Category Archives: Horror

My Final Oscar Predictions

The 90th Academy Awards ceremony is nigh upon us and now every cinephile around the Internet are putting in their last predictions for the winners and losers. This is the first year that I’ve done this, as previous years have had me bogged down by busy work and unavailability for some of the nominees. However, I’ve seen more of the Oscar hopefuls this year than I thought, possibly because the race has been seriously unpredictable. After last year’s unprecedented Best Picture debacle, there’s no clear frontrunner for the biggest prize. That being said I would like to throw in some of my own predictions about what will, could, and should win in each major category. I also wanted to include some films or players whom I feel were snubbed and deserved some recognition. No matter what, we’ll all have the same answers on Sunday, March 4th.

Best Picture

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Will Win: The Shape of Water

Could Win: Get Out

Should Win: Dunkirk

Should Have Been Nominated: Mudbound


Best Director

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Will Win: Guillermo del Toro for The Shape of Water

Could Win: Christopher Nolan for Dunkirk

Should Win: Christopher Nolan for Dunkirk

Should Have Been Nominated: Denis Villeneuve for Blade Runner 2049


Best Actor

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Will Win: Gary Oldman in Darkest Hour

Could Win: Timothee Chalamet in Call Me By Your Name

Should Win: Gary Oldman in Darkest Hour

Should Have Been Nominated: Hugh Jackman in Logan


Best Actress

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Will Win: Frances McDormand in Three Billboards Outside Ebbing, Missouri

Could Win: Sally Hawkins in The Shape of Water

Should Win: Frances McDormand in Three Billboards Outside Ebbing, Missouri

Should Have Been Nominated: Carla Gugino in Gerald’s Game


Best Supporting Actor

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Will Win: Sam Rockwell in Three Billboards Outside Ebbing, Missouri

Could Win: Willem Dafoe in The Florida Project

Should Win: Sam Rockwell in Three Billboards Outside Ebbing, Missouri

Should Have Been Nominated: Gil Birmingham in Wind River


Best Supporting Actress

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Will Win: Laurie Metcalf in Lady Bird

Could Win: Allison Janney in I, Tonya

Should Win: Laurie Metcalf in Lady Bird

Should Have Been Nominated: Holly Hunter in The Big Sick


Best Original Screenplay

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Will Win: Get Out

Could Win: Three Billboards Outside Ebbing, Missouri

Should Win: Get Out

Should Have Been Nominated: The Meyerowitz Stories (New and Selected)


Best Adapted Screenplay

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Will Win: Call Me By Your Name

Could Win: Mudbound

Should Win: Logan

Should Have Been Nominated: The Lost City of Z


Best Animated Feature Film

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Will Win: Coco

Could Win: Coco

Should Win: ONLY Coco

Should Have Been Nominated: The Lego Batman Movie


Best Foreign Language Film

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Will Win: A Fantastic Woman (Chile)

Could Win: Loveless (Russia)

Should Win: The Square (Sweden)

Should Have Been Nominated: First They Killed My Father (Cambodia)


Best Documentary- Feature

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Will Win: Last Man in Aleppo

Could Win: Strong Island

Should Win: Icarus

Should Have Been Nominated: Jane or City of Ghosts


Best Documentary- Short Subject

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Will Win: Edith & Eddie

Could Win: Traffic Stop

Should Win: Heroin(e)

Should Have Been Nominated: Long Shot


Best Live-Action Short Film

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Will Win: DeKalb Elementary 

Could Win: My Nephew Emmett

Should Win: DeKalb Elementary

Should Have Been Nominated: Auditorium 6


Best Animated Short Film

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Will Win: Lou

Could Win: Negative Space

Should Win: Revolting Rhymes

Should Have Been Nominated: In a Heartbeat


Best Original Score

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Will Win: The Shape of Water by Alexandre Desplat

Could Win: Dunkirk by Hans Zimmer

Should Win: The Shape of Water by Alexandre Desplat

Should Have Been Nominated: Good Time by Daniel Lopatin


Best Original Song

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Will Win: “Remember Me” from Coco

Could Win: “Mystery of Love” from Call Me By Your Name

Should Win: “Mystery of Love” from Call Me By Your Name

Should Have Been Nominated: “To Be Human” from Wonder Woman


Best Visual Effects

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Will Win: Blade Runner 2049

Could Win: War for the Planet of the Apes

Should Win: War for the Planet of the Apes

Should Have Been Nominated: Okja


Best Cinematography

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Will Win: Blade Runner 2049

Could Win: Dunkirk

Should Win: Blade Runner 2049

Should Have Been Nominated: The Lost City of Z


Best Costume Design

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Will Win: Phantom Thread

Could Win: Beauty and the Beast

Should Win: Phantom Thread

Should Have Been Nominated: Star Wars Episode VIII: The Last Jedi


Best Makeup and Hairstyle

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Will Win: Darkest Hour

Could Win: Wonder

Should Win: Darkest Hour

Should Have Been Nominated: The Shape of Water


Best Production Design

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Will Win: The Shape of Water

Could Win: Blade Runner 2049

Should Win: Blade Runner 2049

Should Have Been Nominated: The Post


Best Film Editing

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Will Win: Dunkirk

Could Win: Baby Driver

Should Win: Dunkirk

Should Have Been Nominated: Get Out


Best Sound Mixing

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Will Win: Dunkirk

Could Win: Baby Driver

Should Win: Dunkirk

Should Have Been Nominated: John Wick Chapter 2


Best Sound Editing

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Will Win: Dunkirk

Could Win: Baby Driver

Should Win: Dunkirk

Should Have Been Nominated: John Wick Chapter 2


How say you? What film do you believe should, could, or will win the top prize? Be sure to leave you thoughts in the Comments, and as always if you want to see more interesting content like the one on this list, be sure to like and Follow my blog.


