Whilst 2017 brought us some fantastic films,  it is fair to say that 2016 had some disappointments as well. Luckily, not as many 20 which is what I have in my favourites list, but listed below are 5 films that really disappointed me. I must note before that I actively try and avoid films that I just know are going to be horrendous (a real film critic has to sit through everything though which is what in an ideal world, I want to be) so this list might not be truly representative. One must also realise the difference between a film that is disappointing and a film that is truly bad. I could probably find 20 films that disappointed me last year but this is not the purpose of this post. Compared to 2015 and 2016, I have to say that this list is a lot more mild. Although the worst film on this list is a bad film, if I were listing these films in tandem with last year, I think the Top 4 are probably worse from last year than the worst film this year. Hence, why this isn’t a ‘worst of’ list like I have done in the past, more of what films I found most disappointing. 

5) La La Land 

It is with heavy heart that I found La La Land to be an incredibly disappointing film that is totally undeserving of all the praise it is getting. This film especially hurts me even more considering director Damien Chazelle’s previous film, Whiplash, was my favourite film of 2015. I really wanted to like this film and I kept trying to make excuses for Chazelle but there’s just too many missteps to ignore and the film feels very disjointed in its pacing. The performances are admirable and Gosling and Stone carry the film well but by no means are they awards-worthy and the script in particular, which is normally Chazelle’s main attribute is dismally lacking and doesn’t have any direction to it. Surprisingly, it got nominated for an Oscar in this category. The whole plot of the film is by extension, confused and the film doesn’t know what it wants to be and the many elements of the narrative just aggressively don’t come together. Did I miss something in this film? Did I watch a different film to everyone else, not the one that has made such an impression on both critics and audiences and has attracted sterling reviews? (My original review here) 

4) The Lego Batman Movie 

l is a film of two halves – its first act is particularly impressive and constantly cracks jokes left, right and centre and is surprisingly very cine-literate. The opening sequence which is a fight between Batman and the Joker is particularly well-crafted and the gags keep coming at a rapid pace and there is so much to absorb on-screen, little references to the character and previous incarnations scattered across the screen – it is pure eye-candy. The voice cast are generally pretty strong and Lorne Balfe’s score is generally competent and there are a couple of memorable, dark and brooding themes that elevate the narrative, particularly in the opening fight sequence. Unfortunately, the film completely violently tanks in its second half. The major factor as to why this film falls off the rails in its second act is due to its story which is misjudged.  Rather than go down a route where it thoroughly explores Batman and his supporting characters, director Chris McKay chooses to shake things up and try and mix in popular culture with this iconic superhero. This does not work at all and as the film progressed, really started to get on my nerves. By the time the credits started to roll and I was being lectured on the subject of working together, I was seething. This is an insult to fans of the character and completely undoes all the good work the film managed to do in its first act. Part of why the first act works really well is because the filmmakers are clearly respectful of the source material but all that respect goes out of the window in the second half and this very much becomes a film centered for children. (My original review here)

3) Pirates of the Caribbean: Salazar’s Revenge 

Although Pirates of the Caribbean: Salazar’s Revenge represents a slight improvement over On Stranger Tides and a lot better than At World’s End,  it still feels unnecessay, insubstantial and a cash grab to try and reinvigorate the series. What’s even more disappointing is how little of a director’s stamp there is here by Rønning and Sandberg – the film feels as if it was made by studio executives which is such a shame considering how talented this duo are. Other than for a short while in the middle section, the film completely lacks any energy and it feels far longer than the 129 minute run time than it is. It’s not a terrible film and it does have a couple of redeeming features to it but this is definitely a film to skip if you’ve got a choice this Summer. Of course, the visuals here are excellent but the action sequences don’t really have any flow to them and it’s hard to care for any of the characters. (My original review here)

2) Mindhorn 

A late entry into this list that I watched close to writing this, Mindhorn is a comedy that has no humour. I didn’t laugh once in this, instead I winced and cringed at most of the juvenile attempts to raise a chuckle. The story is a good concept, but it feels overly familiar to other films of this genre and I’m genuinely surprised at the extremely positive reception this film recieved. What did I miss? Anyway, for now, along with La La Land and The Lego Batman Movie, it is my job to put these films in their place once and for all.

