In 2017, I created my first ever Top 100 Movies list. Many gray hairs formed, I’m sure, as I sat trying to distinguish between beloved films. It’s been almost a year since that list was published and I’ve now seen quite a few more classic films that managed to find their way into my heart and onto this list. As is the case for most folks, my list is ever changing, but this serves as a current reflection of my personal cinematic taste – a snapshot view of the cinephile that I am at this moment in time. My hope is that through this list you might be able to learn a little about who I am as a person by seeing what type of stories I love most.
Note: For the purposes of this list, any film with an asterisk (*) after it represents its series or trilogy. The arrows and number after them specify a film’s movement since the last edition of this list, in this case 2017.
This is my list. There are many like it, but this one is mine.
#1
The Lord of the Rings: The Fellowship of the Ring *
—
—
#2
It’s a Wonderful Life
↑
1
#3
Casablanca
↑
31
#4
12 Angry Men
↑
1
#5
The Princess Bride
↑
1
#6
Interstellar
↑
3
#7
La La Land
↓
5
#8
Jaws
↓
4
#9
Before Sunrise *
↑
1
#10
Blade Runner *
↑
1
#11
The Prestige
↓
4
#12
Full Metal Jacket
NEW
NEW
#13
Alien
↓
5
#14
Toy Story *
NEW
NEW
#15
Top Gun
↓
1
#16
The Last of the Mohicans
↑
1
#17
Jurassic Park
↓
4
#18
Mary Poppins
↑
60
#19
Raiders of the Lost Ark
↑
14
#20
The Wizard of Oz
↑
20
#21
The Dark Knight
↓
1
#22
2001: A Space Odyssey
↑
7
#23
Singin’ in the Rain
↓
8
#24
Vertigo
↑
6
#25
Scott Pilgrim vs. the World
↓
6
#26
Citizen Kane
↑
18
#27
Inception
—
—
#28
Star Wars
↑
44
#29
Rear Window
NEW
NEW
#30
Almost Famous
↑
2
#31
The Silence of the Lambs
↑
55
#32
The Nightmare Before Christmas
↑
6
#33
Rashomon
↑
36
#34
Fight Club
↑
36
#35
Gone with the Wind
↓
4
#36
The Sound of Music
↑
25
#37
Lawrence of Arabia
NEW
NEW
#38
Sleeping Beauty
NEW
NEW
#39
The Exorcist
↓
27
#40
The Social Network
↑
1
#41
The Shawshank Redemption
↓
18
#42
All About Eve
NEW
NEW
#43
Scream
↑
19
#44
The Bridge on the River Kwai
↑
9
#45
My Neighbor Totoro
↓
9
#46
The Empire Strikes Back
↑
11
#47
Unforgiven
↑
9
#48
The Godfather
↑
37
#49
Mr. Smith Goes to Washington
↑
26
#50
Tombstone
↓
13
#51
Gladiator
↑
14
#52
The Lion King
↓
11
#53
The Thin Red Line
NEW
NEW
#54
The Iron Giant
↓
9
#55
Seven Samurai
↓
12
#56
McCabe & Mrs. Miller
NEW
NEW
#57
Die Hard
↓
26
#58
Your Name.
↑
42
#59
Children of Men
↓
38
#60
Aliens
↓
24
#61
Back to the Future
↓
19
#62
Network
NEW
NEW
#63
Apocalypse Now
↑
19
#64
Beauty and the Beast
↑
23
#65
Monty Python and the Holy Grail
↓
18
#66
National Lampoon’s Christmas Vacation
NEW
NEW
#67
Memento
↓
9
#68
The Right Stuff
↑
3
#69
Reality Bites
NEW
NEW
#70
Black Hawk Down
NEW
NEW
#71
The Blair Witch Project
↓
25
#72
Ex Machina
↑
16
#73
Dead Poets Society
NEW
NEW
#74
3:10 to Yuma
↑
3
#75
The NeverEnding Story
↑
20
#76
The Incredibles
↓
25
#77
Les Miserables
NEW
NEW
#78
Whiplash
↓
28
#79
Groundhog Day
↓
3
#80
Hell or High Water
↓
13
#81
Into the Wild
↓
21
#82
One Flew Over the Cuckoo’s Nest
↓
34
#83
Warrior
NEW
NEW
#84
The Cabin in the Woods
↓
59
#85
Moon
↓
1
#86
Drive
↓
59
#87
The Red Shoes
NEW
NEW
#88
Reservoir Dogs
↓
34
#89
War For the Planet of the Apes
NEW
NEW
#90
The Shining
↓
10
#91
Se7en
NEW
NEW
#92
The Wailing
↓
13
#93
The Departed
↓
41
#94
The Exorcism of Emily Rose
↓
2
#95
Fargo
↓
12
#96
Stalker
NEW
NEW
#97
Pacific Rim
↓
42
#98
Arrival
NEW
NEW
#99
Silence
↓
1
#100
The Perks of Being a Wallflower
NEW
NEW
Dropped Out:Armageddon, Batman Begins, Dr. Strangelove, Equilibrium, Finding Nemo, Forrest Gump, Gravity, Harry Potter and the Prisoner of Azkaban, Inside Llewyn Davis, Kill Bill: Vol. 1, No Country For Old Men, Pan’s Labyrinth, Platoon, Psycho, Pulp Fiction, Serenity, Short Term 12, The Breakfast Club, The Place Beyond the Pines, True Grit (2010), Young Frankenstein
Like it? Hate it? Think I’m crazy? I’d love to hear your thoughts.
Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.
2017 was a great year for me as far as movies go. I was able to see more new movies than ever before, and thanks to Aaron and Patrick, I was also given the opportunity to write about them from time to time. I’m not a critic. I’m never going to talk about how the director’s use of color helped to invoke a sense of whimsy or anything like that, because I don’t know what that even means. I’m glad there are people out there who do know, because I like to listen to them talk about movies and hopefully get a little smarter while doing so. But I’m just a guy who likes movies and watches way too many of them. All in all, I was able to watch 107 movies that had release dates in the United States in 2017. The following are my ten favorite, not necessarily the ones that I thought were the best films. Enjoy!
10- Logan
This is the first of two films on this list that were released last winter but managed to hang out in my top ten all year. I’ve long been a fan of Hugh Jackman and his portrayal of Wolverine in the X-Men films, but like many others, I had hated the individual Wolverine films up until Logan. So my expectations for this film were quite low. I was completely blown away when James Mangold managed to create the perfect send-off for not one, but two characters in the X-Men universe, all the while making an emotionally satisfying film about legacy and family.
9- The Greatest Showman
If you would’ve told me 10 years ago that I’d be getting super into musicals in my late 30’s, I never would have believed you. But here we are. I really like this movie, but I completely LOVE the soundtrack. I recently got a Google Home Mini for Christmas and thus far it’s basically been a Greatest Showman soundtrack playing machine. I could be nitpicky and talk about its faults, but I kind of just want to dance in my living room to This Is Me instead.
