My Top 20 Films of 2017

2017 was a damn fine year for film. It's why assembling some sort of countdown list has been so difficult for me the last few days, especially within the argument of personal taste vs. actual brilliance on-screen, as sometimes you have the most fun watching something you know isn't actually very good. As such, then, here are the game rules:

1) These are my FAVOURITE 20 films of the year. Not the "best." These aren't all masterpieces of the art, they're ones I've gone back to and will continue to rewatch again and again because I enjoy them so much.

2) Funnily enough, this is an opinion, too. This one goes hand in hand with the first rule. It's a shame that this has to even be said, but then again, this is the internet...

3) The list uses UK release dates only. I'm a Brit. There'll be no The Shape of Water here (until next year's list).

4) I will deliberately exclude A Monster Calls from the list (despite it coming out New Year's Day) as I saw it in November 2016 and included it in last year's list.

5) I have not seen every film this year (no matter how hard I tried). Unfortunately, there were quite a few I missed out on that I wanted to see, either due to them not getting wide releases or me being busy during their short run at the cinema. So, for completists' sake, here are the films I sadly missed out on: Toni Erdmann, 20th Century Women, The Love Witch, Elle, A Ghost Story, God's Own Country, Wind River, Call Me By Your Name, The Killing of a Sacred Deer, Good Time, Brigsby Bear, Wonder, The Disaster Artist, Lady Bird.

Honourable Mentions

'Okja' (Written by Bong Joon-Ho/Written by Joon-Ho & Jon Ronson)

Initially released to boos from the audience at Cannes Film Festival (due to the NETFLIX logo), Bong Joon-Ho (The Host, Snowpiercer) has once again made an incredibly unique film, but sadly, it seems that this time, more than others, the jarring changes in tone seem to slightly sour the experience as a whole. But you're still left with an incredibly personal, joyful and kinetic adventure that looks as amazing as it is imaginative. Also, Jake Gyllenhaal being completely nuts is going to be a love/hate thing.

'The Bick Sick' (Directed by Michael Showalter/Written by Kamail Nanjiani & Emily V. Gordon)

The best romcom of the year. The true story of Nanjiani & Gordon's relationship is told here in a charming and breezy way with some excellent performances (Ray Romano man, come on) and tender moments. The kind that had me smiling all the way through and left me feeling a sense of elation after.

'Silence' (Directed by Martin Scorsese/Written by Scorsese & Jay Cocks)

Scorsese's passion project. A film that I have the utmost respect for, despite not really wanting to watch it again for a few years. Silence is a film that's tough, unrelenting, and not interested in you as an audience member. Its sole purpose is to tell a story no matter what and it does that, whether it loses you or not. I was the only person in the screening for this at my local Odeon, and I understand why, but at the same time, it's a shame and puts more influential and brilliant directors into "safe" territory once again whereas I applaud Scorsese for making something he truly wanted to the way he wanted to.

The Actual List

20. 'Creep 2' (Directed by Patrick Brice/Written by Brice & Mark Duplass)

The first Creep quietly snuck its way onto UK Netflix a couple of years ago and I stumbled onto it after hearing some great critical reception for this small, handheld indie film. I often enjoyed the work of the Duplass brothers and liked Mark as an actor, but I had no idea the kind of thing I'd be in for, and it ended up staying with me for quite a well as a genuinely tight, tense, and scary little gem of a film. With that in mind when it was revealed a sequel was being made, I was nervous that after the critical darling the first one was, would the sequel be tainted by the engorged interest? It turns out, not in a million years.

Creep 2 is possibly even better than the first one, with a new direction, an improved performance from Duplass (on top form throughout the entire film) and a story that's completely unpredictable. The minimal production and running time have returned, too, and this is perfect as I feel as though the two films work best as mini masterpieces. Give these two a go, and stick with them. Fingers crossed Creep 3 rounds off a great horror trilogy...

19. 'Logan' (Directed by James Mangold/Written by Mangold, Scott Frank & Michael Green) & 'Guardians of the Galaxy Vol. 2' (Written & Directed by James Gunn)

Okay, hear me out. Both of these are good films, with just one or two minor setbacks that hold them back from being great. The more I thought about it, the more it made sense to stick the two of them together, as they seemed to compliment each other nicely. Logan is more mature and sombre; it's a bold piece of filmmaking...for about two thirds of the film before the last act quickly turns into something a bit more X-Men-y and has Logan running through the woods surrounded by children and unleashing all hell. It's such a shame, because up until that point, everything was working for it; the film was quiet and deliberately paced, Patrick Stewart was being heartbreaking as a senile Professor X, Dafne Keen was kicking ass and making a bold claim for the best debut in a superhero film, and Jackman...Jackman was classic Jackman. He was stark, he was moody and emotionally tortured and giving his final bow one hell of a good go.