1) The Mummy

The only really bad film on this list and a film that I was rightly worried for ever since it was greenlit, The Mummy is an abomination. Director Alex Kurtzman is a poor match for the material and Tom Cruise is also woeful in a role he should never have been cast in. The film is not scary in the slightest and any attempts the film makes at injecting humour are aggressively unfunny. Whilst Dracula Untold was forcefully pushed aside and despite that also being a disappointing film, it is a far more enriching experience than this film is. It doesn’t quite achieve a 1-star rating as there are a couple of nicely choreographed action sequences and the film does have a few hints of momentum in its mid-section but the film constantly stumbles and falls apart. At times, the film is even laughable which is always a poor sign. (My original review here)

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So there we go – as mentioned, I’m sure if I would have actively gone and watched all the really bad films, this list would definitely change but I didn’t. The fact still remains though, regardless of whether there is anything worse out there, this list is still a collection of flops. However, as mentioned compared to last year, 2017 was a miracle run in terms of bad films and other than ‘The Mummy’, none of these films are really that bad. Fingers crossed 2018 ends up being as good a year as 2017!

 

 

This is the second part of my Best Films of 2017 feature detailing my Top Ten films. Click here to read numbers 20 to 11 and the Honourable Mentions.

Without further ado, here are my Top Ten films of 2017:

10) Get Out

Get Out is an innovative and intelligent comedy-horror that is meticulously crafted and endlessly cine-literate. The concept behind this film is very original and is highly critical and satirical of the post-Obama presidency. Rose’s father even states in a recurring line that he “would have nominated Obama for a third term.” Its final third is particularly impressive as the narrative starts to gradually unravel, culminating in a collection of shocking sequences. It also features an interesting score by Michael Abels that is an eclectic mix of neck-prickling strings and melodic themes. The cinematography by Tony Oliver is also thoughtful and well-judged. (My original review here)

9) Manchester By The Sea 

Manchester By The Sea is a heartfelt, expertly crafted film that features a career-defining performance by Casey Affleck and it takes its time in really developing its characters and allowing its audience to emotionally connect with them. The rest of the cast are also very strong and the narrative really goes to town with these characters who all go through their own equally debilitating experiences. That said, the film does have some flaws in its tone which is a little unbalanced at times and a couple of baffling musical choices also awkwardly impact the film. (My original review here)

8) Patriots Day

Patriots Day is a fantastic film and in some aspects is even Peter Berg’s most accomplished film. It is a fascinating retelling of these tragic events and has several simply staggering action sequences and is gripping right from the start. It features some fine performances by the majority of its cast and I’m really impressed with the amount of respect the entire cast and crew seem to have for this material. I do think Berg lays it on a little bit thick at the end of the film in an epilogue which is interesting in learning about the fate of these characters but I think Berg’s intentions are a little too patriotic. But other than this, for the most part Berg remains fairly agnostic and even delves into the back story of the criminals as well. (My original review here)

7) Baby Driver

Baby Driver is an utterly infectious film that is meticulously directed by Edgar Wright and is expertly paced – the film left me giddy with excitement! The action sequences are choreographed to a tee with several heart-pounding yet knowingly absurd car chases that put franchises such as Fast and Furious to shame for managing to craft something far more engaging at a fraction of the budget. It is superbly acted by the cast all-round and Wright has his fingerprints all over this – this is very much an Edgar Wright film through and through. (My original review here)

6) Logan

Logan is not just a fantastic superhero film, it is also a fantastic Western film that just happens to have a superhero starring in it. The Western genre is a genre that is close to my heart so not only is it refreshing to be given another ace Western but for it to be in the shape of Logan is extremely impressive. The film is gritty, swearytastic and deliciously violent, fully earning the film a 15 / R rating. The performances by the cast all-round are great and Mangold directs this film with real flair. The film has a lot of emotional beats and really develops these characters that we have come to empathise with over the course of this franchise. The story, also manages to surprise with a couple of great twists and turns. I’m not sure if it’s better than The Wolverine but it is definitely equal to it and both of Mangold’s efforts are the best comic-book films since The Dark Knight. (My original review here)

