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Film Babble Blog’s Top 10 Movies of 2017 Part 1

2017 was a very weird year, so it’s fitting that many of its movies were pretty damn weird too. A lot of franchise films flopped (this is despite the fact that over half of the years top 10 at the box office were sequels), a STAR WARS movie was divisive between critics who loved it, and longtime fans of the series who hated it; and there were a number of films with strangely similar titles like LOGAN, LUCKY, and LOGAN LUCKY, and WONDER, WONDER WHEEL, WONDERSTRUCK, WONDER WOMEN, and PROFESSOR MARSTON AND THE WONDER WOMEN. 

Then there were WTFWT (What the F*** Was That?) movies like A GHOST STORY and MOTHER! So yeah, it was one weird year.

A lot of the movies of the last year blur together in my head. I mean, I had forgotten about such dreary titles as THE CIRCLE, THE BEGUILED, and BEATRIZ AT DINNER until looking at a list of 2017 releases just now. And there were also a few films I only liked the first halves of like DOWNSIZING, and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, that are also fading in my memory.

But nows the time to concentrate on the cinema I best responded to, and I thought I’d do what I did a few years back and add what quotes stuck with me as well to the list.

So here goes Part 1 of my picks, in descending order, with their key lines or exchanges, and some links back to my reviews (click on select titles):

10. THE POST (Dir. Steven Spielberg)

Kay Graham (Meryl Streep): “You know what my husband said about the news? News is the first rough draft of history.


9. LAST FLAG FLYING (Dir. Richard Linklater)

Sal Nealon (Bryan Cranston): Every generation has their war. Men make the wars, and wars make the men. It never ends!

Reverend Richard Mueller (Lawrence Fishburne): Maybe one day well try something different.

8. DARKEST HOUR (Dir. Joe Wright)

Winston Churchill (Gary Oldman): “Please tell the Privy Seal that Im sealed in the privy and I can only deal with one shit at a time.”


7. LADY BIRD (Dir. Greta Gerwig)

Marion McPherson (Laurie Metcalf): I want you to be the very best version of yourself that you can be.

Christine Lady Bird McPherson 
(Saoirse Ronan): “What if this is the best version?

6. THE FLORIDA PROJECT (Dir. Sean Baker)



Moonee (Brooklynn Prince): I can always tell when adults are about to cry.


So thats 10-6 of my favorite films. See 5-1 at Part 2.


More later…

PHANTOM THREAD Couldn’t Be More Prestige-y

Now playing somewhere near you:

PHANTOM THREAD

(Dir. Paul Thomas Anderson, 2017)
You can’t get more of a high-faluting prestige picture than Paul Thomas Anderson’s eighth film, PHANTOM THREAD. Sure, THE POST comes close as it had a roster of Oscar winners both in front and behind the camera, but PHANTOM THREAD boasts what’s billed as “the final performance of Daniel Day-Lewis.”

Earlier this week, Day-Lewis earned his sixth Academy Award nomination (he’s won three times) for Best Lead Actor, while the film got nods for Anderson for Best Director (his second for direction; he’s also been nominated for Screenplay four times, but hasn’t won for either category), Lesley Manville for Best Supporting Actress for, Jonny Greenwood for Score, Mark Bridges for Costume Design, and, the big one, Best Picture.


By contrast THE POST only got two noms, but, despite one being Best Picture, and the other being Meryl Streep for Best Lead Actress, they seem pretty obligatory.

But enough about how much this movie out-prestiges that movie, let’s get to what it’s about. PHANTOM THREAD is a pristine period piece set in high society London in the ‘50s about the romance, or lack thereof, between Day-Lewis as a control freak dressmaker named Reynolds Woodcock, and a much younger woman, a waitress named Alma Elson played by Vicky Krieps.

Reynolds and Alma spend their somewhat timid courtship with him taking her measurements for elaborate dresses, under the watchful eye of his sister Cyril (Manville).

Alma nervously tries to please Reynolds, but she has to walk on eggshells around his creative process. In one instance, she brings him tea when he’s working, and she gets scolded. Alma quickly leaves, as Reynold angrily admonishes, “Yes, you can take the tea out but the interruption is staying right here with me!”


So the relationship between Day-Lewis’ Reynolds and Krieps’ Alma is a prickly one – I mean, he gets mad if she butters her toast too loud at breakfast – and it goes in a disturbing direction when Alma starts to mix poisonous mushrooms into his food.

Baring thematic similarities to such subtle old timey dark thriller romances like George Cukor’s REBECCA, and Alfred Hitchcock’s REBECCA and MARNIE, PHANTOM THREAD is a spare, elegant and somewhat odd experience. I admired it, but didn’t feel much of an emotional connection to it. The acting by Day-Lewis is impeccable, as is Kriep’s, who should’ve been nominated as she holds her own with the acting legend lead, but this look into these sad peoples’ lives fell short of being illuminating for me.

