2017 was an incredible year for cinema. I’ll fondly remember the year as one where I could walk into a theater and know I was getting more bang for my buck than in years past. It was also one of the most difficult years to rank a Top 10 because many of the films were so close together that I couldn’t decide between them! But having refined my list over the past two months, and having the benefit of hindsight to justify some of my picks, I am more confident than ever in my choices.
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HONORABLE MENTION 1: The Shape of Water
It’s campy and sappy and strange, albeit visually beautiful to look at. The plot was highly predictable and traditional, offering me little that I wasn’t expecting to see. As a writer that bothers me more than most, and as someone who enjoys films a little off the beaten path that can give me a unique experience, it didn’t quite do enough to enthrall me. Look, a 2+ hour film is a big time commitment in today’s age. I want a little more than homage for its own sake!
HONORABLE MENTION 2: Good Time
I’ll admit it: I was a Robert Pattinson hater for the longest time because of Twilight and the teen girl craze of the late-00’s. But it seems that he has a penchant for choosing excellent roles now, and Good Time was certainly that, a compelling, nonstop ride with so many twists and turns that I was sure they would never be able to top whatever craziness just happened until they did. Not much to look at from a screenwriting perspective, but as a pure adrenaline rush, it was a riot.
HONORABLE MENTION 3: All the Money in the World
I didn’t have high expectations going in, but I was gripped for almost the entire run time; a thrilling story and great performances made this a surprise favorite. My biggest flaw is with Mark Wahlberg; he was terribly miscast and his character could have been written out of the film and been better for it. Their marketing had to rely on his star power thanks to Spacey’s departure, which led me to believe I was walking into an action-thriller rather than a slow-paced drama. The ending was a bit contrived, but a tightly-wound script and believable performances more than made up for it.
10. The Disaster Artist
I walked in expecting a low-brow “reaction piece” to an iconically-bad movie. What I got instead was a hilarious and heartfelt story, not mocking the source material but embracing and celebrating it for what it is. It so easily could have stuck to impassive derision and mockumentary, but they took the time to round out the characters and give us reason to root for their success, even knowing the result of their best efforts. It found a happy medium between fan service for connoisseurs of The Room and a relatable Hollywood “success” story…not to mention it’s a riot from start to finish. James Franco gave one of his finest performances, the pacing was perfect…everything just works when it doesn’t seem like it should.
9. Get Out
Get Out is expertly crafted, with each frame specifically designed for maximum impact and a multi-layered script that embeds profound social commentary in its seemingly-simple plot. It doesn’t make sense that a rookie director can show such mastery so soon into his career, and Jordan Peele has earned every accolade and good notice he’s received thus far and then some. This is perhaps the film with the best chance of enduring far beyond this decade and being remembered as a cinema classic. The Sunken Place is such a perfect metaphor that has already spawned academic disciplines and spurned real discussion in the community, which is rare for an indie film to accomplish in today’s social media era. I just wish this film was scarier, because to me it doesn’t quite live up to the horror genre tag with enough audience thrills. But as a pure statement film, it remains a stunner and a trailblazer.
8. Wind River
Taylor Sheridan continues to be one of the most underrated screenwriters in Hollywood. His directorial debut about an FBI agent and a tracker teaming up to solve a murder has a lot to say about modern-day Native American life, much like his previous Hell or High Water did. It succeeds on two separate levels: as a crime mystery-thriller looking to enthrall the audience on an emotional level, and as a social statement on the treatment of marginalized cultures looking to engage the audience on an intellectual level. Sheridan’s films feel populated with real people, and yet they all also carry the film’s themes so perfectly that it’s almost unfair how strong the character work is. It’s the kind of film that could only be made by someone intimately familiar with this world and these people, and Sheridan is in a league of his own among screenwriters thanks to his authentic voice and experiences. This is likely the least well-known of his “trilogy” of breakout films, which is a shame because it stands on its own just as well as the others, if not better.
7. The Big Sick
Romantic comedy is among my least favorite film genres, because so many are unoriginal and stoop to lowest-common denominator fare to entertain casual audiences. Enter this gem of a film, which uses the genre to make serious commentary on immigration norms and cultures in the melting-pot of America, and my perspective has shifted dramatically on the subject. It upends the traditional formula to explore what really makes a relationship tick: not the cutesy flirtation period and sexual tension, but the messiness and unglamorous reality that makes up a real, genuine relationship. By focusing on these aspects more than the appealing stuff, The Big Sick endears us to our characters and creates an emotional ride that hooked me from beginning to end.
