The Best and Worst Films of 2017

It is with much chagrin that I write this, my tenth annual list of the best and worst films I saw in the calendar year. (For the record, 2017 includes 38 films, 25 in theatres, the other 13 on DVD/BluRay, Netflix, or The Movie Network.) Much chagrin at the state of movie going, for me personally, and the movie business in general. The old adage goes "Be careful what you wish for". If 15 year old me wished for comic book films and sci-fi fantasy adaptations that looked as fascinating on film as they did in my head and home theatre technology that enhances sight and sound and media selection at my fingertips, I'd have been a very happy 15 year old. (For the record, I was a very happy 15 year old. My generation that bridges the analogue and digital eras is unique in our position of wonderment, adaptation, and understanding of the marvel and limitations of what our world wrought.)

Yet, with these wonderful cinematic accomplishments upon us, I am disappointed by what that progress means for the movie theatre experience and the economics of the medium. The selection at our multiplexes has only managed to shrink as our Netflix queue grows bigger with algorithmagically designed content. The shared movie experience seems reserved for tentpole films, more and more of which come with so much advanced hype, marketing, product synergy and social media awareness that the come down after the film can't help but feel like a letdown, no matter how great the movie is. The promise of big, exciting films are immediately in tough to deliver, and when they do (in some of the cases below), it still seems it's on to the next one. Those cinematic indies and surprises of yesteryear don't seem to warrant (or even receive) a space in the multiplex these days, as audiences can't gamble the cost of a ticket when home viewing presents a much cheaper, all in one option. It's a catch 22 of having to choose to see big expensive films in theatres at big expensive prices (at the expense of diverse, varied cinema) that try to justify the all around cost. It's a cycle that ends with the snake eating its own head. So what does this mean for the industry as it reinvents itself?

As Disney becomes the sole option of tentpole films (so much so that my daughter remarked how we didn't see a Disney Animated film this year--did they even release one?--a look back on the year shows how Disney has to maneuver the calendar to get out of its own way at the multiplex with its multiple universes and franchises. And now we can add Fox's Avatar, Apes and Aliens to that ever populating list). Pretty soon Disney will own the multiplex and we won't have other options. Thankfully, they are making great films but at what creative cost? A single studio doesn't make movies for many markets, they make media for the masses. The lowest common denominator approach to movie making has always been a staple of the studio industry and the reason behind Hollywood's love for countless sequels, reboots and imitations chasing trends, but there always seemed a space for creativity to break through, for an auteur voice to inspire us, for a counter narrative to emerge.

This is where my lament or chagrin spills from. If the shared film experience, the language of cinema as it were, can no longer be viewed at mainstream theatre exhibitors (a big shout out to the independent movie houses still holding their own and doing the best they can to preserve film viewing as it once was), where are the outlets for non "event" films, those best screenplay nominees and original creations hinging on raw, unbridled performances from actors without green screens? If you don't have an alternative movie house within driving distance, that outlet happens to be our TVs or computer screens and tablets. And if you're like me, that digi-analogue generation, the despair is real.

Because I know what we all tend to do when a movie is on Netflix, or a screen that sits in a room with other screens close at hand (or literally, IN hand). We don't focus on the narrative. We don't give of our time for a dedicated two hours, more or less. We multitask, we pause and rewind, we check Twitter (@JoeJamesFilm) and any other assortment of distracting behaviours not meant for the medium in its pure design. As much as I love all the advancement in media, I still value the act of sitting in a darkened theatre, with an attentive audience, and focusing on a film for its entirety. Where I can see the subtle glances or reactions that go unnoticed when your eyes aren't glued to the screen. Where I can see the expansive mise-en-scene as it was creatively intended and designed. Where I can hear the soundtrack mastered for intense and intimate moments to enhance the story beats on screen. When we fail to see a film in theatres, we fail to give that film its full worth, its true intentions and we limit its potential for our own convenience and comfort.