“Annihilation” Movie Review

I almost don’t know what to say. I just… I… Words are escaping me now. Well, I guess structural integrity is the way to go. Here goes nothing. This trippy science-fiction horror marks the second directorial effort of Alex Garland, following his massively acclaimed debut Ex Machina in 2015. Produced on a budget of around $40 million, the film has thus far earned back over $11 million following its stateside release on February 23rd, 2018. I suspect that a large portion of its profit will come from the United States, as international audiences won’t get to see it in a conventional manner. That’s something that I’ll explain more on in a little bit. Though it’s adapted from the first part in a literary trilogy, Alex Garland has said that he approached the source material as its own story, which he took from and morphed freely. Based on the novel of the same name by Jeff VanderMeer, Natalie Portman stars as Lena, a cellular biologist hired by a mysterious program called the Southern Reach. Following her thought-to-be deceased husband Kane’s sudden reappearance, she learns of a quarantined zone called The Shimmer that has been cut off from the rest of civilization. She then agrees to go out into the Shimmer with four other female experts and hopes to find new evidence of what happened to Kane and just what the heck is going on here. I loved Ex Machina, Garland’s debut feature. In an age where we’re practically surrounded by rip-offs and reboots and sequels that decades late, the screenwriter behind 28 Days Later and Sunshine created an original breath of fresh sci-fi that leaned more on speculative ideas than spectacle. And in anticipation for his new release, I read the VanderMeer novel, and can tell you two things. First, it’s one of the weirdest and boldest stories in recent fiction. Second, the film adaptation took massive liberties with the source material yet found ways to make its ideas still profound and complex. Hands down, either Annihilation will be the best movie I’ll see this year or 2018 is going to be an incredible year for cinema. It’s sad, however, that not everyone in the world will get to experience it in a traditional sense. Apparently, an executive from Paramount Pictures demanded that changes be made both to the ending and the main character, sighting it as “too intellectual” or “too complicated” for a wide audience. In response, producer Scott Rudin, who retains rights to the final cut, took Garland’s side and refused any notes or changes. As a result, while folks in the U.S. and China will get to see it in theaters, international audiences will have a chance to watch it 17 days later… premiering on Netflix. While I’m not necessarily opposed to Netflix picking up distribution rights for a film, this decision makes me really upset. No matter how large you 4K television is and even if you can watch it on the go, nothing will compare to sitting down in a dark theater and soaking it all in. The lengthy discourse I had with a handful of strangers after it finished is proof enough. Over the last few years, Natalie Portman has consistently proven to be one of my favorite actresses working today. Her performance here is a truly versatile one, bouncing between traumatized and tough-as-nails with ease. A damaged soul, some may find her character to be unlikable, but it’s honestly refreshing to watch a sci-fi movie where the female lead isn’t just a damsel in distress or a love interest. And she’s surrounded by Jennifer Jason-Leigh, Tessa Thompson, Gina Rodriguez, and Tuva Novotny as her teammates. You get a glimpse of each of their individual personalities and every decision they made in the Shimmer was intelligent and reasonable. Oscar Isaac also does great work as Kane, subverting the traditional idea of a traumatized soldier. He initially gives a very wooden performance, but the reasons for it become clear later on. Meanwhile, on a technical scale, this film is nothing short of astounding. The visual effects inside of The Shimmer are something to behold, rarely have on-screen visuals been so simultaneously beautiful yet also terrifying. I won’t actually describe any of them for you so that you can be as surprised as I was watching it. But Garland managed to pull off a number of creature designs from the book I thought would have been impossible to visualize. The lush green landscapes and unique animals can be noticeably CGI, but the fantastic production design and ethereal lighting make it all the more pleasant to look at. Meanwhile, the cinematography by Rob Hardy feels like something straight out of a John Carpenter film. Wonderful, steady wideshots of both the Southern Reach outpost and the landscapes inside The Shimmer feel lucid and almost dreamlike. The widescreen format and excellent lighting allows for an intense, immersive atmosphere that feels so lacking in other horror films. Composers Ban Salisbury and Geoff Barrow both provide the musical score, which perfectly fits the surreal tone of the film. In some of the more mundane scenes, it just consists of an acoustic guitar getting plucked with some accompanying percussion. But during some of the more fantastical moments, it shifts into an ambient mix of synthesizers and suppressed strings. Interestingly, this dichotomy works perfectly to explore the duality of the characters’ situation and bring out a genuine reaction from the audience. The last 15 minutes of the movie are almost dialogue-free, save for that powerful music. As a result, my jaw just dropped. However, I can appreciate that this movie is not for everyone. Like the novel, this movie is like a modern-day H.P. Lovecraft story. For those unfamiliar, H.P. Lovecraft was one of the fathers of horror fiction, creating the myth of Cthulu. In all of his stories, as well as ones that imitated them, the main theme involved ordinary characters trying (And failing) to make sense of the impossible. If you’re unable to accept that from the beginning, then you’ll just be left behind. For those with the fortitude to wait it out and really soak it all in, Annihilation is a stunning, psychedelic piece of science-fiction cinema. Whether you love it or hate it, this is a movie that is going to stick with you long after the credits start rolling. Luckily for people like me, that’s a feeling that I cherish these days with the current studio system.