Guardians on the other hand was lighter, fun, colourful, and vibrant, with some great character development for the team and a good solid story (with an amazing soundtrack again). However, though I am a sucker for them, the emotional moments were sometimes shoehorned in, characters often state how they felt without warning (though Rocket's arc still affects me every time I watch it and is handled genuinely well). That and...the last act, once again, becomes a bit CGI-heavy. But even with that, both of these films are great entertainment and pure excitement from start to finish.

18. 'Hacksaw Ridge' (Directed by, erm, Mel Gibson/Written by Andrew Knight & Robert Schenkkan)

Whatever Mel Gibson may be, there's one thing you can't deny: the man knows how to direct violence. We've known that since Apocalypto years back, and it was on full display here in a visually arresting and immersive display of onslaught horror and terror amidst the battlefield atop Hacksaw Ridge. Great performances from Andrew Garfield, Hugo Weaving, and Vince Vaughn (really, he stepped his game up this year) all explode visually and metaphorically into a circus of despair when the film stops being Forrest Gump and dives straight into the opening scene of Saving Private Ryan, only this time, it's allowed to show you anything and everything that goes on.

It's an interesting contrast in that a film portraying the true story of a pacifist takes such glee in showing the brutality (and subsequent beauty) of war—to the point where it had the people beside me in the cinema jump in fear and squirm multiple times. It was the contender for the best war film of the year until a certain someone showed up...

17. 'IT' (Directed by Andy Muschietti/ Written by Chase Palmer, Cary Fukunaga & Gary Dauberman)

When I was younger, like any normal child, I was terrified of clowns. It's perfectly natural to have this fear, and now, in 2017 I believe it's perfectly natural for anyone ever to have a fear of clowns again. Whilst not truly terrifying and horrific, what IT: Chapter One managed to do was actually craft a complete 80s classic in the form of The Goonies or Monster Squad...but just with a scary fucking clown.

The cast of kids here are terrific, and the moments when Pennywise is absent serve as a great coming-of-age tale, but enough about them. Bill Skarsgard owns the role of Pennywise now. From the look, the voice, the childish-glee he gets from tormenting the children, the slow ever-present drool that leaks from his curved lips and his wandering eyes, he is the thing of nightmares and the perfect showcase for the film-equivalent of a haunted house rollercoaster.

16. 'Jim and Andy: The Great Beyond'—featuring a very special, contractually obliged mention of Tony Clifton (Directed by Chris Smith)

I've written about the effect this documentary had on me in another article on this website, but Jim and Andy details the method-acting of Jim Carrey on the set of Man on the Moon where he was able to portray his hero: entertainer extraordinaire Andy Kaufman. The film is entirely made up of a single, in-depth interview with Carrey now, and behind-the-scenes footage shot during the making of the film, which had been kept locked away by Universal Studios as they didn't want Carrey to 'come across as an asshole'.

Carrey speaks openly, yet somehow still vaguely, on the experience he went through inside his head. Here is a man who is now questioning every decision he's made throughout his career and is trying to find meaning in every single one of them. It's simultaneously nerve-wracking and enlightening to see an idol like this, contemplative about what he's done and whether he was actually in control the whole time. Nevertheless though, it's never not fascinating to watch and makes for a surprisingly deep exploration into the mind of Carrey, one that we may not get again. Also, for heaven's sake watch Man on the Moon too.

15. 'A Cure for Wellness' (Directed by Gore Verbinski/Written by Justin Haythe)

A Cure for Wellness is the most gothic film of the year. It's deliberately slow, drip-feeding you answers throughout its torturously-long running time, and at points feels like it's driving you insane. But it is. And it should be. The exact same way Dane Dehaan is being treated within the film. Lockhart (Dehaan) is sent to a mysterious "wellness" center to fetch a CEO for his company in order to receive a promotion, however, he doesn't want to leave. And everyone within the institution keeps telling Lockhart how ill he is, too...

The film is utterly gorgeous throughout, and is able to flick a switch and become nightmarish at several points. It's an old-fashioned mystery at heart, and if you give yourself to it, you'll be able to love it for every single atmospheric frame.

14. 'Baby Driver' (Written & Directed by Edgar Wright)

The best edited film of the year? Definitely. The best directed film of the year? Possibly. When taking into account this kinetic musical heist action extravaganza and how thorough it is in matching up every single little detail to the accompanying blinding soundtrack (watch the foreground to see what I mean), it's difficult not to get caught up in all the excitement and brilliance that naturally comes from one of the best filmmakers in the game.