8- Dunkirk
I’m a pretty big Christopher Nolan fan (it’s one of the requirements to be a Feelin’ Film contributor) so I was pretty excited to see this one from the moment I heard about it. Its tension really puts you in the headspace of its characters and while some saw the timing differences in the three different story threads distracting, I thought it was brilliant and served to heighten the imminent danger in the film. It’s not my favorite Nolan, but it’s still really good.
7- Three Billboards Outside Ebbing, Missouri
This one hit me in all of the right places. I thought the story and dialogue were both funny and heartbreaking with excellent performances by the all-star cast, with Sam Rockwell standing out. This film is a lot darker than what I am usually into. but I really enjoyed the realistic way in which it portrayed positive change in its characters, even characters as unlikable as the ones that McDonough gives us.
6- Wonder Woman
I don’t have a whole bunch of words to say about Wonder Woman, I just really loved this movie. The scene where Diana emerges from the trench at No Man’s Land is one of my two or three favorite scenes of the year. Gal Godot perfectly brings the Amazon goddess to the screen, giving her a perfect amount of naivety, beauty and compassion without sacrificing her fierceness as a warrior. It immediately became my favorite entry into the DCEU even though I’m a guy who really likes all of the films in that universe (besides Suicide Squad, but that goes without saying).
5- The Big Sick
I went to see this one afternoon this summer after hearing Feelin’ Film contributor Don Shanahan gush about it for a few days. He wasn’t using hyperbole. I loved this film. It’s funny and sweet and heartbreaking and thought-provoking, often achieving all of those things in the same moment. Holly Hunter and Ray Romano give my two favorite supporting performances of the year in this stand-out film.
4- Star Wars Episode VIII: The Last Jedi
So my wife went and had a baby on the day I was to go to the 10:00 opening night show of SW, meaning we’d still be in the hospital when the second showing I had tickets to came around. The timing of the birth of my son (whom I love and with whom I hold no grudges about the time and date of his arrival) meant that I wouldn’t be able to see the film until almost a full week after its release. But I really think that this ended up being a good thing. I was somewhat careful to avoid spoilers, but I saw enough to know that the critics were loving it but that a lot of the fans were pretty upset. I think this helped my mindset going in as I started to expect the unexpected. Because of that, I came out of the theater completely in love. I think the story went places where it needed to go to move the universe beyond the family tree of the Skywalkers while also adding a satisfying chapter to Luke’s legend. The new characters continue to impress and the old ones have absolutely brought their A game to the new trilogy as well. This movie has already moved to number three in my Star Wars rankings and by this time next year, I wouldn’t be surprised to see it at the top. I can’t wait to see what Rian Johnson has in store for his new SW trilogy.
3- Lady Bird
Lady Bird is another movie that I wouldn’t have seen (at this point, anyway) if it weren’t for the relationships I’ve been able to build at Feelin’ Film. After spending a couple of hours chatting with Aaron and Patrick about Edge of Seventeen (episode 86 of the podcast), Aaron suggested to me that I’d like Lady Bird. He wasn’t wrong. Beautifully acted and casted and directed and performed, Lady Bird is one of the best coming of age stories I’ve seen on screen. What’s the opposite of a back-handed compliment? Like when you’re playfully bashing on something that you actually love? Is there a word? If there isn’t we need to invent one to accurately capture Lady Bird, Greta Gerwig’s funny and heartfelt love letter to her home.
2- Get Out
This movie was the number one film on my list for more time than any other movie this year. I saw it because I’m a fan of Jordan Peele from Key and Peele and I thought that if he wrote a film, it would probably be pretty fun. As an experience, it was one of the most enjoyable times I had at the theater all year. As a film, I found its themes to be something that has challenged my thinking even more on repeat viewings. It’s one hell of a directorial debut and I’m looking forward to what he’s got up his sleeve next.
1- Brigsby Bear
Sometimes a movie comes along that just hits you in the right place at the right time. Brigsby Bear did that for me. It’s a quirky comedy (described by Filmspotting’s Adam Kempenaar as Be Kind, Rewind meets Room) that can be enjoyed on its surface, but that also has a lot to say about friendship, family, moving on from tragedy, the joy of creating art and what makes us love the things we love if you want to engage with it on a deeper level. I’ve seen it three times now and each time something new stands out for me to think on for a while. Kyle Mooney is perfect as our main character man-child James and Mark Hamill gives my favorite performance of his in 2017 in a supporting role. This will be a movie that I watch often and might just end up being one of my favorites of all-time.
The films that almost made this list but just didn’t quite make the cut are:
War for the Planet of the Apes
Baby Driver
Justice League
Spiderman: Homecoming
Wonder
And if you want to see my ranking of all 107 movies that I’ve seen that were released this year, check out my Letterboxd list. Notable movies I haven’t had a chance to catch up with yet are Darkest Hour, I, Tonya, The Disaster Artist, Phantom Thread, and The Post. I look forward to many more movie conversations here in the new year. I appreciate you reading and hope that 2018 holds great things in store for you and yours.
Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column. Follow him on Facebook and Twitter to be notified when new content is posted.
Despite all of the turmoil oozing out of Hollywood this year, 2017 still managed to supply us with a bevy of wonderful films to enjoy. I feel like a lot of blockbusters rose to the next level this year, and as always, there were plenty of fantastic independent films to balance everything out. My top 10 of the year is indicative of this balance.
As always, there were a handful of potentials I just haven’t had a chance to see yet, either due to lack of time, or due to the geographical restrictions of living in the great tundra that is Maine, where we aren’t typically privy to early releases. So, some of the buzz worthy films that I haven’t yet peeped… The Darkest Hour, Phantom Thread, The Post, The Shape of Water, and Wonderstruck. I’m sure there are a few more, but these stand out for me at the moment.
Shuffling the top 10 deck was difficult this year, simply because there were so many excellent films to choose from. I seriously feel that many of my 11-20 list could easily be considered for higher standing. But, as they say, you have to be prepared to kill your darlings.
I’m not going to regale you with any commentary on my “not quite” top ten (ie: 11-20), but I’ll list them, and you should know that all are fantastic and should be on your cinematic radar.
Those are…
20 Logan
19 Beauty & the Beast
18 Detroit
17 Baby Driver
16 Gerald’s Game
15 The Big Sick
14 Star Wars: The Last Jedi
13 Brigsby Bear
12 mother!
11 Three Billboards Outside Ebbing, Missouri
And the top 10…
10 – LOGAN LUCKY
Steven Soderbergh comes out of “retirement” to give us Ocean’s Eleven with rednecks, but he never cheapens the experience with tired cultural cliches. Okay, there are a few tired cultural cliches, but they don’t drag the film down. The characters have depth and the actors are all in on this madcap adventure which finds them plotting to rob the Charlotte Motor Speedway on the 4th of July. What could possibly go wrong?