“The Cloverfield Paradox” Movie Review

Here we are, the first new release review of 2018! What better way to kick off the year than with a movie that dropped its announcement completely last-minute before premiering on a streaming service where it’s bound to get lost in the shuffle? In other words, just another one to add to the pile. Produced by J.J. Abrams, this sci-fi horror thriller had a surprise release on February 4th, 2018, dropping immediately after the end of the Super Bowl LII. That’s not a hyperbole; Netflix actually released this Bad Robot production 2 hours after putting a 30-second teaser on during the game. Paramount Pictures was set to distribute it, as they have both previous Cloverfield movies. But following a massive shift in leadership, and the budget ballooning from $5 million to $45 million, post-production was repeatedly pushed back for nearly two years. According to several sources, at a point, they basically just gave up and let Netflix take care of the rest. Directed by first-timer Julius Onah, Gugu Mbatha-Raw stars as Ava Hamilton, one of a handful of astronauts on an international space station. In the near future when many countries are on the brink of war due to an energy crisis, the world’s space agencies launch the Cloverfield Station, which houses a powerful particle accelerator. The mission goes terribly wrong and the team discovers that the Earth has completely disappeared, igniting a fight for survival and a perilous search for the way home. It should be no surprise that I loved both Cloverfield and 10 Cloverfield Lane a lot. While many people were not happy with the ending for Lane, I saw it as a great springboard for a potential franchise. And up until this one’s release, I had assumed that it would just take the form of an anthology series, akin to Black Mirror or The Twilight Zone. But this new film, previously title God Particle, attempts to put in more references and tie-ins to the 2008 found-footage original than is probably necessary. And because of this, The Cloverfield Paradox ends up being a monumental disappointment, the first one of 2018. Let me be clear: I have no problem with a movie that wants to crossover with other installments of its franchise. Anything that wants to bring the whole thing full circle in a literal sense is perfectly fine by me, as long as it’s done in a way that’s not contrived or shoehorned. Unfortunately, the references in this movie are just that; contrived and shoehorned. If you want to watch this movie, I won’t spoil anything for you. It’s seriously available on Netflix right now, go ahead if you wish. But the more I think about some of the connections to its two predecessors, the less sense it starts to make. Come to think of it, the whole idea of this being a Cloverfield sequel/spinoff feels more like an afterthought than anything else. The stacked cast, for the material they’re all given here, does try her best in the lead role. Gugu Mbatha-Raw, previously impressing with the Black Mirror episode “San Junipero,” does pretty good work as the lead Hamilton. You can tell the personal torment in her character that she tries to overcome. Chris O’Dowd was one of the biggest saving graces of the film, providing the right amounts of levity and sly timing. Even when the comedy elements feel really forced, O’Dowd is there to give a crack at it and delivers in most areas. Selma actor David Oyelowo gives his role as the crew’s captain as much command and wisdom as he can. Though it somewhat felt like he was confused whether to impersonate Captain Kirk or reenact MLK in space. Daniel Bruhl, Zhang Ziyi, Elizabeth Debicki, Aksel Hennie, and John Ortiz fill out the rest of the station’s crew. Again, they all try their best, but it doesn’t always work out very well. Technically speaking, this is a very mixed bag of a picture. Dan Mindel’s cinematography is decent enough and captures both the look and feel of a J.J. Abrams production without the overuse of lens flares. Of particular note is a scene when Mbatha-Raw is sitting up against a windshield with space on the other side. A simple moment that at least tries to showcase the scope of the story. The set designs are also fairly impressive and, although nowhere detailed as the sci-fi films it wants to pay homage to, do a good job at bringing the titular space station to life. Metal hallways are filled up with contrasting colors, which were visually appealing. However, one of the biggest areas of issue concerns the editing. So many sequences are chopped together like they were edited by 5 different people in post-production (3 are actually credited) And rushed the dailies in to get the finished print out in time. Bear McCreary is one of the most underrated film composers working in Hollywood today, but it’s nice to see Bad Robot giving him some recognition here. The score here is surprisingly passable, all things considered. Whenever we’re in the claustrophobic halls, we get low-octave, moody tracks to set the horror movie tone. But whenever the action decides to move outside into space, we get bigger, more exhilarating songs. You know the type, large orchestral tracks with pulsating percussion and quick strings. But all of it honestly feels like leftovers from a better score by McCreary. As a derivative, low-key sci-fi horror flick found on a streaming service, this movie actually works a lot better for rainy late-night viewings. As a “continuation” of a big-budget franchise, however, The Cloverfield Paradox is an unholy slapdash of last-minute ideas and dumb decisions. While I give Netflix credit for releasing it completely out of the blue, it’s now clear why Paramount didn’t really want it. If rumors are true, then Overlord will redeem this series later in the year. A shameless Alien rip-off or a new installment of an unexpected franchise. You ultimately can’t have both.

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Retrospective: 2017 Superlatives

Now that my Top 20 Best Films is published and out of the way, I wanted to go into more specific categories with Superlatives. No specific rankings here, but I just wanted to file away certain films that I saw that deserve at least some recognition. Some of these were in contention for the Top 20, others were not. But regardless, I wanted to continue my tradition from last year and give some thoughts on these.

Most Original: “Okja”

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In my experience, Bong Joon-Ho’s films can range from hitting the exact spot that they should hit or struggle to decide what tonal path they want to take. Okja is a mixture of both but there’s no denying how it is unlike anything else that’s pouring out of the studio market these days. The concept of a child forming a close bond with a creature may be familiar, but the way that Joon-Ho goes about it in this Netflix original is so unexpected and exhilarating. Filled with both heart and searing satire, this is the kind of film that more studios and production companies should be putting faith in.

*Read my full review here.

Most Surprising: “Coco”

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I had little doubt in my mind that Pixar Animation would score more laughs and fun out of the audience with Coco. But what shocked and particularly impressed me was the deep respect and reverence the creators had for Mexican culture, which is often overlooked or misappropriated by Hollywood. Moreover, the film was surprising in its examination of death and the afterlife, a topic rarely discussed in family pictures. Topped off with some of the most gorgeous visuals the animators have had to offer yet and a beautiful score by Michael Giacchino, Coco is a glorious return to form for Pixar.