Everyone is on their A-game too, especially Jon Hamm, who gives a terrific supporting performance alongside Ansel Elgort's stoic Baby. It's another winner from Edgar Wright, but let's hope Universal leaves it alone and doesn't see a franchise here. There can be too much of a good thing.

13. 'The Meyerowitz Stories (New and Selected)' (Written & Directed by Noah Baumbach)

Noah Baumbach brings his brand of off-kilter, awkward, and subtly harrowing filmmaking to Netflix and brings along Ben Stiller, Dustin Hoffman, Elizabeth Marvel, and, I can't believe I'm saying this, Adam Sandler in an award-worthy performance. Sandler, take note: this is what happens when you actually give a shit about the films you do.

Meyerowitz is incredibly realistic in its portrayal of siblinghood in the latter years of their parents' lives, and gives every member of the cast so much material to work with throughout. It's utterly charming in every way possible and applies the right amount of melancholy to every single scene in order to heighten the heights the film has to offer.

12. 'Your Name' (Written & Directed by Makoto Shinkai)

I'm so glad I was able to see this one on the big screen. An emotionally satisfying tale of a young boy and girl who wake up in each other's bodies, miles apart and unable to figure out why. It's a wonderful and heartfelt film which is beautiful in both spirit and visuals, with gorgeous animation throughout.

At a time where it seemed like Ghibli was going to close its doors for good (although fingers crossed that's changed now)—it was a shot of hope for films such as this to show us there was still hope in the genre. Now, if only we could convince Hollywood not to remake it...

11. 'War for the Planet of the Apes' (Directed by Matt Reeves/Written by Reeves & Mark Bomback)

When Rise of the Planet of the Apes surprised us by being great a few years ago, we considered ourselves lucky. Well, what should we consider ourselves now? We have a complete trilogy of intelligent, beautiful, emotional, and complex big-budget blockbusters—something I never thought I'd be able to say in the current state of big-budget filmmaking. Somehow, Matt Reeves was able to top his valiant effort in Dawn with this, the (possibly?) final chapter of the saga, and not only did he one-up himself, but he made it look easy.

This film, along with the two before it, are such a rarity that they deserve to be held in such high regard. Even if you take away the astonishing CG work for the apes, you're still left with a deep and thought-provoking storyline, with War we get not only an immensely satisfying conclusion, but also a whole other battle for Earth's soul. Andy Serkis in particular always deserves praise, and his rise up through the ranks of motion-capture performances is nothing short of sublime. Ceasar is a creation that's more human than any of the actual people within this cast...

10. 'Logan Lucky' (Directed by Steven Soderbergh/Written by Rebecca Blunt)

It seems like every year I'm grateful Steven Soderbergh's much publicised hiatus from film barely lasted at all. When the man's work is as solid as it is, any time he's away from a production is a bad period of time. His latest, Logan Lucky, follows a very similar structure and formula to his Ocean's Trilogy of films, with a complex heist being pulled off by a colourful cast of characters.

However, I vastly prefer Logan to the previous, and here's why: it's surreal. Whilst the Ocean's films merely dipped their toe into the insanity pool every now and then (constantly having Pitt's mouth be in use for one), Logan embraces it fully, though to give its ridiculousness away here would be a complete spoiler. Channing Tatum and Adam Driver are caricatures of the southern public, with Driver in particular putting in brilliant work as a quiet and defensive veteran who's silently angry at the society which has shunned him. Daniel Craig, too, comes out of his shell completely as a camp and exuberant convict enlisted by the two to blow up the safe under a NASCAR stadium.

The only downsides to the cast are Hilary Swank, gerning constantly at the camera and coming across as completely distasteful beyond her character, and Seth MacFarlane doing...well, what Seth does. It fills a role, but doesn't stand out in a way that his role could have. Besides this, though, Logan Lucky is one of the most fun times I've had at the cinema and I can't wait to watch it again.

9. 'Personal Shopper' (Written & Directed by Olivier Assayas)

Almost impossible to categorise, Personal Shopper came to my attention because of its supernatural elements, yet when I sat down to watch it, I was taken aback by everything working around the elements I had sat down for. Stewart is brilliantly melancholic throughout; she is the epitome of the entire tone within the film. It's a quiet, sombre affair, and one that you have to put your own fair share of work into, too.

Assayas dabbles in minor horror reflections within his direction, whilst he laments the rest of the film with washed out colours and splashes of hope within the clothing that Maureen (Stewart) collects—her only bright spark in a world that seems to be dying around her, or, at least her interest within the world is dying at least...