9 – STRONGER
This is the film Patriot’s Day wishes it was. Choosing to focus less on the capture of the perpetrators of the cowardly bombing of the Boston Marathon, Stronger instead follows the story of bombing victim Jeff Bauman, played here with ferocious abandon by Jake Gyllenhaal, and the struggle of coming to terms with being thrust into the spotlight as a symbol of hope for an entire nation.
8 – WAR FOR THE PLANET OF THE APES
The rebooted Apes trilogy comes to an end with one of the most heartfelt and well crafted war movies in recent memory. This series has gotten better with each installment, hitting all the right notes in the telling of Caesar’s story. The special effects are unmatched. And I’m coming around to the idea that Andy Serkis deserves some recognition from the Academy for his motion capture work.
7 – Get Out
It’s not often you find a horror film getting so much attention during the awards push, but Jordan Peele’s take on race relations in our society disguised as a genre film is simply outstanding in its structure. Funny, scary, and poignant- wrapped up in a tight script, Get Out is a breath of well intended and needed fresh air- conveying a necessary message in our current cultural state.
6 – WONDER WOMAN
With undoubtedly one of the best scenes of the year- as Wonder Woman (Gal Gadot) ascends to her rightful place as warrior princess in the Battle of No Man’s Land, a female icon is finally emblazoned into the fabric of cinematic geekdom. Director Patty Jenkins was without a doubt the right choice to bring Diana’s story to life on the big screen, and to see the impact on the faces of empowered women and girls is easily one of the hallmarks of the 2017 cinematic year.
5 – THE DISASTER ARTIST
Based on the making of the 2003 “Citizen Kane” of bad movies, The Room, James Franco deep dives into the persona of eccentric writer/director Tommy Wiseau and the calamity that surrounded the production of his cinematic oddity. Watching The Room is highly recommended before jumping into The Disaster Artist. Having that context greatly enhances the appreciation for what Franco achieved…..Oh, Hi, Mark!
4 – A GHOST STORY
A deeply moving look at grieving and loneliness, A Ghost Story will not be for everyone. Each scene is a haunting portrayal of loss, shown from both sides of the equation- the living that must move on, and the dead that cannot. This is a deeply emotional and affecting film, shot in a way that can often be uncomfortably slow of pace. Those with a lack of patience may struggle, but if given a chance, this is a film that will resonate on a deep level.
3 – THE FLORIDA PROJECT
Having worked for Disney for nine years, this story felt very close to home for me. Knowing there were pockets of people living far beneath the poverty line mere minutes from the front gates of the Happiest Place on Earth make me feel equal parts ignorant and culpable. This film is an unflinching look at people living day to day in the shadow of a world that has essentially left them behind. Yet, in all of its squalor, the spirit of six year old Moonee (Brooklyn Prince) and her friends is rooted in an innocence that is often as hopeful as it is bleak.
2 – I, TONYA
Margot Robbie is fantastic as figure skating’s bad girl, Tonya Harding. Director Craig Gillespie shoots the film in a way that accentuates the zany humor of the scandal surrounding the 1992 olympic games, but he never cheapens the awful abuse levied against Harding by her family and her on again / off again love interest, Jeff Gillooly (here portrayed by Sebastien Stan). Harding, while not completely innocent, is treated mostly as a product of her environment, unable to free herself of the bad influences in her life, and she comes away here as a mostly sympathetic figure. Allison Janney, as Harding’s Mom, is a stand out.
1 – LADY BIRD
In what seems to be a renaissance of coming of age films, Lady Bird raises the bar even further, perhaps to a place unaccessible for whatever comes next. Greta Gerwig’s scriptwriting is so tight, it’s difficult to find any flaw in the narrative of high school senior Christine “Lady Bird” McPherson, all at once head strong and in search of an identity. Her contentious relationship with her mother Marion (an award worthy Laurie Metcalf) provides the crux for everything happening on screen. The result is a heartfelt and sometimes difficult look at love and familial relationships, told in a refreshingly honest way.
Steve’s first cinematic experience dates back to 1972, when his Aunt took him to see Dumbo at Buffalo’s historic North Park Theater. With the seed planted, his love for movies has blossomed into a full time obsession over the years, and he will happily engage in conversation about all things film related, especially the works of Richard Linklater and Quentin Tarantino. He also manages to find time to keep current on the plethora of great television shows and comic book series, and build upon his retro vinyl collection.
He lives in South Portland, Maine with his wife and a menagerie of small furry pets. When not engaged in the latest pop culture phenomenon, he spends time working on creative writing projects or updating his personal blog, popcornconfessional.com. Follow him on social media at facebook.com/popcornconfessional/ and Twitter@woosterbbb.
The end of the year brings grading and reflection points for both the school teacher in me and the film critic. Looking at the online Trapper Keeper portfolio called Every Movie has a Lesson, I published 126 full film reviews in 2017, topping last year’s 114 and setting a new high mark. When I did my website’s first “10 Best” year-end list in 2011, that number was 53. Humming along with press credentials, festival access, and being part of the Chicago Independent Film Critics Circle as a recognized awards-voting body, I can’t even remember what 53 feels like.
Even at 126, I feel like I left plenty of opportunities on the table living in a big market with a great reach of films. For the purposes of a proper “10 Best” list, short of not making it to The Disaster Artist, Mudbound, and Molly’s Game quite yet, I feel sound about 2017 and have no problem calling it a fair to middling year. By this teacher’s math and reflection, 2017 < 2016 < 2015. Give me the likes of Sicario, Creed, Brooklyn, Spotlight, Room, La La Land, Jackie, Moonlight, A Monster Calls, and more compared to most of the 20 films listed below.
Focusing back to now, only three of my “so far” picks from this past June made the final ten this year. Here’s my definitive list. True to my website’s specialty, each film will be paired with its best life lesson. Enjoy!
THE 10 BEST FILMS OF 2017 AND THEIR LESSONS
1. LADY BIRD
This was like watching a no-doubt home run off the bat of a muscle-bound slugger fly over the stands and out of the park. Like that home run crack, Lady Bird’s effect was unmistakable. I knew it as soon as film made contact. From that opening car ride argument between surefire future Oscar nominees (if not eventual winners) Saoirse Ronan and Laurie Metcalf, Lady Bird was going for something reinvigorated conventions and oxymoronic cadences with the coming-of-age film framework. (full review)
BEST LESSON: PUNCHY WHIMSY— All of Lady Bird’s conflicts and clashes build to swelling peaks of emotion and legitimate feels. Gerwig’s film is one heck of a debut and shows that a good cry and awkward laughs do go together when assembled with truth and care. When it hits, my goodness, it hits. When it charms, by golly, it charms. Few films this year can tout such towering achievements of writing and performance to create such a genuinely satisfying experience.