5) Hacksaw Ridge

Hacksaw Ridge is one of the best war films I have ever seen and features some stunning performances with Gibson’s signature gory yet visceral battle sequences that really throw these men into hell-and-back. Gibson is able to really portray the hardship that these men endure time and time again and whilst I am ever respectful of those fight for their country, this film elevated my respect even more for them whilst watching this film. The film is extremely well-shot and features many memorable sequences – this film fully deserves the Awards attention it recieved! That said, the film is not without fault and an inconsistency in tone is this film’s biggest problem as the two distinct halves of the film don’t quite gel together. The first half in particular of the film which develops these characters and prepares Doss for the battle that lies ahead often head into conventional territory and it is quite bizarre as it almost feels like Gibson is knowingly do this but to what purpose, I’m not sure. However, when the film is able to go berserk, it does and it is immensely satisfying. (My original review here)

4) Silence

Silence is a beautifully crafted film that features some knock-out performances and is frequently emotionally wrenching. Scorsese directs this film with precision and develops these characters extremely well hence the rather intimidating 161 minute run time. The cinematography by Rodrigo Prieto is stunning and the film poses lots of philosophical questions and is a brutal test that questions a lot of characters’ religious beliefs. That said, Silence is not quite a perfect film. I have problems with the score (more soundscape) and I also think the film does lose its footing in its ending which tonally shifts a little and it threatens to undo the superb work the rest of the film has tried to craft. It might be that it just requires a rewatch but I did come out feeling underwhelmed as a film that had taken this long to set up its narrative doesn’t exactly reward the viewer’s patience. But despite this, it is a work of art. (My original review here)

Now into the top #3…

3) Loving Vincent

Loving Vincent is quite extraordinary – it is a haunting, elegiac and mournful account of this late artist’s life and the struggles he faced. The film is profoundly humane in the way it portrays him and at times, inhumane in his treatment by other characters in the film. Once Armand arrives in Auvers, the film transforms into a detective-thriller as Armand learns from the citizens what kind of character the artist was and the particulars leading to his suicide. The film also works as a morality tale and has knowing odes to Citizen Kane with the notion of people’s experiences and perceptions of others. There are many scenes that are just perfectly judged and on a technical level, the paintings are spellbinding. The ever-dependable Clint Mansell’s score is also worthy of commendation – it is the glue that holds this film together and features many memorable cues and themes. (My original review here)

2) The Handmaiden

‘The Handmaiden’ is Park Chan-Wook at his best – it’s nearly perfect. It has a labyrinthine plot that is interwoven intricately and the characters are developed in an extremely assured manner. It kept me gripped throughout and as the film continues to get more nuts, I was really on board with it. What’s also impressive is that it’s not quite as blatantly violent as some of Park Chan-Wook’s films have been in the past, instead choosing to focus on story. Don’t get me wrong, there are moments of brutal, sadistic violence in this film but it is used sparingly. Visually, the film is beautiful to look at – Chung Chung-Hoon’s cinematography is wonderful and there are plenty of scenery chewing shots. (My original review here)

1) Brawl In Cell Block 99

Without question, the best film of 2017 is S. Craig Zahler’s sophomore effort, Brawl in Cell Block 99. I loved his debut film, Bone Tomahawk, a Western Horror which managed to fulfil both of those genre promises and then some. It featured in my Best Films of 2016 list, clocking in at 9th due to a slightly saggy middle section. Brawl in Cell Block 99 is a masterpiece of elephantine proportions and along with Hacksaw Ridge, demonstrates a one-two punch by Vince Vaughn who seems to have finally found his calling in film. Vaughn plays Bradley here, who at the beginning of the film loses his job at an auto-repair job and becomes a drug mule. Unfortunately this backfires with devastating consequences. Every element of this film is note perfect, Zahler again delivers another thoughtful script and like Bone Tomahawk, there are some seriously violent and gruesome moments in this film. I was utterly transfixed by this film and was left in utter shock when the film finished that I was speechless for a few moments. I cannot wait for Zahler’s next feature, which is going to be an action film starring Vaughn again and Mel Gibson and on the strengths of his first two films, Zahler is a force to be reckoned with.