*Read my full review here.

Most Overrated: “Atomic Blonde”

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Now, this just makes me sad because I really wanted to like this movie like everyone else. And while I did enjoy parts of Atomic Blonde, nothing could overcome the excessive feeling of “all style and no substance.” Charlize Theron and James McAvoy are great in their respective roles and seem to be having a lot of fun. But the spy plot needlessly and constantly twists itself in a tangled up knot to hide its inherently generic nature. And while the color scheme and use of graffiti are nice, it ultimately feels indulgent.

*Read my full review here.

Most Underrated: “Mother!”

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I know a lot of people who not only disagree with my choice on this category, but they don’t like Mother! Not at all. And honestly, I can’t blame them since the film has no regard for the audiences’ comfort level. But for me, growing up in a religious household, seeing this allegory played out with total control unleashed from Darren Aronofsky is exactly the kind of disturbing I look for. My jaw was on the floor for the last 30-45 minutes of the movie, and the controversy this film has accumulated for its plot and violence is exactly the kind of conversation that film buffs should be having.

*Read my full review here.

Most Overlooked: “The Girl With All the Gifts”

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One could attribute this film’s relative lack of success to the overcrowded zombie genre, and you’d probably be right. But unlike many other films in that worn out niche, Colm McCarthy’s The Girl With All the Gifts has an effective emotional core in the midst of all the flesh-eating terror and guts. Featuring a breakout performance from Sennia Nanua and some chillingly real zombie effects, the film feels like a believable examination of what would happen to children in the collapse of society. It’s probably the closest we’ll get to a live-action adaptation of The Last of Us.

*Read my full review here.

Most Disappointing: “Bright”

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“It’s like a nuclear bomb that grants wishes!” An actual line of dialogue from this huge let-down. I’ll give Netflix some credit here; they tried. In an age of studios whittling visions down to empty projects, Netflix actually tried to make an original fantasy blockbuster. They’ve even committed to a sequel already! But David Ayer’s Bright failed not just at setting up a potential franchise, not just at pathetic social commentary, but also at the most simple job: making a good movie. Max Landis seems to have a ton of ideas floating around his head, but someone really should have given this one a total rewrite. Sorry, Will Smith and Joel Edgerton, I love you guys. But make better choices.

*Read my full review here.

Funniest: “The Big Sick”

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Aside from Get Out, I can’t think of a single movie from 2017 that caught more people by surprise than The Big Sick. Revealing Kumail Nanjiani as both a brilliant screenwriter and a capable actor, the awkward true story speaks volumes about current cultural barriers without ever becoming too preachy. It is increasingly rare to find honesty or sincerity in romantic films, but Nanjiani, along with his co-writer (And real-life wife) Emily V. Gordon do just that. It doesn’t avoid the emotional weight of a loved one falling ill, but they still find genuine humor amongst it all. Capped off with the single best and most unexpected 9/11 joke in cinematic history.

*Read my full review here.

Worst: “The Emoji Movie”

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In all honesty, who was actually expecting this movie to be any good? When I first heard the announcement, I thought it was an article published by The Onion, but nope. Even so, I might be willing to subside some criticisms if Tony Leonidis and T.J. Miller really put some muscle and effort into it. But The Emoji Movie not only comes across as lazy garbage but also a stupidly cynical feature-length advertisement for various corporate phone apps. Rarely have I seen a movie that is so blatantly insulting to the intelligence of both adult AND child audiences. (Sir Patrick Stewart as the poop emoji included) The Emoji Movie is easily the worst movie of the year, and the worst animation I’ve seen yet.

*Read my full review here.

Do you agree with these superlatives? What do you think was the worst or most underrated movie of 2017? Be sure to leave your picks in the Comments below, and if you’re interested to see more content like this, be sure to like this post and Follow my Blog.


Retrospective: The Best Films of 2017

Well, folks, another year, another season of new cinema has officially come to a wrap. While many people felt miserable from all the horrible news pouring out daily, (This critic included) filmmakers were busy giving us films that reminded us what it truly means to be human. The good, the bad, and the gray areas in between. Over the course of the last year, I have watched a personal record total of 124 feature-length pictures released in 2017. In fact, I dare say that this was the best year of the decade so far in terms of newly released movies. Horror cinema broke all sorts of box office records, independent films saw releases in multiplexes, and a number of original films (as well as a few sequels) subverted all expectations. It was such a good and massive year that I had to expand to a Top 20. Here are some honorable mentions before we get started.

Honorable Mentions:

Coco, Only the Brave, The Killing of a Sacred Deer, Gerald’s Game, Good Time, Mother!, The Disaster Artist, Darkest Hour, The Girl With All the Gifts, I, Tonya, Icarus, Columbus, Stronger, The Meyerowitz Stories, Spiderman: Homecoming, Thor: Ragnarok, The Big Sick, It Comes at Night, Okja, The Survivalist

Without further ado, let’s count down my Top 20 Movies of 2017.

#20: “Brawl in Cell Block 99″

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Let’s kick things off with an especially brutal and violent movie that very few people actually saw. In a year chock full of cinematic surprises, S. Craig Zahler’s prison Grindhouse action thriller Brawl in Cell Block 99 is one of the biggest. Having been a fan of his debut Bone Tomahawk, I was curious to see what the burgeoning filmmaker could come up with. A powerful, unapologetic ride of crushed bones and purple punches, absolutely nothing is held back. From the understated style to the simplicity of the story, virtually everything worked. And most of all, we get to see the best work of Vince Vaughn’s entire career on display as he unleashes fury on everyone in his way.