2. I, TONYA
In a fierce performance, Margot Robbie proves without a shadow of a doubt that she is a talented actress beyond her bombshell looks. From the director of Lars and the Real Girl and the writer of Stepmom (I know right?), the dark comedy, pushed often by Allison Janney’s Oscar-worthy rants, fuels an unconventional sports film and true story American dream saga with kinetic sizzle. It’s the wildest and brashest film I saw this year. (full review)
BEST LESSON: EVERYONE MIGHT BE TELLING THEIR TRUTH, BUT NO ONE IS TELLING THE REAL TRUTH–The true merriment of I, Tonya is the trying to sniff out the bullsh-it. Many of us remember witnessing the tabloid history unfold on television before our very shocked and captivated eyes in a era before the 24-hour news cycle. Even know the fate of the characters, this film’s spin of such events will glue you to the screen preparing for the suspense of possibly observing a few chapters of “what really happened.” Who’s right and who is full of it?
3. WONDERSTRUCK
From what I can tell viewing the year-end lists of fellow critics, this one is going to be a unconventional choice and I don’t care. I see a great deal of perfection in the whimsy and introspection of Wonderstruck. Artful to no end, I cannot help but compliment the care and consideration given to the Brain Selznick source material from a skilled filmmaker like Todd Haynes stepping into PG material in a manner as impressive as Scorsese doing Hugo. In a landscape where people are craving rich and compelling films for family audiences instead of mindless animated entertainment, I adored what this film accomplished. (full review)
BEST LESSON: THE MAJESTY OF MUSEUMS— Both in the novel and in film form, Wonderstruck is a love letter to museums, their history, and their continuing presence as authentic experiences. It starts with one person gathering a collection of interest, a “cabinet of wonder” if you will be that in a single room or an expansive complex, and deciding to share it with a larger audience. In the present-day of Google, Wikipedia, content apps, and innumerable virtual experiences, there should always be a place for the tangible and real wonders right before our eyes in museums. Calling them magical is not enough and calling them antiquated should be a compliment and not a slight.
4. WAR FOR THE PLANET OF THE APES
The closing chapter of what has quietly become one of the best film trilogies of all-time (it’s that good as a sum total) elevated the impressive soaring themes, blockbuster action, and the performance-capture brilliance of Andy Serkis that have enraptured myself and many others. Serkis, present and emoting in every scene behind the finished special effects, deserves the Oscar for Best Actor even if he doesn’t stand a chance against the stigmas towards the technology. No film this year hit me the full roller coaster of feels like this one, from heart-stopping thrills to blubbering tears. (full review)
BEST LESSON: APES AND HUMANS HAVE MORE SIMILARITIES THAN WE ALL REALIZE— Due to the increases in peril and consequences, this is a repeated lesson from Dawn of the Planet of the Apes that is cemented even further in this third film. Both primate species love their families, cling to their homes, and possess tangible feelings and emotions that drive their actions and personalities. “Humanity” doesn’t have exclusivity to those behaviors in this fictional world anymore.
5. THE BIG SICK
The Big Sick, written and inspired by the real-life duo of Emily V. Gordon and leading man Kumail Nanjiani, offers wide hopes that smart romantic comedies are still possible since their 1990s hey-day and that they don’t require man-child actors and full-on toilet humor. When people have asked me this past year for a no-doubt winning movie suggestion or hidden gem to entertain them for any occasion, The Big Sick has been my top recommendation for its maturity and humor while still carrying the right heft of drama to keep it honest. In my eyes, this was the best screenplay of the year and I hope the Oscars notice. (full review)
BEST LESSON: FIND SOMEONE YOU CAN BE OVERWHELMED BY— This lesson is going to sound like one of those “find someone who looks at you the way so-and-so looks at such-and-such” memes, but captivating ga-ga devotion is a real draw. The film uses the word “overwhelm” when it talks about measuring such love and it couldn’t be more spot-on advice. Love has its own rules and it’s just as hard to keep as it is to earn.
6. LUCKY
The directorial debut of character actor John Carroll Lynch stands on this list as the “Little Engine That Could.” Far from a blockbuster and puffed with zero muscles for Oscar bait on the 90-year-old frame of its star Harry Dean Stanton, Lucky is a straight-shooter of writing and performance brilliance to make cantankerous endearing. In different hands, this would be a Coen brothers quirk-fest or a Grumpy Old Men farce. Instead, Lucky plainly might have the most heart of any film on this list, and that’s saying something. (full review)
BEST LESSON: ACCEPTING MORTALITY— Nothing is permanent and the biggest truth to be told is the finality of the human condition. No matter the level of your faith or depth of character, misgivings about your own ephemerality are inevitable feelings we all share. We would all be so “lucky” to reach our nineties to have that revelation.
DF-13002 – Hugh Jackman stars as Logan/Wolverine in LOGAN. Photo Credit: Ben Rothstein.
7. LOGAN
Sharply shrinking the comic book genre’s towering current scale down to the marrow inside of its bones, James Mangold’s Logan nails the western motifs to make one of the best comic book films of all-time. For me, this movie is like what young songstress Ella Mae Brown did to slow down with Bonnie Tyler’s 80s classic “Holding Out for a Hero” a few years ago. This is energy boiled down to bold substance, making something rightly stoic as the conclusion for Hugh Jackman’s lovable anti-hero. (full review)
BEST LESSON: THE POWERFUL NEED FOR FATHER FIGURES— Loganopenly creates a parallel with 1953’s seminal western classic Shane and it is an ideal thematic pairing. Alan Ladd’s reluctant gunfighter and Jackman’s Wolverine embody the fight for the defenseless as well as the influential father figure role of this lesson. Laura is another Little Joe and but one more person Logan leaves a positive mark on in his world. Tales may be written on the actions of heroes, but the personal connections they build and leave behind are where the real legend lies.
8. THE FLORIDA PROJECT
Sean Baker’s sprightly dose of youthful fantasy mixing with socioeconomic reality was one of the few times I’ve ever gone back to a review and changed my rating after some thoughtful reflection. This film went from a four-star film to a five-star one on the strength of the impact of that aforementioned storytelling and emotional mix. The level of empathy stoked by this film’s fire is off the charts and I cannot help but respect that. (full review)
BEST LESSON: THE CAPACITY TO FEEL EMPATHY— The crucial emotional response The Florida Project demands of its viewers is empathy. If you can’t find that, if you turn your nose, close your eyes, and refuse to accept that this kind of American lifestyle exists, you are missing the hard truths, the teachable moments, and the larger points being presented. Become compassionate enough to remove the negative prefixes from Mother Teresa’s quote of “unwanted, unloved and uncared for” when it comes to addressing poverty. Take her advice and start in your own home and community.