At the risk of sounding more and more like a crotchety old man, I share these thoughts only to contextualize the limitations put upon my own year end best list and bite sized reviews. We recently saw Wonderstruck at a Film Member screening (it wasn't playing at any large Cineplex that I could find and was an hour drive away for us) and I was struck by the fact that the film would not have the desired impact related to its themes of deaf culture and capturing history if we'd seen it in any other setting than a screening room. There was too much unspoken, too much in the visuals, in the use of sound (and absence of sound) that plays only in a cinema setting with an audience that came to share in that experience, in that storytelling moment.

I have a similar feeling about Baby Driver, which I saw in theatres and watched again at home. Having the opportunity to enjoy it in my living room was fabulous, but there are so many thematic elements that go unnoticed if one is anything but visually glued to the film. Seeing it outside of a cinematic setting only serves to potentially limit the total enjoyment and understanding of emotional beats, both visual and aural, that the creator lovingly crafted for us. By pushing films like these out of the market (Baby Driver did well--but it's not easy for original content to get a green light and succeed in the current marketplace) into niche places like VOD and Netflix, we are offering creators more outlets but not the one single form that the medium was birthed from. Instead, we are doing a disservice to the form by filling the movie houses with franchises that almost seem meant for the fractured distracted media landscape we now have, while films meant for our undivided attention don't have a place to be screened that way.

This is as much a rant on the state of the industry as it is my own frustration with being unable to see films like Dunkirk in a theatre this year. I don't intend to watch it now, because I don't believe it was designed to be viewed in anything less than a cinema scale in surround sound. And no matter how impressive my home theatre gets, will I give it the undivided attention it deserves in the luxury of my own home? Why can't I do this? I feel the same way when it comes to viewing older films with my daughter. Does it make any sense to watch it together at home, when going to see Ferris Bueller's Day Off or The Princess Bride in the theatre on a Saturday Morning Family Favourite weekend will give her a (somewhat) similar experience that I had watching it for the first time? (Ironically, neither of those I saw in theatres myself, so why does my argument here hold any weight? I think the point is that having her held captive in a cinema forces her to give those films I'm nostalgic about time to sink into her psyche in the way they did when I was a tween--when we had no other distractions).

I think what I'm trying to say in a rant that has certainly tested your patience (and I appreciate it if you're still reading) is that a movie can only be as good as the moment we give it. Whether that moment is in a theatre where our attention is optimized along with the audio visual output, or a multiple viewing at home on the couch, we must realize the art form for what it is, and judge it accordingly by our own personal efforts to engage. Many of the films I finally place in my Top 10 don't have the greatest grade from my first viewing. They are ones that grew on me in multiple viewings thanks to our sped up distribution process of home viewing. Or they are ones I saw in the right setting, with the right people. Or at the right time, when I was living or experiencing things of a certain age or time in my life. This is why we love going to the movies and I hope we never stop having that experience.

Now that you've lasted through the longest introduction/rant I've ever offered before my annual list...the best and worst films I saw in 2017 (listed in reverse alphabetical order) are...

Wonderstruck; I wasn't sure how this film would handle the dual narratives of the Brian Selznick book, but since he was the screenwriter too, it played out wonderfully, almost too faithful to the pacing of the original text. It maintains the mystery that one feels when reading the book and reveals its secrets visually much like the beautiful illustrations from the original source. An arty approach to the adaptation suits it, as the film Hugo before it (another favourite of mine) which unfortunately means not a lot of people will be able to see it in theatres. It doesn't help that the other book adaptation of Wonder was released the same month, causing even more marketing disruption. I haven't read or seen Wonder, but I can guarantee that fans of that would be equally inclined to enjoy Wonderstruck, as it is a literary and cinematic treat.