*Read my full review here.

#19: “Wonder Woman”

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The best film out of the DC Extended Universe by at least two country miles, and a charming affirmation of the better sex’s power, Patty Jenkins’ Wonder Woman gave us something we were all waiting for so long. The most recognizable female superhero on Earth was done incredible justice, due in no small part to Gal Gadot’s charismatic lead performance. But she’s not simply pandering to teenagers or making a politically correct statement. The two them, together with some of the best men and women working in the business, wanted the world to know that humanity is not too far gone. For all the horrible things we see happen every day, it’s this kind of cinematic optimism that we need.

*Read my full review here.

#18: “IT”

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One of the many things that 2017 will be remembered for was the Year of the Stephen King Adaptation. And while Gerald’s Game was a pretty great movie on Netflix, It edges out simply because of fun factor and sheer shock at its success. A movie about a demon clown becoming the highest-grossing horror movie of all time? Speaking of clowns, Bill Skarsgård was a perfect choice to play the terrifying iconic villain, while the kids all give a wonderful personality to the story. Rarely has a horror film made me feel so emotionally involved in its narrative; to feel the terror and sadness that the characters do. By all rights, this shouldn’t have worked. But director Andy Muschietti somehow made me excited for a sequel.

*Read my full review here.

#17: “First They Killed My Father”

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By far the most criminally overlooked film on this list, Angelina Jolie’s First They Killed My Father is a haunting portrait of a period rarely shown in media. The semi-autobiographical story of a young Cambodian girl desperately making her way through the Killing Fields would have already been crushing. But Jolie wisely chooses to show us this truly evil conflict through the innocent eyes of a child, which makes for a path of empathy uncommon in tragedies. The fact that the film was shot on location, has an entire cast made of Cambodians, and the primary language is Khmer is particularly impressive for an American filmmaker. She unflinchingly captures the aftermath of Communist takeover following the Vietnam War. Speaking of which…

*Read my full review here.

#16: “The Post”

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I get the idea that putting up an Oscar Bait-y movie like The Post on my Best Films of the Year list makes my tastes look cheap and predictable. I understand that. I also don’t care. Steven Spielberg continues his hot streak into his early 70s with this relevant historical drama concerning newspapers that tried to uncover government deception in the 1970’s. Anchored by incredible performances from Tom Hanks, Meryl Streep, and an enormous supporting cast, the movie looks and feels like a master at his craft working to tell an immediate story with actors who know exactly what they’re doing. Regardless of how forced the message may seem, there’s no denying the importance of the freedom of the press which Spielberg and his collaborators saw when they first read Liz Hannah’s script 9 months ago.

*Read my full review here.

#15: “The Lost City of Z”

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I bet a lot of people forgot about this movie back when it was released in April. I didn’t, though. James Gray’s musty, jungle-obsessed historical drama is a hallucinogenic throwback to the grand epics of filmmakers like David Lean. A sweeping story about one of the most mysterious treks in British history in the unknown Amazon, someone could easily be fooled into thinking that this was a 35 mm print only discovered recently. While the character of Percy Fawcett is softened up a bit, Charlie Hunnam does excellent work as the complex explorer who became obsessed with a small idea of civilization by the Natives. It’s definitely a slower movie than most audiences are probably used to, which probably explains why it bombed at the box office. But it’s still just brilliant and glorious in scale.

*Read my full review here.

#14: “Lady Bird” 

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The little festival indie that absolutely could, Greta Gerwig’s Lady Bird is not the last directorial debut you’ll find on this list. While the story of a young woman wanting to escape her confined small-town life may sound familiar, every single frame of the movie is fleshed out into a three-dimensional object or person. Saoirse Ronan and Laurie Metcalf do magnificent work as a daughter and mother whose relationship is increasingly strained as the day comes when the titular girl has to leave for college. But Gerwig fills in many moments with great levity and humor that solidify its honesty, keeping it from being a stressful affair. We all reach our time to fly sooner or later.

*Read my full review here.

#13: “Three Billboards Outside Ebbing, Missouri”

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Aside from having a highly unconventional title and a bevy of veteran actors at his disposal, writer-director Martin McDonagh also chooses to navigate taboo territory. By focusing on a mother who takes a militant stand against the authorities for failing to solve her daughter’s 8-month-old murder, he manages to walk on thin ice with grace. It also helps that Frances McDormand gives one of the best and most vulgar performances I’ve seen all year long while Sam Rockwell is total dynamite as the virulent racist of a cop. And while the film could have easily been drenched in misery and depression, McDonagh bombards the audience with unexpected doses of bleak humor that you really shouldn’t be laughing at. Excellent writing and acting come together perfectly.

*Read my full review here.

#12: “John Wick Chapter 2”

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John Wick Chapter 2 was awesome! It combined slick, stylistic filmmaking techniques with beautifully choreographed action sequences. Even something that simple is hard to come by these days. But still, Chapter 2 builds upon the original film’s worldbuilding by giving us an even bigger peek into the world of assassins. How are they organized? What involvement do the governments have? And whenever something like that isn’t happening, all of the actors are delivering the unsubtle dialogue with complete Shakespearean authority. What more could you want from an action movie?

*Read my full review here.

#11: “Raw”

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Easily my favorite foreign language film of the year, and one that feels absolutely foreign in many different ways, Raw is really a movie that lives up to its title. It’s quite often that horror movies tend to revolve around scenarios or circumstances that could never happen in reality. The horrifying beauty of Julie Docournau’s Cannes debut is how believable every instance of gore and lust is presented, which arguably makes it even more uncomfortable to watch. A lurid coming-of-age tale of budding sexuality with no easy emotions or cop-outs, those with a weak stomach are sure to have a panic attack during Raw. (Just research its screening at TIFF) But it’s a prime example of modern directors still finding little wrinkles of fresh air and forming their own distinctive voices.