Attempting such bold shifts in tone is no small feat, and whilst the film doesn't manage to pull them all off perfectly, it deftly switches between many at ease and drags you along with it and making it a truly haunting experience.

8. 'Star Wars: The Last Jedi' (Written & Directed by Rian Johnson)

Well, I loved it. For all the hullabaloo the film has been receiving online recently, and the fan backlash that seems to have spurred from the dark troll pits of wherever the fuck, I can firmly say that after seeing it three times (so far) this is probably my second favourite of the whole saga.

It's ambitious, sometimes too much so, but Rian Johnson manages to keep the overcrowded moments brief within the narrative whilst also ensuring that everything serves a purpose. His direction and cinematography from Steve Yedlin shouldn't be forgotten, too, as this is the most gorgeous a galaxy far, far away has ever looked. With multiple moments and scenes that made the hairs on the back of my neck stand on end and making me want to cheer characters on, this is the first time within a Star Wars film where I've genuinely felt dread and fear over the character's safety within the film. It managed to make a real connection with me throughout and I found myself so nervous at multiple points.

Oh, and the performances, too! Whether it's the majesty and spunk of General Leia (of course, she was taken too soon. RIP Carrie Fisher), the distasteful and misjudged anger of Kylo Ren (Adam Driver gives another brilliant performance), the conflicted purpose of Rey, the tenacity of Poe Dameron, or even the quiet and disturbed nature of a new Luke Skywalker, played brilliantly by Mark Hamill—everyone comes out guns loaded in a welcoming chapter that leaves the latest trilogy with an interesting direction to head in...

7. 'Get Out' (Written & Directed by Jordan Peele)

This critical darling from comedian Jordan Peele came at just the right time to touch on the state of not only America, but seemingly the world in general. Not only that, but it's a fucking amazing genre piece of filmmaking that surprises and shocks in equal measure, too.

Ostensibly a horror film with comedic elements, Get Out failed to really scare me, but its love for the horror genre and the stylistic choices and craftsmanship within the film is almost overwhelming. From the uncomfortable opening, you're set to "run rabbit run," to the introduction of the strange goings on within the house, it's difficult not to love a film that manages to not be bogged down in references and homages and instead performs a perfect balancing act by crafting an original story from it all, too.

Daniel Kaluuya is no doubt a name we're going to be hearing a lot more now, as is Jordan Peele, especially within the horror genre. And with good reason, though it's now time to see whether he can keep up his good work or go the way of Shyamalan.

6. 'Gerald's Game' (Directed by Mike Flanagan/Written by Flanagan & Jeff Howard)

I'm a huge fan of horror, and one of the best directors currently working within the genre is Mike Flanagan, who has been making smaller, solid-genre pieces for the last few years now (Oculus, Hush, Absentia, Ouija: Origin of Evil) and his latest is his passion project—an adaptation of Stephen King's Gerald's Game.

The film revolves around a couple who book out a small house in the middle of the woods in order to spice up their love life, and if I told you anything more, I'd be doing both you and the film a disservice. Flanagan's love for the story is apparent as soon as the film starts, and it slowly escalates more and more throughout alongside the tension. I watched it for the first time in a full room with my mates, and it's honestly the best way to watch it. Everyone was jumping at the right moments and looking away in disgust at what's possibly the best piece of practical FX I've seen in quite some time. I had an absolute blast sitting through this one.

The only problem is, as it's another NETFLIX production, we're apparently never getting a home release. I think that's completely the wrong way to handle it, as I'd love to add this film to my collection.

5. 'Dunkirk' (Written & Directed by Christopher Nolan)

Sorry, Hacksaw Ridge. Christopher Nolan beat you in every way possible without even showing an enemy soldier or any full-on violence. It's a remarkable feat of filmmaking, this. When I think back to it, I remember feeling almost ill at many different points due to the intensity of the film, all of which is due to the craftsmanship behind it.

Time is a common theme within much of Nolan's work, and once again, he uses it here perfectly alongside silence to deftly balance out the rattling of the guns and the tension of the entire beach of soldiers waiting to be picked off from above. At no point does it cross the line into pure entertainment; this film has far too much respect for the battle to do that. Instead, it tells a story that needs to be told to as many people as possible, to describe to them, make them feel as though they were actually there. I personally know that quite a few people have been affected by this.

Nolan is often criticised for his lack of emotion in his films, or rather, his ham-fisted attempts at sentimentality when he does rise to the occasion. However, whilst Dunkirk, at first, appears to have the same cold demeanour as Nolan's other films, something remarkable happens—warmth presents itself amidst the cold; a slight warmth, but one, nonetheless. Definitely one of the best war films ever made.