Valerian and the City of a Thousand Planets; I can't quite understand the divide between audiences and critics sometimes. Then there are times where I don't understand either of them. I'm not sure what others expected from Valerian, but I went in seeking some more of Luc Besson's unimitable sci-fi imagery that he gave us in The Fifth Element. He delivered and surprised with one of the more gloriously crafted fantasy space operas in some time. Sure there are campy elements, but they are part of the world and he's in on the joke. The leads work for me and the musical score from Alexandre Desplat propels the film through the thousand planets and wild sights from start to finish. I go to the cinema sometimes to escape, to visit other worlds from the imaginations of creative artists. Visually and aurally, Valerian took me places I hadn't been to, and I went along for the ride. Too bad others couldn't suspend disbelief and critique for the time to enjoy it as much as my family and I did.

Star Wars: The Last Jedi; Expecting to be surprised by this franchise while satisfying countless fanboys at the same time seems to be impossible at this point. Play it safe, the movie will underwhelm. Change it up, the fans will revolt. Yet, somehow, the 8th film in this particular thread of the universe (where does Rogue One fit in? 3b? 4a? 3.5? Does it matter?) manages to fulfill its destiny by trimming all the fat and delivering all the action, starship battles, light sabre duels, character traits and dialogue that we love from the originals, while offering some new scenery, technology, creatures and components within our comfort zone. It straight up delivers, which is a tricky feat for a film sandwiched between a supposed beginning and ending chapter. Abrams teed it up and Johnson took it for a good spin by offering a truly entertaining Star Wars experience.

Spider-Man: Homecoming; Say what you will about reboots, this instalment of Spider-Man will forever serve as proof that a casting change and a reset can rejuvenate a beloved franchise and character. Holland brings such a youthful enthusiasm and exuberance to both sides of the role while being complimented with some fine supporting actors. The approach feels more like original comic book Spider-Man than ever before and the layers put into the villain role for Keaton to express creates a beautiful balance of emotional weight, menace and sympathy; a requirement for a truly fantastic comic book story. The moves that Spidey makes look right out of the comic pages, while the high school setting gives us a teenage web crawler in a way the previous films just quite couldn't convey. A supreme success that screams to Sony that when it comes to Spider-Man, Make Mine Marvel!

Lion; Lost in the La La Land/Moonlight Oscars stories, Lion's true life tale needed little outside drama to elevate its emotional journey of self-discovery. Sitting in a theatre, tears streaming down my face, I remember thinking how much I wanted others to view this film to gain a greater sense of empathy. By the time the credits roll, it's apparent how the themes of self-discovery and empathy extend beyond the lead character, while the impact of homelands and their connection to sense of self is beautifully conveyed in a directorial style that allows the heavy lifting come across in the rawness of the images and acting, as opposed to overly dramatic orchestration or camerawork. The power is in the story, and when the real life reunion is seen it makes me wish we were given a documentary to complement the narrative treatment, it's so beautiful and heartbreaking to witness. A film that must be viewed by all at some point in your life.

The LEGO Batman Movie/The LEGO Ninjago Movie; Could it be that the best comedy action happening this year was in the form of not one, but TWO LEGO movies? For previous readers of my year end lists, you'll know I always manage to sneak a second (11th?) film in somehow, and not having to choose between these two by allowing them to share a spot seemed like the natural thing to do. Both films use the unique LEGO animation style/brand to equally show love to the genres they're spoofing while sending them up Zucker-Abrahams-Zucker style, simultaneously subscribing to the genre tropes while pushing past them through the wonders of animation. Much like the better sitcoms we see these days, the people behind the LEGO franchise know that a film is funnier if we care about the characters, as the laughs hit harder when the heartfelt connection is layered lightly underneath it.