*Read my full review here.

#10: “Wind River”

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Top 10 territory now! Wind River was one of the most realistic films I saw in 2017 of any genre. Taylor Sheridan proves that he’s just as capable in the director’s chair as he is a gifted scribe, proved in Sicario and last year’s Hell or High Water. A murder mystery set on a Native American reservation in Wyoming, Sheridan balances sober commentary on an undervalued issue with a big heart at the center. Jeremy Renner and Gil Birmingham give some of their finest performances as two fathers searching for closure on the deaths of their daughters while highlighting the cold, unforgiving frontier of the titular reservation. One of the most intense films of the year as well as one of the most satisfying, it’s movies like this that major studios should come around to making more often. These voices need to be heard.

*Read my full review here.

#9: “Mudbound”

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Don’t let the Netflix logo at the beginning of this movie deter you; Mudbound is as artful a film as anything released in theaters. Dee Rees’ stunning, complex epic is a 2-hour and 15-minute Southern ballet of family drama and suppressed hatred. It speaks to the relevant, deeply rooted problem of racism that ceaselessly dogs America with subtle storytelling and highly mature writing. An able-bodied cast of either color give shades to what could have easily been archetypes in a feel-good historical fantasy. But both they and Rees refuse to let the audience have any easy answers to the issue, leaving us immersed in the dirty farmlands of rural Mississippi. An essential piece of literary cinema, Mudbound may take place in the time of Jim Crow but it still holds truths for today.

*Read my full review here.

#8: “War for the Planet of the Apes”

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A stunning piece of visual storytelling and one of the few concluding chapters that is actually satisfying, the franchise with increasingly long titles reaches a bleak end. War didn’t just offer more proof that Andy Serkis deserves Oscar recognition as the ever-so conflicted ape leader Caesar. This ninth installment also showed us dark themes rarely seen in a summer blockbuster, including an indictment of the audience’s capacity for enjoying brutal violence portrayed on-screen. A barrage of intense emotions and hard choices hit the viewer with beautiful imagery that will haunt me for weeks. And considering that only one scene of verbal exposition was included here, that’s especially impressive. Also, Steve Zahn as Bad Ape provided some good levity for an otherwise completely dark and harsh story.

*Read my full review here.

#7: “Baby Driver”

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Having wrapped up his Three Flavors Cornetto Trilogy 4 years ago and after walking away angrily form Ant-Man, it’s safe to say that most film lovers were curious about what Edgar Wright could come up with next. But none of us could have predicted him bringing such an exhilarating and stylish film quite like Baby Driver. A clear homage to old gangster heist movies from the 1930’s and 1970’s, Ansel Elgort stars as a getaway driver who’s coerced into one final job by his criminal bosses before falling in love with an innocent waitress. Filled with Wright’s trademark kinetic editing and gorgeously precise camera work, the killer soundtrack never misses a beat. Presenting us with a colorful variety of characters, including the deaf J.D. or the profane murderer Bats, this was just a blast.

*Read my full review here.

#6: “The Shape of Water”

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Guillermo del Toro’s The Shape of Water is this year’s only worthwhile movie about the romance between a mute woman and a humanoid amphibian creature. Joking aside, this was a genuinely great and enthralling picture built as a passionate loveletter to classical cinema. (Wipe transition included) Sally Hawkins does phenomenal work in a role dominated by silence and sign language while Doug Jones proves his worth as a brilliant chameleon of an actor. But the real star is del Toro, who weaves together a beautiful love story which, despite the Cold War backdrop, still feels relevant today. Some may feel a little cold, but there’s no denying the brilliance behind the camera, not the least of which is Alexandre Desplat’s whimsical score. It truly is a “Fairytale for Troubled Times.”

*Read my full review here.

#5: “Logan”

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No matter how long I’m a film critic and no matter how many superhero movies I watch down the road- and there are a LOT coming down the pipe -I will never forget Logan. By stripping down a comic book icon like Wolverine to his bare essence, without any superhero spectacle or save-the-world stakes, director Jame Mangold gives us a gritty Western character drama. Not since The Dark Knight has a superhero movie felt so different from both a thematic and technical standpoint. Hugh Jackman and Sir Patrick Stewart sink deep into their iconic roles, finding new corners not yet explored with two men- or in this case, mutants -tired of the violent world around them. A rollercoaster of R-rated action and capped off by an emotionally gut-wrenching finale, it’s films like Logan that give me true hope for the future of the genre.

*Read my full review here.

#4: “Get Out”

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Who on Earth could have possibly predicted the pop culture phenomenon that Get Out would become when it was released? Jordan Peele’s stunning directorial debut made waves back in February and the buzz just never let up from there. A searing satire of how white people respond to accusations of racism, Peele drops subtle hints left and right only to reveal the frightening horror behind it all. Daniel Kaluuya proves that his one-episode stint on Black Mirror wasn’t a hoax by playing Chris, an African-American stuck in one of the most bizarre situations imaginable. Few films moved the national conversation of race quite like this, spreading like a wildfire in multiplexes. Upon rewatches, you’ll find new details that feed further into the subtextual richness of Get Out. Unpredictable, hilarious, and wholly original, if I told you there was a single movie from 2017 that I had more fun watching in a packed theater than Get Out, I would be lying to you.

*Read my full review here.

