowledge of horror as an art form (directly recalling works as varied as Rosemary’s Baby, The Stepford Wives, Under the Skin, and any number of Wes Craven titles), it also applies that knowledge to a purposeful, newly exciting variation on those past accomplishments. Get Out knows what makes horror effective as a genre and finds new avenues of cultural criticism to apply that effect to instead of just mirroring what came before, no small feat for a debut feature.

Our de facto Final Girl protagonist is a young, hip photographer visiting his white girlfriend’s family home for the first time. Isolated in a secluded, wealthy suburb, he’s faced with the outnumbered, paranoid feeling of being the only black man in a sea of white, smiling faces. The only other POC in his hosts’ community are “the help”, who have an unnatural, creepily robotic way of acting (assumedly in a direct nod to The Stepford Wives). Instead of tackling the blatant, violently hateful kind of racism that would more typically be skewered in this kind of movie, however, Get Out finds horror in racism’s much subtler, more difficult to pin down forms. The girlfriend’s family is initially very cordial with our Final Boy, but in an awkward, discomforting way, plagued with a wide variety of micro-aggressions he awkwardly smiles through to avoid confrontation. By using phrases like “my man,” “thang,” and “Sup, fam?” in an attempt to make him feel welcome and at ease, the family only makes his presence feel all the more alien. They declare proudly that they can’t possibly be racist, since they enthusiastically voted for Obama. Twice! The girlfriend, in turn, makes a big show of pointing out every subtle slight in an attempt to seem cool & above it all. Nothing about the scenario is cool. Through eerie atmosphere, mood-setting jump scares, and surreal nightmare imagery, Peele slowly, steadily reveals the ugly spirit lurking under this try-hard liberalism that reduces a human being into a cultural specimen. And when the corrupt, corrosive nature of that sentiment comes violently crashing to the surface, it’s exposed to be just as cruel & terrifying as the kind of racism usually depicted through white hoods & burning crosses.

Get Out is a good, well made genre film that then becomes spectacularly great in its violent, no fucks given third act. Peele’s well-rounded screenplay brings every stray theme, from the racial discomfort to the main character’s guilt over past inaction to metaphorical motifs as small as roadkill deer, back around for a glorious, purposeful conclusion. The seemingly well-meaning, casual racism that had been lurking under the surface like a paranoid delusion is exposed as a horrifically grotesque monster that reduces black men to physical objects, targets for the white & wealthy’s fascination & possessive entitlement. Additionally, Peele filters this thinly veiled maliciousness through a surreal nightmare where reality is warped by perception-shifting hypnosis. If I had one complaint about Get Out it’d be that it could’ve spent a lot more time diving into the otherworldly imagery & paralyzing implications of its hypnotic dream-space, known in-film as The Sunken Place, instead of chasing tension-cutting meta humor with the film’s comic relief character. The Final Boy’s best friend phones in periodically to act as an audience surrogate, asking questions like, “How are you not scared right now?” & directly calling out the girlfriend’s family as the creeps they so obviously are. He’s an amusing presence in the film, but he’s one that pushes Get Out away from the more unique touches of its modern horror surrealism into a more overly familiar horror/sketch comedy tone. However, Peele still gets the most he can out of his subtle nightmare plot’s moment to moment creepiness, especially from always-welcome character actors Catherine Keener & Stephen Root, and you can tell he made this passion project from the perspective of a life-long horror fan who knows exactly how the format works most efficiently. From Get Out‘s cultural criticism to its play with Final Girl tropes to the gloriously bizarre territory of its third act reveals & Sunken Place surrealism, it’s an impressive, striking debut feature, a great first go for a filmmaker who hopefully has a long career of these horrific, satirical mind-benders ahead of him.

-Brandon Ledet