La La Land; There's no mistaking what an artistic achievement this film is stylistically and musically. It will forever live on in Oscar lore for all the wrong reasons, though it is deserving for many of the right reasons. Its original script and nostalgic vision from writer/director Damien Chazelle heralds him as an auteur to watch for years to come. Ryan Gosling has never been more charming and Emma Stone holds her own despite her flaws. (Oscar got the wrong best actor from this film in my opinion). Though it may fall trap to the hype that happens to heavily touted Academy Award films, give it a viewing free from all the awards attention and you will witness a musical that manages to be fresh and fascinating while also imitating and aspiring to Hollywood of yore. The music alone warrants the devotion that Gosling's character espouses for jazz, and if you need to know why, the film offers the education for you. Highly rewatchable, especially if you are in the camp that approves of the ending.

Guardians of the Galaxy, Vol. 2; I was a little hard on this film upon first viewing. It felt crass at times, more of the same, and couldn't be the surprise hit that the first one was, my number one film of 2014. Once all that is put aside, a second (and successive subsequent viewings) reveal a film that goes deeper with the characters we've come to love, masterfully giving each an adequate amount of screen time to delve into their psyches and most personal demons and confront them and the familial connections causing the emotional crisis. All in a COMIC BOOK FILM?!?! How this pop culture sequel manages to pack in the pathos while wholly entertaining and delighting our socks off, is an outstanding unparalleled accomplishment. To craft a franchise film that is layered in a way that gets better with further viewings seems almost unheard of in an era of disposable sequels and lazy remakes. This one deserves to be considered a classic, like Mary Poppins, y'all!!

Coco; As the film's song suggests, you will remember Coco long after the credits. I've been out of favour of Pixar since the studio was taken over by Disney and started mining its catalogue for uninventive sequels while the parent studio produced original imaginative hits. Coco is a complete return to form for Pixar unseen since the trio of films from 2007-2009 (save for 2015's  excellent Inside Out). By this I mean, Pixar has crafted a film not made to sell toys with an appeal directly to pre-schoolers, but rather a multi-dimensional story that connects on a universal level while at the same time lovingly exploring a culturally rich experience. Coco's themes of ancestry and tradition and life and death resonate deep while entertaining and enlightening the audience with astonishing animation and expressive musical tones. It's a tough film to describe, which makes it a tough film to sell, which was never a problem for Pixar at its creative heights, as the studio's reputation itself was the selling point. With Coco, that status has been restored, with the Pixar we remember telling a story for all ages and races.

Baby Driver; A truly energetic, rollicking ride that says more with music and movement than it does through dialogue, but, oh, what delicious dialogue it has. The diner scenes delight, the apartment scenes are so sweet, and the chase scenes chaotic and kinetic. No one creates a tone and a cool like Edgar Wright and he assembled the right kind of cast to convey the charisma and craziness of each character. The flavour of this film harkens back to an early Tarantino era, when car chases clipped by in real time with real drivers doing real stunts without CGI (though I'm remiss to think that's not the case here, but at least it FEELS like there's none in play) all the while the soundtrack is calling out in a way that fuels the film far after the film has ended, taking it home on the road with us, a fresh assault on our minds that sticks with us like only a finely crafted pop tune. Original and fun, Baby Driver is a special film that comes from the mind of a director with a specific vision and the tools to craft that cinematic journey for us.

Honourable Mentions: Beauty & the Beast, Get Out, Gifted, Hidden Figures, Jim & Andy: The Great Beyond, Logan, Thor: Ragnarok, Wonder Woman

In all honesty, this is one of those years where I'm not completely enamoured with a few movies as lifelong favourites and on any given day, I would easily substitute one or more of the honourable mentions in place of most of the films on my Top 10 list. Most of the list I've had the opportunity to view multiple times which cemented their inclusion.

Now for the films I used to call the worst films of the year, though truly, the accomplishment of a film is rather amazing, so let's just say these are five films that managed to bungle a feat so amazing that it's a disappointment that another film wasn't able to be made in order for these ones to exist. In some cases, I wouldn't mind another crack at the same material, or the same cast with a better script. Like I said earlier, Spider-Man finally got it right, so there's still hope for these five...