#3: “Star Wars Episode VIII: The Last Jedi”

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In the four years that I’ve run my blog here on WordPress, I don’t think any year was as cinematically divisive as 2017. Few films illustrated that more widely or intensely than the latest entry in the Star Wars franchise. Unlike a lot of fans, I do understand some of the hate this movie has received, but at the same time, I love it all the more for it. You’d be hardpressed to find a modern blockbuster that is as bold or risk-taking as Rian Johnson’s The Last Jedi, which sees much of the iconic mythology questioned by our beloved heroes. While the action sequences, especially a beautiful lightsaber duel involving Rey, Kylo Ren, and the Praetorian Guard, are truly extravagant, it’s the storytelling and development of Luke’s character arc that really grabbed me. Some rewatches are probably mandatory, but I’m still in awe of what Disney let Johnson do.

*Read my full review here.

#2: “Dunkirk”

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When I first said this in my review, it felt like a great hyperbole. But it’s been about 6 months since I first watched the film and I still feel quite confident: Dunkirk is the most patriotic British film ever made. Having had little knowledge of the actual history of the titular event, involving 400,000 troops stuck on a beach in 1940 France, I went into this movie expecting a straightforward war movie. But instead, Christopher Nolan immersed me and the auditorium in a 70 mm simulation of what it was like to live that moment; from the land, the air, and the sea. Because of this, many have complained about the severe lack of character development or emotional involvement. I get that criticism, but the attachment shouldn’t come from a monologue about a girl back home. Personally, I didn’t think that was necessary to feel the immense fear, anxiety, and relief of the soldiers in each story. I swore to God it was going to be my best film of the year. Until I saw…

*Read my full review here.

#1: “Blade Runner 2049”

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I get the hate for Dunkirk, The Shape of Water, and even Star Wars. However, I genuinely don’t understand how anyone could hate Blade Runner 2049. For the second year in a row, Denis Villeneuve has directed my favorite film of the year and rightly so. Maybe it was the IMAX syndrome. Maybe it was the jaw-dropping, immaculate cinematography by the legendary Roger Deakins. But I wholeheartedly believe that this sequel is better than Ridley Scott’s 1982 original, with a sprawling story bolstered by impeccable visuals and a solid beating heart at the center. In fact, this could be the movie that convinces some people to switch over to 4K. Ryan Gosling proves his worth as one of the finest actors around as Officer K, but it’s Harrison Ford that steals the show. No real easy explanations are dolled out, just strong storytelling driving the mystery of Rick Deckard forward. Blade Runner 2049 is a complete technical masterpiece and one that will hopefully come to inspire a new crop of aspiring filmmakers.

*Read my full review here.

So there’s my list! Do you agree with my picks? What was your favorite movie from 2017? Leave a comment below, and if you’re interested to see more content like this, be sure to Like and Follow my Blog. Bring on 2018!


“Raw” Movie Review

In all of 2017 cinema, I don’t think there has been a single film that lives up to its title quite like this one. Dear God, I had to take a few showers after watching this. The debut feature of writer-director Julie Docournau, this sexually-charged horror drama premiered at the 2016 Cannes Film Festival under the International Critics’ Week section where it won the top prize. It was released worldwide on March 10th the following year and just barely earned back its budget of $3.1 million. It also held a screening at TIFF, and the screening for it was apparently was so real and volatile that two viewers fainted and were escorted out via emergency medical services. That should give you some idea as to the effect this movie had upon audiences, including this critic. The story follows a young woman named Justine who begins attending an unnamed veterinary school somewhere in France. Upon meeting up with her older sister Alexia, she becomes embroiled in harsh hazing rituals from upperclassmen. Despite being a lifelong vegetarian, she is forced to eat raw meat on campus and her craving for flesh only gets stronger as she goes on a personal journey. How do you even evaluate a film that repulsed you in almost every possible way yet still loved everything about it? This movie had gotten a lot of hype leading to its release, if only because of how explicit its content was. I’m not typically one for foreign films, but I was still intrigued. There’s not much I can build up to saying this, so I feel it’s appropriate to put out there: Raw is one of the best directorial debuts of the 21st century so far. One could easily write this off as the nothing more than the next shocking entry in art-house French horror cinema. You’d be forgiven for thinking just about that. But it’s also a surprisingly involving coming-of-age drama about Justine’s transitional period in life. There’s a sensual undercurrent flowing with every act of brutality carried out onscreen. She’s just budding her true self out into existence in a very horrific yet captivating manner. It’s not until she finally blossoms like a flower that we discover what she’s truly capable of. And it’s not exactly comfortable viewing. Garance Marillier totally knocks it out of the park in her lead role as Justine. She evokes all of the insecurities and naivety typical in a teenage girl, but she also brings something charming and different about the character. She and Docournau were made for each other, evident in the fact that they made a short together before this. Her sister Alexia is played by Swiss actress Ella Rumpf, who brings something neat to the supporting table. She’s definitely the more unstable and party-hungry of the siblings, and her wildly unpredictable decisions throughout the movie take the viewer further down the rabbit hole of juvenile hedonism. And finally, Justine’s roommate Adrien is played well in a fantastic debut from Rabah Naït Oufella. Of the characters, he was perhaps the most interesting one because of his contradictory nature. And his scenes provided most of the spare laughs in the film. And Raw also makes sure to grab viewers’ attention through its technical aspects. Belgian cameraman Ruben Impens contrasts the lens’ technique quite often. Often times, a scene unfolds from a beautiful, distant wide shot which helps develop the atmosphere. We can’t see the faces of the people, but we know what they’re doing. The one exception was a during a party scene early on in the film that was captured on a single shaky shot. We follow Justine the whole way through the event, and we really share her feeling of discomfort. Other times, a shot will linger on one particular subject for a certain amount of time which heightens the uneasy and foreboding tone of the film. The musical score is composed by British man Jim Williams in his 6th feature film, and boy is it memorable. The soundtrack at times feels like an homage to old-school horror movies, with plucked strings and organs switching off from each other. In fact, that’s probably not too far off from he had intended. But still, the main melody is composed of a harsh synthesizer that works to further establish the warm feeling of tension and anxiety. It also succeeds in keeping the audience humming after the credits roll. Before you start humming, though, you’ll have to wash out all of the disgusting imagery you’ve just witnessed. Despite its 99 minute-long runtime, virtually everything horrendous or provocative that you could imagine is placed somewhere in the movie. Want a bit of context? Arguably the tamest part of the entire movie is when Adrien, Justine’s roommate, is watching gay porn on his laptop. But it’s not exploitation. There is ultimately a purpose for the violence and gore, it pushes the plot and character development forward. All of it leads to a shocking final twist where everything is suddenly given more meaning and all we’ve seen is explained. To be honest, it’s actually not as bloody as I had anticipated, but that’s not saying much. While it’s certainly not for everyone, especially the faint of heart, Raw is a lurid parable of flesh and sexuality. It has finally been added to Netflix after months of failing to hunt it down. It’s genuinely one of the best films of 2017 and reveals Julie Docournau as a brand new talent to keep it an eye on.