9. PHANTOM THREAD
Five years ago, after beating my head senseless over the pretentiousness of The Master, if you would have told me I would have a Paul Thomas Anderson film in my “10 Best,” I would have said you were nuts and wondered how the sequel to Boogie Nights could have been achieved. Yet, here we are and Phantom Thread is the real deal. Exquisitely crafted and intensely nuanced, I was impressed like I’ve rarely been. If this the last ride of Daniel Day-Lewis, he leaves us with a gem. (full review)
BEST LESSON: “WHATEVER YOU DO, DO IT CAREFULLY”— This quote from Lewis’s Reynolds, the peak of the film’s trailer, sent in the direction of his new muse could be echoed in dozens of aspects of one’s life. Mundane activities could become effective and even artful with an extra level of paid care and consideration. At the same time, there is an unsettling level to that rigidity. Often there is a missing flexibility to perfectionist who cannot get over themselves or adjust their idiosyncrasies.
10. LOVING VINCENT
In terms of sheer creation of a finished piece, Loving Vincent might be the most miraculous film of the year and greatest technical achievement as the first entire oil-painted feature-length animated film. 125 painters combined their efforts on over 65,000 canvases shot on film to create this incredible achievement. Beyond the art, the enriching whodunit drama of investigating the final days of Vincent Van Gogh backed by Clint Mansell’s rich musical score create storytelling worthy of all the work. (full review)
BEST LESSON: INTERPRETING AN ARTIST— Subjected to ridicule and criticism from a young age to his last, Van Gogh’s talent and purpose were always questioned before the established reverence that followed his death. Another Van Gogh quote in the film reads “We cannot speak other than by our paintings.” Sometimes artists are not peaceful souls. The few people that did realize his greatness in the moment were not enough to save his.
HONORABLE MENTION:
NOT YET
When I can, I dip my toe into the world of short films and I’m beginning to love the art form and the efficiency of its skill. Merely scratching the surface of this form of film medium, among the handful I saw and reviewed this year, Not Yet was a five-star gem. Picture one of those expressive and imaginary Pixar shorts that open their films and apply live-action human emotion to it That will give you a taste of Not Yet. My full review has a link to the short for you to see for yourself. I promise nothing but smiles.
BEST LESSON: THE IMMENSE CHALLENGES OF CHEERING SOMEONE UP— Some folks are tough nuts to crack in the cheer department. Add the physical drain and toll of illness into that equation of happiness and the challenge is even greater. Self-deprecating humor in this situation often works in spades, but there’s one action that’s even better: Love. In Not Yet, you have a man that unabashedly loves his wife with every ounce of willingness and companionship. Love always wins the best cheers.
DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson. As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud member and one of the founders of the Chicago Independent Film Critics Circle. As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends. Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.
As I sat down to write this list, I asked myself why these particular films stood out to me. I realized that each one of them for one reason or another are compelling enough to merit an almost immediate re-watch. The experience was enough to make we want to repeat it, maybe because I missed something, maybe because I wanted to feel a certain emotion again. With that said, here are my top 10 movies for 2017.
10. Baby Driver
2017 introduced me to the cinematic world of Edgar Wright, with a first time viewing of Scott Pilgrim vs The World. With the excitement of that film still fresh in my brain, Baby Driver made its way to the big screen. While I wouldn’t say the movie as a whole wowed me, what drew me in was something that Wright does well, and that is using non-human components to bring his story to life. Scott Pilgrim personifies its protagonists life in the form of a video game world, complete with power ups and super powers (if you could call them that). Baby Driver uses music as it’s supporting cast in a way that few other films do. Where many soundtracks accent scenes and fill in gaps aurally, the music itself feels like a necessary part of the team we are introduced to, and without it, the team feels less impactful. That creativity alone makes Baby Driver worthy of being on my list.
09. Molly’s Game
Aaron Sorkin is writing a new screenplay? Yes please. Wait, he’s also directing the film? Count me in. It’s a biopic that involves gambling? Why are you still talking? Molly’s Game was a late arrival to the theater this year, but I was anxiously awaiting it’s release since I heard it announced back in September. Finally getting a chance to see it did not disappoint. And how could it? Jessica Chastain and Idris Elba are fantastic bringing the energy of Sorkin’s screenplay to life. There are moments of real heartache, surprise, and tenderness that I didn’t expect. The story itself is compelling and entertaining, two solid character traits of a successful biopic. It’s one that I can’t wait to see again when it hits home video.
08. Brigsby Bear
One of the things that I absolutely love about the Feelin’ Film community is the diversity of those connected to it. I get to see what other people are interested in and watching, and it’s because of that that I find out about more corners of the film world. Brigsby Bear came highly recommended by show contributor Jeremy Calcara. The only information I had to go on was this: a guy is obsessed with a kids show and something happens. That’s it. So over Thanksgiving weekend I queued it up wondering what the heck I was getting myself into, and I came way saying “wow, that was something.” I can’t say much about it because even talking about the first few minutes of the film will give away a lot. What I will say is this: It’s incredibly unique, it leaves you smiling, and it presents a message about forgiveness and purpose that is overwhelmingly refreshing.
07. The LEGO Batman Movie
If you know me, you know that I would much rather see the word Superman after Lego. Still, I can’t hide the fact that this was probably the funniest movie of the year for me. From beginning to end, everything about it was overwhelmingly entertaining. What I dig most about this kind of movie is that it didn’t feel like a bucket full of joke after joke. There was a story with substance (as much as one can have with characters based on plastic construction toys), and an overall message that, while used numerous times, felt refreshed here. I was also grateful to be able to share this one in the theater with my son, something I’ve wanted to do since he was old enough to go to (and care about) the movies. Here’s to hoping Lego Superman makes his way to the big screen. A boy can dream right?
06. Dunkirk
I’ll never forget my reaction coming out of Christopher Nolan’s latest feature. I asked myself, “What did I just watch? Did I love that or hate it?” Well, by making this list, I’m sure you can tell where I landed. Looking at this film, not as a war story, but as a survival movie, really allowed me to immerse myself in the world Nolan was trying to put us in. The abrupt visual changes, the non-linear storytelling, and the lack of any real understandable dialogue allowed me to feel like those trapped in this city, not knowing what to do next or where to go. I felt isolated, scared, confused, which is what I believe the director wanted. I’m glad this wasn’t a typical war story. It made more of an impact that way.
05. Blade Runner 2049
Earlier this year, I got introduced to the world of replicants, a man named Rick Deckard, and a gritty imaginative world created by Ridley Scott. This of course was the 1982 classic Blade Runner. I didn’t understand the hype surrounding this movie, particularly by my co-host. But we support one another and I knew BR2049 was his most anticipated film of the year. I imagine it would be difficult to continue a story like this, literally 35 years later, and maintain the tone, mythology and undertones that it’s previous entry contained. Denis Villeneuve perfectly executed this chapter of the Blade Runner universe, and he did it with his own style and substance, but at the same time, married up with the original incredibly well. In short, BR2049 was a logical extension of its predecessor and leaves room for more exploration into this gritty and beautiful universe.