Perhaps I haven’t fully processed it yet. Anderson is one of my favorite filmmakers, and I know there are layers to his work that can take a bit to seep in like in his first collaboration with Day-Lewis, the stellar THERE WILL BE BLOOD (it took a second viewing of that to fully appreciate it), and his last film, INHERENT VICE (the same), so I’d be up for seeing it again.

One takeaway I can relay is that PHANTOM THREAD is a very white movie. And that’s not because it doesn’t have a black character in it (though that is a factor). It’s bathed in hazy white lighting, has many white dresses on display, there are walls of bricks painted white, and many big white spaces dominate the screen. Anderson, who did his own cinematography, has fashioned a beautiful looking picture immaculate frame by immaculate frame – a very white, clean, and, yes, very prestige-y picture.


As for its Oscar chances, I’m not thinking Day-Lewis is going to win a fourth Oscar here (I think it’s Gary Oldman’s year), but if he does I won’t protest because his portrayal is definitely up there with the other roles he’s won Oscars for (again, three!). 

Otherwise, I doubt this will get the big one – Best Picture, and, right now, I’m not feeling Best Director, nor Best Supporting Actress (though Manville puts in a sharp performance). The piano-driven score, by frequent Anderson collaborator, Radiohead’s Jonny Greenwood, has a better chance, but when it comes to Best Costume Design, I’m betting Mark Bridges will be hard to beat.

More later…

THE POST: The War Against Fake News Has Been Fought Before And Won

Opening today at a multiplex near you:

THE POST (Dir. Steven Spielberg, 2017)

After putting his stamp on just about every other cinematic genre out there, Steven Spielberg now tries his hand at newspaper drama with this timely story that’s ripped straight from the headlines, but, obviously, they’re headlines that are over four decades old. Simply, THE POST relays how the Washington Post defied President Nixon and all his men by publishing top secret files detailing the lies the government told and was still telling about the Vietnam war.

As the paranoid, dishonest tactics of the Nixon White House have many times been likened to the Trump Administration’s troubling methods, it may seem a bit too on the nose to get this big star-studded prestige picture from those liberals in Hollywood about how then is just like now, just in time for awards season.

And yes, this is a cautionary tale about how journalism is being threatened in our current era of “fake news,” but despite the predictable packaging, Spielberg has successfully structured an earnest, old fashioned, and highly entertaining showcase for his inspiring subject, and his superb cast.

And it really is a superb cast as Oscar-winners Tom Hanks, as Washington Post Editor Ben Bradley, and Meryl Streep as the Post’s publisher, Katherine Graham, head the strong ensemble that also includes Sarah Paulson, Bob Odenkirk (with David Cross also on board we get a Mr. Show re-union!), Jesse Plemmons, Tracy Letts, Bruce Greenwood, Bradley Whitford, and Carrie Coon.

The film begins in 1966 Vietnam, evoked by the familiar sounds of helicopter blades, and CCR blasting, as we see gritty shots of soldiers loading their guns, and applying war paint. Mulling about these men is Daniel Ellsberg (Matthew Rhys), a military advisor on a fact finding mission to monitor the war’s progress.

After we see Ellsberg witness a night ambush by the Viet Cong in the rainy jungle, he reports back to Secretary of Defense Robert McNamara (Greenwood) that things haven’t gotten any better or worse over the last year, they’ve stayed the same.

To Ellsberg’s disgust, McNamara lies to reporters telling them that “Military progress over the last 12 months has exceeded our expectations,” so Ellsberg steals a top secret 7,000 page document soon to be dubbed “The Pentagon Papers,” that strongly says otherwise about US strategy in south-east Asia, and later leaks it to the New York Times.

That brings us to 1971, where Streep’s Graham is taking the Post’s stock public just as the Times’ is publishing a portion of the Pentagon Papers, which leads to the Nixon administration suing the Times to halt further publication.

Under intense pressure, Graham frets over the legal ramifications of the Post publishing the secret files obtained from Ellsberg while Hanks’ Bradlee scrambles with his staff to distill thousands of pages into articles fit to print under strict deadlines.

THE POST can serve as a companion piece and a prequel to Alan J. Pakula’s, ALL THE PRESIDENT’S MEN, as it ends where that essential Watergate expose begins, but it stands on its own as a solid, stately tribute to the power of the free press.

Since Hanks, Streep, and Spielberg, all at the top of their game here, have already won multiple Oscars, they may cancel themselves out of the race.


So may co-screenwriter Josh Singer, who won last year for SPOTLIGHT, cinematographer Janusz Kamiński, who’s already won two Oscars for Spielberg films; and composer John Williams, whose won five (count ‘em – five, and three were for Spielberg movies), so I can see this movie not winning anything (it didn’t win any of the six Golden Globes it was up for), but it won’t matter because THE POST is an Oscar-caliber film regardless.

See it so you can see that what is going on now has gone on before, and since it was overcome then, it can be fought and won against again.

More later…