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So there we go, these films were in my opinion, the best of 2017. What are your thoughts? Let me know in the comments or tweet @TheFilmMeister

Now that we are in full swing of the 2018 films, it’s time to reflect on 2017 and here I share my Top 20 Films of the year. I know that I am very late in the game but there were quite a few films I didn’t get to watch in time and felt that it would be a disservice to generate a list that wasn’t truly reflective of the year. Although perhaps not as strong as 2015 or 2016, 2017 was still an interesting year in film. A lot of the films that I expected to be great were disappointing and a number of films that were unheard of or those that I initially had little faith in were excellent. I am pretty confident that I can now share my best films of last year which has been particularly hard to compile this year.

Although my Mid-Year Report only included ten films, this list will include 20 films with some honourable mentions as I couldn’t find the heart to neglect so many of these films. The rank order has changed a little from the Mid-Year Report on account of rewatching a lot of these films multiple times and some I have found to be more rewatchable than others. So just because a film ranked higher earlier on last year doesn’t necessarily mean this will be the case now – that’s just the beauty of the art of film I guess. 

Here I rank numbers 20 to 11. The Top Ten will be detailed in a separate post.

Note

I am following the UK release date calendar from January 1st to December 31st hence why a lot of the Awards films do not feature here and why there are some from what may seem like last year. 

Honourable Mentions

Here are my honourable mentions, films that didn’t quite make it into the Top Twenty but I feel that they should still deserve a mention. Please note I have listed them in alphabetical order – this is not a ranking of them. 

The Founder 

Although it floundered in its Awards campaign it was targeting, The Founder is a very interesting biopic on the rise of McDonalds, with some captivating performances from its cast all round. Michael Keaton plays Ray Kroc, a businessman who turns one McDonalds fast food restaurant into a nationwide and ultimately global franchise. Keaton’s performance is one of his best in a rather extensive back catalogue, an individual who has no care for others but only himself and business. The Founder loses its footing a little in places, but it’s mostly a very solid film that is frequently gripping, particularly down to the performances and ripe subject matter.

It Comes At Night 

I found a lot to like in Trey Edward Shults’ It Comes At Night and Shults for much of the film, sustains a very intense, depressing, dour and volatile atmosphere. The performances across the board are great, with the standout being Joel Edgerton. It leaves a lot of plot points to audience imagination (possibly too much) but I was gripped pretty much throughout. I can see why the audience reception has been decidedly mixed – this film has been marketed very differently to the film that we actually get and it’s a very similar situation to what happened with 2016’s The Witch which was similarly marketed as an out-and-out horror film but ended up being more of an atmospheric burn. The film is complimented by an equally moody score and cinematogaphy. It’s not without fault though – it doesn’t quite manage to sustain its energy throughout its entire run time and without spoilers, I thought Shults left a little too much narrative to audience interpretation. (My original review here)

Jumanji: Welcome To The Jungle 

Jumanji: Welcome to the Jungle is a surprise treat in the crowded Christmas market of films and a very solid sequel to the Joe Johnston-directed, Robin Williams-led 1995 original. Four teenagers find themselves sucked into the videogame when they try to liven up detention which they have been placed into for breaking the school rules. They have to play as the avatars that they have selected in order to make it out of the jungle alive and not get stuck in the game forever. On paper, this sequel shouldn’t work, as it has a hit-and-miss cast and a director responsible for atrocities such as Bad Teacher and Sex Tape. However, Jumanji: Welcome to the Jungle is a film that obeys its own rules and the central concept of evolving the Jumanji board game into a modern videogame is a masterstroke of genius. The ways in which director Jake Kasdan interweaves the game into the film narrative is expertly handled, with characters having to tackle different levels, having a certain amount of lives and expositionary flashbacks and characters synthesised into the story. The film always feels fresh, has a lot of heart and even more surprisingly, questions its characters morals and teaches them some important life lessons. It’s consistently funny as well, with a wide range of humour to suit different audiences. (My original review here)