04. War For The Planet of the Apes
I should NOT care about what happens to an ape. I should NOT care about apes more than humans. It’s not…..human. I actually hadn’t seen the second installment of this trilogy until this year, so I geared up for my movie experience by watching the first and second leading up to the third. What I found was a trilogy that got better and better with each installment, something very rare these days. But this trilogy was held together by the performance of one Andy Serkis, who I think needs at least a nomination for Best Actor at the upcoming Oscars. His portrayal of Caesar, specifically in this last installment, gripped me emotionally. But it wasn’t the strength of dialogue that did it. It was the way he emoted with his face, making me feel things without saying a word. When you can do that, you’ve accomplished something pretty amazing.
03. Star Wars: The Last Jedi
Divisive. Spectacular. Different. Three words that I would attach to the 8th entry into Star Wars proper. Riann Johnson did something that I haven’t really seen from other Star Wars directors. He gave me reason to care about the characters. So many times, I found myself asking “is so-and-so going to die?” This wasn’t a thought in my mind in previous entries. I didn’t know and I didn’t care. The Last Jedi gave me stakes, and that’s what I want from movies like this. Give me reason to care about characters, enough to feel that emptiness when we lose them. The Last Jedi is a film that left me satisfied and curious, satisfied because I would have been okay if this saga concluded after this film, but curious because I know we have one more installment. I know JJ Abrams is currently sitting in the director’s chair for Episode IX, but it would not make me unhappy to see Riann Johnson’s name sitting under the words “written by.”
02. Your Name
I’m not a fan of anime. This should come as no surprise. And when I say I’m not a fan, it’s not a knock on the genre. I feel the same way about westerns and period pieces. So when a movie comes along and rocks me to my emotional core through stunning visuals, an incredibly unique premise, and a poppy soundtrack, I sit up and take notice. Your Name surprised me, in a way that made me appreciate this genre on another level. It also inspired my to check out more work from its director, Makoto Shinkai. I hope to get more exposure to it in 2018, but more so I hope to get more stories like this. Who knows, I may even be championing anime by the end of this next year.
01. The Greatest Showman
It shouldn’t have surprised me that this film showed up in my top 10. Heck as early as this past summer, I wanted to cover this because Hugh Jackman + Musical = yes please. What surprised me was how much this movie surpassed my expectations. Maybe it was because I wanted it to be good, but I think it had more to do with the unpredictable visceral reaction I had to the story, the characters, and the way the music intertwined both. It’s a film I wanted to go back and see immediately (I had to wait five whole days to do so haha). I couldn’t stop talking and thinking about it and that is a rare thing when a film does this to me. This film may not be perfect, but it’s place at the top of this list signifies why I enjoy film so much. A movie doesn’t have to be perfect to be the best for me. It just has to leave me with a wow factor and a desire to revisit it because I want to capture all of those emotions again.
Patrick “Patch” Hicks is an Arkansas-based film critic and co-creator/co-host of the Feelin’ Film Podcast. When he’s not podcasting, he’s working on various design projects as a freelance multimedia designer and is also dabbling in the art of writing and directing. You can find him floating around the web on Twitter, Facebook, and his home on the web, ThisIsPatch.com.
In this special SPOILER FREE “minisode,” we wrap up the year by discussing some of our favorite things about 2017. Instead of just a top ten list of favorite films, we talk about the moments and performances that really resonated with us personally. This is a super-sized bonus episode with a ton of content and we really hope you enjoy.
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Christmas-time, a season of joy. A time when many take a much needed break to relax, enjoy family, and celebrate religious traditions. Oh, and there’s also that fun little part of gift giving. Well, Christmas is also the time when film critics are finalizing their year-end lists, a gift given to the world (but without that whole relaxation part). So, after much debate and internal stress, I’m ready to discuss my Top 10 favorite films of the year. There are many lists out there, but I expect you won’t find another one that matches up perfectly with mine.
2017 was a banner year for me as both a film critic and podcaster. Some of the biggest highlights:
Witnessing the amazing growth of our Facebook Discussion Group that offers daily film conversations and relationship building among our listeners
155 films seen that were released in 2017, by far a new “career high”
Now about those movies. 2017 was a fantastic year at the cinema. Offering numerous superb indie hits, documentaries, and some big, unique blockbusters as well, the wealth of exceptional and diverse content was both a blessing and a curse. Experiencing all of these wonderful films was great, but trying to rank them, not so much. So my disclaimer is that while 10 have been highlighted, with 10 more selected for recognition as just missing the cut, even these films don’t scratch the surface of what 2017 provided in terms of quality.
10. STAR WARS: THE LAST JEDI – This spot on a Top 10 list is always a brutal decision. No less than five other films got serious consideration here, and I could make an equal case for any of them. Ultimately, I had to go with a film that blew me away my expectations and reinvigorated my childhood love of a franchise. STAR WARS: THE LAST JEDI is not without faults, but it is a wonderful next step in this new trilogy and one of most epic cinematic space operas since THE EMPIRE STRIKES BACK. Its unexpected plot choices had me gasping in surprise, and several emotional moments brought me to tears. Its impossible not to respect director Rian Johnson’s talent, ambition, and passion, especially as the film’s momentum builds and races home to its incredible climax. I LOVE the direction this film takes the series and can’t wait to see where it goes next.
9. THE GREATEST SHOWMAN – Hugh Jackman has said that “A bad musical stinks to high heaven, but when a musical works, there’s nothing like it. It’s everyone coming together and opening their heart.” THE GREATEST SHOWMAN worked for me and opened my heart, too. Its reverence for musicals of old shines through every frame and its impressive soundtrack has been played on repeat endlessly since my first viewing of the film. It may not be a perfectly accurate historical representation of P.T. Barnum, but as entertainment it is a fun and emotionally provocative family-friendly film complete with several inspirational messages. It’s the kind of film that deserves being seen with an audience, a real crowd pleaser.
8. DARKEST HOUR – Winston Churchill is a fascinating figure. Historian and politician, but also extraordinary leader. His actions within that first month as British Prime Minister changed the course of world history. Had he sued for peace, who knows if Hitler would have been stopped from overtaking Europe (and beyond). DARKEST HOURis a high-energy thriller as much as a period piece drama, with Wright combining the two styles to form an incredible, visceral, inspiring film experience that is anchored by Gary Oldman’s award-worthy transformation and performance.
7. THE FLORIDA PROJECT – THE FLORIDA PROJECT wowed me in a way that few films did this year. I resonated deeply with its primary theme of empathy. As a parent myself, watching it was sometimes difficult but always worthwhile. My hope is that many will see this poignant film and begin to look a little more closely (and with more compassion) at those outside the margins as they go about their everyday lives, and perhaps even be called to action. Sean Baker continues to be one of our best young directors and he has created a film that is unforgettable down to the final shot.