4. 'Raw' (Written & Directed by Julia Ducournau)

Hands down the best coming of age film of the year...just, one that also seems to want to eat you at the same time. Raw follows vegetarian Justine (Garance Marillier) as she joins a veterinarian school only to discover her craving for human flesh after eating meat for the first time.

A beautifully shot drama with horror elements, Raw managed to captivate me from the very first shot. With deep symbolism oozing from every frame within the campus as Justine goes on to discover her own personality, sexuality, and dark side, we go just as far down the rabbit hole with her as she's plunged into the depravity of university life.

A mixture of tropes that truly shouldn't work but manages to, and one that I keep coming back to again and again.

3. 'La La Land' (Written & Directed by Damien Chazelle)

Oh, here we go. Widely released throughout America last year but only finding its way to the UK in January, La La Land is an entirely different beast from Damien Chazelle's last work, Whiplash. I still can't decide which I like better, but we're talking about the grand musical one here.

And what a musical it is. An ode to 50s musicals and Hollywood in general, splashed with dazzling colours and grand set-pieces, brilliant performances and songs that I still can't resist at least tapping my foot to, along with a story that goes everywhere except where you'd want it to go. Emma Stone, of course, rules the film, but Gosling keeps up valiantly with a dry and charming performance and some dazzling skills on the piano throughout.

This huge, warm hug of a film has not only stayed at the top of my list throughout the year, but has also managed to work its way into my Christmas viewing, too. Don't ask me why. Maybe I just like to have a good sob at Christmas...

2. 'Blade Runner 2049' (Directed by Denis Villenueve/Written by Hampton Fancher & Michael Green)

Belated sequels are huge gambles, especially when they're ones to iconic and cultural phenomenons such as Blade Runner. Nevertheless, my boy Denis Villenueve rose to the challenge and was able to craft a film that, in my own opinion, was not only able to stand beside the original, butnin some ways, even surpassed it.

That's blasphemy, you say. I say that's impeccable tone throughout, gorgeous visuals thanks to possibly the best DoP in the game, strong performances from the cast (including the best Harrison Ford has been in ages—he actually seems to care here, and a reminder that Jared Leto actually can act). A deceptively simple story wrapped in collusion and deceit which perfectly continues the Blade Runner story (not to mention the brilliant shorts that accompanied the film's release) as Ryan Gosling's "K" is sent to try and find Rick Deckard (Ford) when some light is shed on an old case from the past. It's thoughtful, slow, almost cerebral science fiction (the best kind) and more in tone with Villenueve's other work within Arrival (another film I adore) than perhaps Ridley Scott would have liked, though it's best to just leave him playing with his Fassbenders.

1. 'T2 Trainspotting' (Directed by Danny Boyle/Written by John Hodge)

How do you make a sequel to one of the pinnacles of the 90s zeitgeist? Answer? You don't. You try to tear down everything that makes it great.

Not so much a coming of age film as a realisation-of-age film really. T2 is probably the film that's had the largest emotional impact on me throughout the entire year. It's a film that perfectly captures the utter futility and sadness of a certain time within your life, whether that be at a mid-life crisis point or even, perhaps, coming up to the end of your time as a university student. I realise that the sight of seeing this above the likes of Blade Runner and La La Land might seem odd, but every time I think back on this film I become awash with the feeling of losing touch again. Perhaps it's just been released at the right time for me, as I prefer this to the original film too.

Mark and Sick Boy constantly lament and bond over the times they had in the 90s, finding joy in their memories of things that were, frankly, horrific for them. The film is neverendingly referential to itself, splicing in audio and footage from the original film and mocking the lead characters and their attachment to a time which they've now idolised inside their own minds as other, younger characters watch on in confusion. Whether it's Mark's attempt to revitalise the "choose life" speech off-the-cuff in a fancy restaurant, or Begbie trying to relive the violence of his youth through a chase scene in a car park, everything comes off so sad here. Spud, the one nobody expected to make it, is the only one capable of moving on here—something that seems impossible when watching the first film. It's a marvelous feat to create something so hard-hitting that you hear those same notes from Underworld everytime you begin to idolise trivial moments of your past. It's far from the best made film on this list, not even one that's in the same league, technically, as things such as Blade Runner 2049, but it's had such a large impact on the way that I see a lot of things now that it can't not be my number one. To be honest, this was originally at the number two spot, but as I started writing about it, I realised that it needed to be moved up.

Maybe soon I'll write some more about it, but until then...happy new year. Here's to another good year of film in 2018.