Paddington 2

A total surprise and a film I never expected to reach this list, Paddington 2 is the rare sequel that improves on its original in every possible way. I was initially very trepidatious before watching this film – I didn’t love the first film even though reviews for it were charming and I suspected this to be the same case again. Director Paul King has exponentially grown as a filmmaker and the film is expertly paced and laden with humour and heart. The performances all round are brilliant, with Hugh Grant excelling in particular as the villain and the film even makes an interesting commentary on a Brexit-era Britain and the prison system. Paddington 2 is a film that delivers heavily for both children and adults.

 

Thor: Ragnarok

Thor: Ragnarok is a Taika Waititi film through and through – it retains his signature humour and really inverts expectations on what a Thor film should be. This feels refreshingly different from the first two films, more vibrantly coloured and more comical. The film is extremely entertaining and puts the characters that we have grown to like over the course of the films in rather vulnerable positions throughout the film and there is a real sense of danger prevalent. Unlike recent comic book films which have a great, big (and boring) action climax at the end of the film to save the world, Thor: Ragnarok actually earns its finale. The marketing for this film has also been extremely impressive upon viewing the final product – there’s a lot that Marvel have managed to withold from its audiences which is very satisfying. (My original review here)

Now onto the Top Twenty:

20) War for the Planet of the Apes

War for the Planet of the Apes is a welcome surprise – it’s grim, heartfelt, revenge-filled and most of all, questions its intelligent audience with multiple morality questions. It is perhaps the strongest of the series, a film with genre hybridity of the Western and the War film, infused with sci-fi. Dialogue is rather scarce in this film and there are many prolonged sequence where the film is almost like a silent film and it is just stunning to behold. Dunkirk, another Summer release also tries to do this but this film succeeds better in this respect due to its stronger characters and more powerful overarching message. ‘War’ is at its best when it is uncompromisingly grim, the pain and loss felt by Caesar and the various nods to the Western and War genre. (My original review here)

19) Spider-Man: Homecoming

Spider-Man: Homecoming, to my surprise, was a breath of fresh air in what has been quite a convoluted genre of late. I thought it struck just the right tone between seriousness and humour and it is a very realistic and grounded film in the Marvel canon. It also features one of the best villains we’ve had in Michael Keaton’s Vulture who is extremely sinister and narcissitic. The whole cast are generally excellent and I was really invested in the narrative that Watts portrays. Watts also does well to not aim too high in terms of visual effects and although there are a couple of impressive action sequences, they never reach the heights of some of the other Marvel films which further helps to keep this film very grounded. (My original review here)

 

18) Wind River

‘Wind River’ is another cracker by writer Taylor Sheridan who ably steps up to the task of directing as well as writing. Like his previous projects, it is very poetic in parts and deeply haunting and melancholic and his script intelligently written with memorable lines. The unpredictable outbursts violence are extremely raw and brutal, portraying the utter nastiness that this conflict between cultures has resorted to. There are clear juxtapositions between the cold, harsh lanscape surrounding this civilization and the warmth of the inside. There is a constant presence of the cold wind breathing on the necks of these characters which makes ‘Wind River’ deeply sensory for its audiences. At times, I got tingles from the cold, piercing feeling of walking barefoot on snow – Sheridan really has succeeded in crafting a believable world for this narrative to inhabit within. (My original review here)