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“The Disaster Artist” Movie Review

Have I ever told you guys that I’ve thought about becoming a film director someday? Well, this movie has given me even more of an incentive to pursue that dream. That’s one of the few things we can thank The Room for. This biographical comedy-drama received a standing ovation at the premiere of its rough cut at South By Southwest in March. After another screening at the Toronto International Film Festival, it released worldwide on December 1st, 2017, where it has already earned back its $10 million budget. Based on the tell-all nonfiction book by Greg Sestero and Tom Bissell, Seth Rogen’s production company set up film rights with James Franco in place to star. Despite the real-life subject wanting Johnny Depp for the lead role, Franco and A24 replicated the marketing strategy by having an actual billboard on Highland Avenue where they would call him and he’d ask them to see his movie. Beginning in 1998, the true-story stars the director’s younger brother Dave as an aspiring actor named Greg Sestero who befriends a fellow student Tommy Wiseau. After the two move to Hollywood and struggle to find any work, they resolve to make their own movie, The Room. And as the production unravels, their friendship and passion for acting is tested by a number of blunders which lead to the creation of one of the worst movies ever made. For those wondering, I have seen The Room. I caught it on cable once a few years ago and kept thinking the entire time, “What the hell is this?” It earns its reputation as the epitome of “so bad, it’s good” because, despite its terribleness, I just couldn’t look away. I will say that the only way to truly enjoy it is with a crowded theater where attendees know the movie backward and forwards and throw spoons at the screen. But the idea of a movie about the making of that movie? That’s like a cinephile’s wet dream come true. Do you need to have seen The Room in order to appreciate The Disaster Artist? No, you don’t. But you should definitely see James Franco’s new film because it’s highly entertaining. You can tell his deep passion and respect for the subject at hand. In fact, some scenes from The Room, such as the rooftop or the flower shop sequences, are recreated exactly as they were, right down to the framing of the shots. But also because Tommy Wiseau is one of the most mysterious and eccentric figures in the history of the film industry. No one, not even Sestero, knows anything concrete about him except that he apparently has a bottomless pit of money. And screenwriters Michael H. Weber and Scott Neustadter, previously scribes for The Spectacular Now and The Fault in Our Stars, find the empathy and the human being inside of him. At least, as much as they could. The younger Franco Dave finally finds himself a worthy role as Sestero, a good-hearted yet quiet actor. Having him play Greg was a stroke of genius because he manages to have great chemistry with his older brother and is the only one in Hollywood willing to give him a chance. But I’m sorry, no matter how many celebrities make a cameo in this film (I counted at least 45) none of them come close to James Franco as Tommy. A revelation in every part of his performance, he nails everything about Tommy Wiseau. From his strange accent to his oddball laugh, it was all spot-on. He has no business making a movie of any sort, but we still root for him in the end. If we’re going to talk about Gary Oldman receiving praise for his makeup-heavy work in Darkest Hour, then James Franco also deserves Oscar consideration for Best Actor. As I said, he has a clear passion for the subject at hand, and that also shows on the technical side of things. Cinematographer Brandon Trost chooses to use a shaky, vérité-style movement around the set in between takes of The Room. In fact, several shots are on one take which gives off this feeling that we’re watching a documentary about Tommy Wiseau rather than a narrative feature. With the creative decision to have several celebrities give interviews at the beginning in a cold open, everything felt real and lived-in. And like many other films of its kind, it ends with a montage of footage and photos featuring the real-life versions of both Greg Sestero and Tommy Wiseau. While this strategy feels tacked-on most of the time, I felt like it worked here pretty well. The way that Stacey Schroeder edits the real footage together with what’s unfolding before our eyes is pretty nice. And for me, The Disaster Artist could not have come at a better time to come out. For all the scandals of abuse, harassment, corruption, cover-up, divorces, and indifference in current stories regarding the film industry, here’s a movie about a couple of goofballs who are genuinely trying to chase their dream. And seeing the tumultuous production of it progress was invigorating as they constantly butt heads on opportunities. As many of you probably know, The Room was meant to be a very gritty, Tennesse Williams style drama. And so when Tommy slowly realizes how people are actually reacting to the finished movie, it was heartbreaking to see his brainchild collapse. I felt like that was what this film captured best, even though, again, no one really knows anything about Wiseau. The Disaster Artist is a hilarious and unexpectedly heartfelt tribute to all the dreamers in the world. Some characters feel like they get left behind, and it occasionally panders to fans of The Room. Otherwise, I’m very happy with this product. In a way, Tommy Wiseau succeeded because his “masterpiece” is still shown and talked about all over the world. And he got a movie made about it.

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