6. SONG TO SONG – For those willing to meet director Terrence Malick halfway and open themselves to engaging with the film, SONG TO SONG offers a moving emotional experience. Its dialogue is lyrical poetry that works perfectly in concert with Emmanuel Lubezki’s stunning cinematography, an expertly balanced soundtrack, and wonderful acting performances all around. This may be some of the least abstract and aimless work Malick has ever produced, but it is also among his best, and quite possibly my favorite. SONG TO SONG is a film that needs to be more than just seen, it demands to be felt.
5. DUNKIRK – Christopher Nolan’s vision of this important but little known battle is a hold your breath affair, set to an almost never ceasing Hans Zimmer score that is pounding with atmospheric dread. Fear, after all, is at the heart of this portrayal of the civilian rescue of nearly 330,00 allied troops pinned down by Germany on the beaches of Dunkirk. It is a wholly unique war film, gorgeously shot and focusing on the authenticity of its characters’ feeling, displayed much more in act than exposition. A truly remarkable achievement that left me shaking in amazement and raw emotion.
4. PHANTOM THREAD – In what has been proclaimed to be his final performance, Daniel Day-Lewis once again collaborates with director Paul Thomas Anderson for a story about an obsessive man, this time with an unconventional view of romance set around the industry of high fashion. Though PTA’s films have never spoken to me before, PHANTOM THREAD is captivating from the opening scene to the end credits and casts a spell unlike any other film experience in 2017. Thematically, it’s exploration of submissive/dominant relationships makes it feel like the arthouse version of MOTHER! combined with FIFTY SHADES OF GREY. Cinematically, it is one of the most well-crafted, stunningly beautiful, perfectly scored, impeccably acted dramas I’ve seen in years. PTA’s meticulous attention to detail marries so well with Daniel Day-Lewis’ devotion to character immersion, and on top of that newcomer Vicky Krieps is every bit DDL’s equal, flat out owning the screen in every scene. This film left me unable to shake it for a month and dying to talk to others about it. If this is really Day-Lewis’ last hoorah, he goes out with a bang, and PTA has a new fan.
3. WAR FOR THE PLANET OF THE APES – Matt Reeves’ WAR FOR THE PLANET OF THE APESis the rare third film to end a trilogy on the highest of notes. It is a spectacular marvel of technical achievements, acting, and thematic blockbuster storytelling that uses Biblical, historical, and cinematic references to craft a compelling epic. It has surprisingly limited action and the film lives in bleakness, but out of that comes a celebration of the human spirit – embodied by apes. Caesar’s journey is gripping from beginning to end, filled with emotional depth and moral complexity. His place among the greats is now secure, and the trilogy stands as one of the finest the 21st century has seen. APES. TOGETHER. STRONG.
The films above are all exceptional works of art which I expect to remember many years from now. These last two films, though, are special to me, and choosing between them was an impossible task. Both of these films are guaranteed inclusion in my next Top 100 Movies update, and as much as I just want to make them 1a and 1b, I made the hard choice. So for today, this is where they fall.
2. YOUR NAME (KIMI NO NA WA) – Like many Americans, my only exposure to anime films prior to this were the works of the great Hayao Miyazki. But when I heard that this film had broken box office records to become the highest worldwide grossing anime film in history, I took notice. Directed by Makoto Shinkai, YOUR NAME is the story of a star-crossed boy and girl, perhaps destined to forever yearn for a meeting that will never come, connected across space and time by an unexplained magic and framed against the backdrop of an impending supernatural disaster. It is a story of dreams (and desperately trying to not forget them), time travel, body swaps, natural disaster, coming of age, and romance that is emotionally riveting from beginning to end. Comedic at all the right times, soul-crushingly painful, and yet tender and hopeful. This is an animated masterpiece that goes far beyond its dazzling visuals and one of the very best films I’ve seen this decade.
1. BLADE RUNNER 2049 – It took more than one viewing to get there, but after seeing my most anticipated film of the year three times, Denis Villeneuve’s sequel to the 1982 classic BLADE RUNNER is more than worthy of its name. Staggeringly incredible cinematography by the masterful Roger Deakins is matched by a thought-provoking, multi-layered script. Not a single word of dialogue is wasted. So much emotion is conveyed through expression and silence. Performances are brilliant and memorable. The film strikes an ideal balance between cerebral and action-packed while remaining so mysterious that even more is revealed with every subsequent viewing. Despite being over two and a half hours long, it is so immersive that I would have gladly lived in this world for two and a half more. Inconceivably, an improvement in every way over than its hallowed source material. Cinematic perfection – the best film of 2017.
And now for the rest. In many cases, multiple viewings and rewatchability were major factors in determining how to order these.
11. LADY BIRD 12. THE LOST CITY OF Z 13. THE POST 14. A GHOST STORY 15. FACES PLACES 16. LA 92 17. GET OUT 18. THE LEGO BATMAN MOVIE 19. COLUMBUS 20. MOTHER!
Keep in mind that just because a film isn’t listed doesn’t mean it wasn’t incredible. I could list another 20 “great” films from this year that deserve attention. 2017 was truly an excellent year. Here’s hoping that 2018 is even better, but if it’s not, we’ll always have these gems.
Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.
I keep wondering what we did to deserve this. In this era of blockbuster fatigue and sequel after sequel of middling franchises grasping for every last drop of blood from the turnip (I’m looking at you Pirates and Transformers), how do we rate a trilogy of films, about talking monkeys of all things, that has been handled with such care- with such dedication to story- as to be considered in the discussion of the greatest trilogies of all time?
The first two films in the series, 2011’s Rise of the Planet of the Apes and 2014’s Dawn of the Planet of the Apes, are both above average films that work well in unison as part of a collective whole. The conclusion, War for the Planet of the Apes, piggybacking off the climax of it’s predecessor, is masterful, in more ways than one.
A couple of things elevate this final chapter to its lofty height…
First, Michael Giacchino‘s score is on a different level. Music exists in film to accentuate the experience, ramping up or slowing down as needed. A lot of time, the music just exists as white noise in the background, unnoticed. But when that music works its way into your core being, ebbing and flowing with the tempo of the visual experience, forcing you to feel every crescendo of action or tender emotional beat, music has done more than accompany. The music here transcends conventional usefulness and forces the viewer to swallow the film whole.
That’s what a film’s score should do. It looks for the viewer who isn’t engaged (how that could be in this instance I don’t know), grabs them by the ear-hole, and makes them be engaged. In War, the dramatic beats of the timpani as a call to arms, or in the quietest of moments when the distant ding of a triangle accompanies a fallen teardrop, Giacchino provides emotional guidance, almost cathartic in its precise execution.
Secondly, Andy Serkis. I’ve been that guy over the past decade claiming what Serkis does is not true acting, and all of the hubbub over championing him for Academy honors as such should be beaten down. Well, color me converted. Serkis IS Caesar. Every twitch- every nuance- every look into the depths of Caesar’s tired, battle weary eyes is like looking into the inner core of someone we should feel guilty for having bothered. Serkis has taken motion capture to a masterful level. Not only should he be in the discussion of best actor, there should probably be an award adorned with his name given out for the best in the motion capture arts each year.