6. The Florida Project
Brutal and dispiriting at times, the only things keeping The Florida Project from being an outright downer are the rambunctious child protagonist Moonee and the fatherly comfort figure of Willem Dafoe’s Bobby. This is a comprehensive look at the “favelas” of the poor side of Florida, just a stone’s throw from Disney World. It’s a story of the cycle of poverty that these characters are trapped within, and the glimmer of hope that exists within the children of this world, however fast that hope might be fading. It’s like a less watered-down version of Will Smith’s Pursuit of Happyness, with an ambiguous, bittersweet ending meant to pose the question: is there any escape from this vicious cycle, or is Moonee destined to follow in the footsteps of her mother? It forces uncomfortable truths to the forefront, asking America how we can allow such destitute conditions to exist in the shadows of opulence, so close to an amusement park designed to enthrall and enchant. But it’s a perfect metaphor for a child growing up: the promise of something better just beyond the horizon (quite literally).
5. Phantom Thread
Paul Thomas Anderson continues to prove that he is one of the most inventive and talented filmmakers alive. This movie is a visual treat, with gorgeous shot selection and fascinating symbolism that will keep me thinking for a while. The ending threw me for a loop and made me reconsider how the screenplay wound up at that point. I knew it was working towards some nefarious end, but it wasn’t until the final moments that I realized why certain decisions were made. Incredible acting, stylish direction, and a clever screenplay equals PTA at his best…perhaps not his masterpiece, but a stunning film nonetheless.
4. Three Billboards Outside Ebbing, Missouri
I’ve been a huge Martin McDonaugh fan since In Bruges in 2008. Seven Psychopaths didn’t quite live up to the hype of its predecessor, but it was still a raucous good time. Three Billboards is a happy marriage of the two, with great emotional and character depth while maintaining the morbid dark comedy and satire that marks a fun McDonaugh piece. This is my favorite screenplay of the year, the only film where I had no clue what was coming next despite my best efforts to guess all throughout the runtime. Clever character arcs, fantastic dialogue, and a nuanced plot unlike the typical contrived Hollywood fare. The ending was a bit of a letdown, but it was not enough to dampen my enjoyment of the rest of the film; if anything it will keep me thinking about what filmmaking and writing decisions led to that conclusion, which should make any future rewatches of Three Billboards more compelling. Beyond that, there is not a flat note anywhere as everyone is on their A-game, making for a wonderful experience.
3. Lady Bird
My relationship to this movie has shifted dramatically over the past two years. On first viewing it didn’t really capture me, even though I am from Sacramento myself. But as I grow older and wiser I realize just how poignant and spot-on Greta Gerwig was with her stunning debut. It’s a love letter not only to Sacramento, but to our roots, taking a personal and specific story and rendering it universal. It captures teenagedom so perfectly, as well as the dichotomy of yearning to escape one’s hometown yet feeling emotionally linked to it all the same. It’s also effortlessly funny and tear-jerking in equal measure, full of strong and well-rounded characters portrayed beautifully by the actors. I could even see this film climbing higher on this list as more years go by and my relationship with my hometown evolves and grows.
2. Baby Driver
How does Edgar Wright continue to get better? His visual stylism is unparalleled among active filmmakers, engaging and challenging me like no other director on the planet. Failing to pay attention for even a moment risks missing one of the myriad easter eggs and hidden references that are embedded through the film. A killer soundtrack and gorgeous choreography for the action sequences sure don’t hurt either. I believe music is the most underrated aspect of filmmaking that is woefully underutilized, and this film wowed me with its use of the soundtrack as part of the narrative. I hope it isn’t the last film to use this technique because it was not only a blast to watch but thoroughly memorable because of it. The plot may be mindless fun, but the execution is far from it…a complex love letter to action movies that will be on infinite repeat for years to come.
1. Call Me By Your Name
It’s rare for a film to totally transport me to another place and time, but CMBYN does so brilliantly with its lush cinematography and generous exploration of the Italian countryside. I now know what my first vacation destination will be if I ever have the money to travel abroad! Additionally, the love story between two young studs (while not typically my thing as a straight guy) was incredibly insightful and heartbreaking, leaving me feeling sad but also optimistic about life at the end of it all. At the ripe old age of 90, James Ivory manages to capture the feeling of young love so brilliantly, indicating that those moments never truly leave us even once our bodies are old and grey. It’s a beautiful film in every sense of the word, from the visuals to the writing to the chemistry between the leads to the tiny details that add up to an immersive experience.
What a great year! I look forward to what 2018 can bring to the table to challenge me and thrill me like these films did. What did you most enjoy?
-Austin Daniel
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Scriptophile 
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