17) Only The Brave

Only The Brave is easily the best film of Kosinki’s career and a gripping account of the subject material. It is clear that the cast have the utmost respect for these heroes, resplendent in the modest, genuine performances. It wouldn’t be unfair to say that Kosinski is more of a visionary director than a narrative one and his previous filmography is visually pleasing to look at. Why Only The Brave works so well is because it combines Kosinki’s visual talents with a very solid script, allowing a strong equilibrium between the visual and the story. Kosinski captures the forest fires extremely faithfully – they felt genuinely threatening on the screen, the images of smoke and burning woodlands. The characters are also really well developed and I felt empathy particularly for Josh Brolin and Miles Tellers’ characters, the latter being our insight into the forest firefighter industry, a character trying everything he can to turn his life around from his dark past. (My original review here)

16) Split

Split is frequently entertaining, very competently directed and features some powerhouse sequences. It is one of Shyamalan’s best works. I will not be going into spoilers but Shyamalan’s signature twist is one of his best and one of the best twists of the decade so far – it is so, so clever. Shyamalan’s twists of late haven’t been able to shock compared to some of his earlier work but this might potentially be his best one he’s ever done. However, when one focuses on how Split functions purely as a film, it is not perfect. It is overlong and way too exposition heavy which derails the film a little. There is a near-perfect 100 minute film in here if a lot of this exposition was omitted and this would make the run time more economical. (My original review here)

15) mother!

One has to be tread very carefully when discussing this film and it took me a while to fully form my genuine opinion of the film as the film requires multiple rewatches. My opinion at first was mixed and now that I have rewatched it three further times, it is still a film that enamours at times but I also still have reservations. The film is a paranoid, nightmarish rush from beginning to end and is set in a world that is desolate, unforgiving and cruel. Lawrence’s character goes through all manners of physical and psychological torture and time and time again, we are made to witness this degradation. It may not be one of director Darren Aronofsky‘s work, but you’ve got to admire the ambition and the ideas behind it, even if the film is flawed. (My original review here)

14) In A Valley Of Violence

In A Valley Of Violence may be a little simplistic in the plot department but it is a supremely entertaining romp that features some great performances and is suitably graphic at times. It is competently directed by Ti West who has written a memorable script and everyone who is in this film both in front of and behind the camera seems to be having a really great time. Although it doesn’t try and reinvent the genre, from the opening moments when I got on board with it, I had a big smile on my face the whole way through and it’s one of the most entertaining films I’ve seen this year so far. The performances, across the board, are all excellent and it’s particularly nice to see John Travolta have fun in his role. (My original review here)

13) Brimstone

I watched Brimstone pretty close to compiling this list, so there is every possibility its position may move in the future. Dutch director Martin Koolhoven’s English language debut, Brimstone is an ambitious, aggressive and violent assault on the senses, fully earning its 18 certificate and then some. This is a dark, twisted Western horror with a gripping narrative and full of brilliant performances, a career best from Dakota Fanning in particular and Guy Pearce, as usual, does a reliable job with the villainous Reverend. The film has proven to be controversial in its response, but I would urge you to go and watch this straightaway and watch a master at work.

12) The Killing of a Sacred Deer

As with his previous filmography, Yorgos Lanthimos’ The Killing of a Sacred Deer is a genuinely unnerving and memorable experience, rich with strong themes and disturbing imagery. It is a film that requires multiple rewatches, particularly as Lanthimos has rooted this narrative in a Euripidian Ancient Greek myth. I felt genuinely unclean after watching it and was left thinking about it for quite a while. (My original review here)

11) Hidden Figures 

Hidden Figures is an extremely easy film to like and barely puts a foot wrong; I was utterly charmed by it the whole way through. It is competently directed by Melfi and has just the right blend of comedy and factual drama in it to prevent it from being too laborious or too comedic. Not only are the performances are great in this film, but the characters are all really well-developed and the screenplay by Melfi and Allison Schroeder is wonderfully written. What stops this film from being perfect is it is fairly conventional in parts and there are a couple of story arcs that are a little underwritten. But these are very small nitpicks in an otherwise near-perfect film. (My original review here)

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So there we go, numbers 20 down to 11. Stay tuned for the Top Ten in a separate post…

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What are your thoughts? Let me know in the comments or tweet @TheFilmMeister