That said, Weta Digital, the New Zealand based visual effects company spearheaded by Peter Jackson, should hold exclusive rights to do all VFX work in all films from this point forward. In all three films, the way in which the apes move on screen is seamless. It’s near impossible to tell that the humans and the apes aren’t truly coexisting within this world. When we aren’t distracted by sketchy CGI, we can concentrate on the important things, like getting caught up in the story and the characters. Isn’t that novel.
As for the story, is it any good? In my opinion, absolutely. There is a Shakespearean quality to this overall story, coming forward in earnest midway through the second film with the relationship between Caesar and his nemesis, Koba (Toby Kebbel). In his third film, Caesar is forced to come to terms with the fallout of his actions leading up to this point, as a new dramatic turn of events muddies the waters of his already fragile psyche. Caesar’s will to lead is tested as new priorities consume him.
Themes of morality have hovered over this series from the onset. The Apes are intentionally constructed as sympathetic characters. Beasts yes, but never in a way that suggests they seek anything other than a means to coexist with humans. The humans, well, they just can’t help themselves from doing what humans do. It’s the human’s God complex exhibited in the first film, along with a nasty little flu bug, that brought us to this point, and the humans still can’t find a way to settle differences without succumbing to destructive tactics. Eradicate enemies. Destroy. Kill. It’s never, hey, these monkeys are freaking talking to us in English! Because, human.
The main human villain here is Woody Harrelson, known only in the film as The Colonel. This is undoubtedly a role designed for the type of actor Harrelson is. No nonsense, ruthless, and devoid of any semblance of ethical fortitude. He isn’t constructed with a ton of depth, and he doesn’t need to be. His lengthy diatribe of why he is how he is warrants perhaps just a touch of sympathy from the viewer- at least we understand where he’s coming from- but Harrelson urges just enough dickishness from the character to keep any good will he might have earned at arms length.
Also notable is young actress Amiah Miller, as the orphaned girl, Nova, who is forced to tag along with Caesar and his posse on their journey. Miller’s scenes, especially during times of emotional strife, are next level. Stricken with a side effect of the Simian Flu in which she loses her ability to speak, Miller must carry the full weight of her character with her eyes and expressions. The more subdued the scene, the more brilliant is Miller’s performance. One scene in particular, as one of the apes is wounded, will stick with you long after the film, and the credit goes to Miller’s unspoken emotional gravitas.
Adding a touch of levity to the film is newcomer, Bad Ape (Steve Zahn). His presence is welcome as the story does travel down some weighty, emotional paths. Nothing that Zahn does with the character pushes the film into corniness, but he does provide a couple of laugh-out-loud moments.
War for the Planet of the Apes is a satisfying conclusion to the trilogy. There is an emotional yet oddly cathartic final scene which sums up Caesar’s journey to protect and serve the Apes. It works as both a catalyst for future installments of the franchise or as a final exclamation point if that’s what the studio prefers to do. Director Matt Reeves has created such an immersive, thoughtful experience with endless re-watchability. These damn, dirty apes are the gold standard from which the summer blockbuster should be based upon from here on out.
DAWN has come and we RISE to the occasion of discussing one of 2017’s best films. War For the Planet of the Apes completes one of the greatest trilogies of the 21st century. It’s not just a story of humanity’s struggle to survive, but a character drama that harkens back to the Biblical and historical epics of old. We dig deep into this completion of Caesar’s tale and hope you’ll join us for a great conversation.
Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie
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LESSON #1: CAESAR FROM THE PLANET OF THE APES PREQUEL TRILOGY WILL GO DOWN AS ONE OF THE MOST MEMORABLE CHARACTERS IN MOVIE HISTORY— It’s really something when the course of three post-apocalyptic films about one version of mankind’s demise can make us root for the apes over the humans. War for the Planet of the Apes elevates an already incredible series to soaring new gravitas and it’s all thanks to Caesar. I really enjoyed this Movie Pilot article spelling out the character’s evolution with revolutionary, tragic, and even biblical tones. Give it a read. Speaking of Caesar…
LESSON #2: ANDY SERKIS DESERVES AN ACADEMY AWARD— It’s time to recognize the imperative greatness happening before our eyes and under performance capture special effects. Andy Serkis has taken the potential of performance capture technology and turned it into precision of unparalleled heights. What he does on the set, through voice, posture, body language, and stunt work supersede how good the finished topical effects turn out. If he doesn’t qualify as a Best Actor Academy Award contender then it’s time to go a step further with a Special Achievement Oscar. This is true performance taken to another level.
LESSON #3: SO DOES KUMAIL NANJIANI…— Comedy has long gotten the short straw at the Academy Awards. In my opinion, having separate comedy and drama categories is one thing the abysmal Golden Globe Awards gets right. Kumail Nanjiani’s commitment to bare his soul in The Big Sick and reconstruct a difficult time in his life for unlimited and unflinching humor is downright extraordinary. The comedian strikes upon a level of mammoth heart and monumental charm that isn’t matched in the efforts of mainstream comedy actors of today, men with names like Ferrell, Sandler, Rogen, and Hart. His juggling of comedy and drama with equal levels of confidence is Oscar-worthy.
LESSON #4: DIRECTOR MATT REEVES IS GOING TO MAKE A HELL OF A BATMAN MOVIE— If Reeves’ sense of epic scope combined with weighty dramatic importance in the second two Planet of the Apes prequels are any indication, Ben Affleck is going to have to buckle up and raise his game. Word around the campfire is Matt Reeves wants a detective-centered The Batman, an under-emphasized core trait of the Caped Crusader’s previous film incarnations, and has shelved Affleck’s script to start anew. I’m all for it. Give that man carte blanche to make it great his way.
LESSON #5: WONDER WOMAN IS DOING SPECIAL THINGS AT THE BOX OFFICE— The Hollywood Reporter recently discussed the box office earnings data for Wonder Woman now that it has crossed into its second month of steam. As it turns out, the DCEU winner is boasting the best hold of any superhero film in more than 15 years. At its current pace, it will pass Guardians of the Galaxy Vol. 2 this week as the top-grossing film of the 2017 summer. If the blockbuster keeps on chugging, it will flirt with $400 million at the domestic North American box office. That’s rarefied air and it couldn’t go to a more deserving film.
DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson. He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle. As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends. Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.
DON SHANAHAN is a Chicago-based film critic writing on his website 
Patrick “Patch” Hicks is an Arkansas-based film critic and co-creator/co-host of the Feelin’ Film Podcast. When he’s not podcasting, he’s working on various design projects as a freelance multimedia designer and is also dabbling in the art of writing and directing. You can find him floating around the web on 