Power Rangers; I don't even know how or why I saw this. When I think of this franchise, all it reminds me of is working at Blockbuster Video and seeing them constantly rented out and putting them back on the shelves. I still have no idea what the hell this thing is after all these years. Even after watching this film. I think it's part Voltron part Thundercats but I can't tell you what the difference is between all three of those things. The Rangers are different colours, because the Spice Girls and they are fighting something that is a different colour because Green Lantern. Come to think of it, even with those frequent rentals, I have yet to meet anyone IRL who says they like Power Rangers, grew up watching Power Rangers, or even ironically collects Power Rangers. Who are you, Power Rangers generation? And where are you? And what I said about reboots earlier...doesn't seem to apply here, even though this is like the zillionth version of what I'm told is essentially the same story over and over.

Justice League; I know the irony of the fact that all my confusion and failure to understand the Power Rangers above can be heaped upon me and my love for all things DC Comics. And I get it, that if this film is your entry point into these five characters and comic book lore, you'll be just as confused and bewildered. I am a fan, and I don't quite get what was the intent of this film. These five heroes are greatly cast, work well together (the lasso scene is a good example) but the sum of the film doesn't quite do them justice (sorry, I had to...it was a layup). Once again, Warner Bros. made a DC universe film that isn't entirely bad, it just doesn't fulfil its promise. These films are flawed and the fan boy that I am will still defend them, enjoy them on a certain level, but really hope for a future instalment that nails it from start to finish.

Jason Bourne; I know this one came out in 2016 but I watched it one day in June on TMN. I kept pausing it and rewinding to try and figure out what the heck was going on but it made no sense to me. I also thought if I watched the action scene from start to finish it would get better than when I was interrupted. Nope. Didn't change the choppiness of the editing without my own pauses and edits. Maybe that's what this film is. A choose your own Bourne adventure compiled from previous Bourne films, which is why none of it surprises and the storyline seems disjointed, convoluted and incomprehensible. Someone actually gave Greengrass some left over footage, told him to go assemble it how he saw fit, and then he and Damon filled in the rest with a shaky handicam and intense close ups. Utter waste of time. I think I was hoping by rewinding the PVR I'd get some of my life back.

Bad Moms; Remember what I said about giving a film a second chance? As either a reboot or reinterpretation? Well, I'm sorry that A Bad Moms Christmas happened but I don't blame them for trying. This is a beautiful cast that is full of extremely funny people. Unfortunately, those same women are at the mercy of the horrible male screenwriters who have no idea what to do with their talent. I'd much rather watch these funny ladies be actual moms. I'm sure their home footage would be funnier to watch than this mess. Bell and Kunis delight on every talk show appearance I've ever seen and made Forgetting Sarah Marshall the comedy classic it's come to be. Give Jason Segel an opportunity to pen a script for this cast, or better yet, let the ladies do it themselves. I know Christina Applegate can hold her own in an improvised situation. Just stop doing this disservice to them and us, please!

Allegiant; Movies take a long time to come to fruition. It takes a lot of hard work and sometimes, in the case of Allegiant, hundreds of people involved. This is why the creation of a worst list is unfair. People spent time and energy, not to mention that this is a book adaptation, which is itself an accomplishment to be celebrated, the completion of a novel or literary series. Yet, the most damning thing you can say about the end result of these creative endeavors, the medium of film and writing, is to say it is boring. That's simply what Allegiant's fault is. To take promising material, plenty of money, and produce something that is extremely boring is unforgivable. Now art is a matter of taste, but good art normally provokes a reaction; great art often inspires a divide or at least a discussion. Allegiant simply just is. Barely even laughable.

With that being said, I hope my own ranting didn't bore you. If it did, give me a thumbs down below. Better yet, tell me about YOUR favourite films of 2017, either through a comment below, a tweet or share your own faves with us. I'd rather be talking about good and bad movies while we still have theatres and not stare at my phone the way I stared at Allegiant with little to no response. Here's to a better year in 2018!!