Film Mafia’s Top Ten of 2017

All films were released (with one exception, below) in Australian cinemas in 2017.

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10

HOUNDS OF LOVE – AUSTRALIAN FILM OF THE YEAR

A disappointing year in Australian cinema saw the only Oz entry at number 10 – highly unusual. As Justin Kurzel did with Snowtown, Ben Young has taken a tired genre and given it enormous life by applying intelligence, depth of character and just a damned fine script. Hounds of Love is not as “everything” as Snowtown – not as disturbing, not as bloody, not as brilliant – but it is another inspired and noble entry in Australian cinema’s rich ledger of suburban nightmares. In films like these, the villains wear thongs, and people get hurt while the sun brilliantly shines.

9

MOTHER!

Darren Aronofsky’s phantasmagoric fantasia on art, fame, success, religion, politics and the cult of celebrity erupts relentlessly and furiously. It is the angriest, most dynamic film I’ve seen this year, and probably the best film hailing from the US (although it seems to have been shot in Quebec). A fable or parable rather than a story centred in anything close to realism, utilising horror elements including an honest-to-goodness haunted house, mother! – the lower-case “m” and the exclamation mark are specific – is a wild and mesmerising ride, and should leave most engaged viewers with plenty to chew on. It is full of ideas.

8

THE SQUARE

Releasing in Australia March 2018, The Square has opened in the rest of the world and screened in multiple Australian festivals.

Ruben Östlund follows up his cringe-tension masterwork Force Majeure (which won Movieland Awards in 2014 for Best Film, Best Direction and Best Cinematography) with this Palmes D’Or-winning art world satire. At its best, it skims sublimely from scene to scene, arousing constant knowing humour, satirical appreciation and – Östlund’s speciality – ambiguous dread, before arriving at the scene of the year, in which Terry Notary, known primarily for motion-capture and particularly ape work in the vein of Andy Serkis, plays a performance artist with a particularly involving piece to present. Theatre actor Claes Bang makes a gigantic impression in the lead role of the curator of a contemporary art museum in Stockholm who may not be as cool as he looks; watch as he becomes a massive worldwide star (his spoken English, accented towards British, is perfect). Great fun.

7

THE KILLING OF A SACRED DEER – BRITISH FILM OF THE YEAR

Yorgos Lanthimos’s The Killing of a Sacred Deer is gripping, creepy, intense and wholly original. It slots beautifully into 2017 as The Year Of Intelligent Horror; it is also, easily, one of the best films of the year. The film is thematically rich and pungent, looking deep into marriage, family, ethics, morals and trust. Most immediately, it asks that classic question, “What would you do to protect your family?” – but you’ve never seen it asked like this. Outstanding.

6

GET OUT 

Jordan Peele’s debut feature is a horror film without gore or jump-scares, a treatise on casual racism in America without being didactic or pointedly accusatory, and an intelligent and intense social satire without – or with very few – “jokes”, it feels closest in our immediate culture to an excellent American episode of Black Mirror, with a very American theme. Genres don’t so much collide as smoothly intertwine – copulate, even. And, like Black Mirror but unlike a lot of American “horror” cinema, everything has a point. This is a film with something to say, which uses pure entertainment to say it – which is its genius. You’re constantly too creeped out to realise you’re learning something.

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5

THE DISASTER ARTIST

Director James Franco’s The Disaster Artist is enormously proficient as a comedy – in terms of laughs out loud, it’s one of the funniest films I’ve seen in years – while also displaying epic chops as a faithful adaptation of an intriguing memoir, an odd-couple buddy movie, a Tale of Hollywood, and a meditation on ambition. It may very well be the most purely entertaining film of the year.

4

THE FLORIDA PROJECT – AMERICAN FILM OF THE YEAR

I’ve seen two of Baker’s previous features, Starlet (2012) and Tangerine (2015). Both were original, often very funny, and determinedly empathetic for their characters who lived in the margins of society. However, The Florida Project towers above them as a major, mature work, one of the very best films of 2017. Like Wes Anderson’s The Royal Tenenbaums (2001), Alexander Payne’s Election (1999) and Steven Soderbergh’s Out Of Sight (1998), this is the big, confident, near-perfect film that delivers on a director’s enormous, already demonstrated, promise and potential.

3

PERSONAL SHOPPER

The movie is great value, because it’s at least three films in one: ghost story, American-in-Paris workplace drama and vaguely “Hitchcockian” thriller. We first meet Stewart’s character Maureen (such an intriguing, old-fashioned name for someone so young and hip; Stewart wears it beautifully, and a touch ironically) as she spends the night in a secluded house in order to see if it’s haunted. This scene, played straight – and with a ghost! – seems almost shockingly, literally “genre”; is Assayas really going there? The short answer is, he is, but he’s going other places too, and the movie keeps shifting gears with highly-engineered precision.

2

RAW – RUNNER UP FILM OF THE YEAR / FILM DEBUT OF THE YEAR 

Within its perverse take on coming-of-age, it examines peer pressure, burgeoning sexuality, academic tradition, accepted modes of living and social acceptance, while also being a mesmerising, totally compelling – and, yes, grisley – thrill ride. It’s high-octane, thrilling, compelling stuff that had me transfixed and excited. Director Julia Ducournau goes all-out with her imagery and use of a fantastically creepy score by Jim Williams, who scored Ben Wheatley’s Kill List, Sightseers and A Field in England. She creates visual moments that immediately brand themselves onto your psyche and sequences that are simply unforgettable. The story, as it unfurls, simultaneously bears a sense of inevitability but is also constantly surprising, and packs a supremely satisfying climax.

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1

CALL ME BY YOUR NAME – FILM OF THE YEAR

This is a film that stays with you. Its mood, its heart and its characters have been tickling my brain since seeing it. It feels nourishing and generous, like a meal that was delicious and has turned out to have ongoing health benefits. It’s briefly altered my perception of the world, reminding me that there is decency out there, somewhere. And I daresay, if I was a gay teenager right now, or even just a teenager, this would be the movie I needed. It may be one of those films that change many thousands of young lives for the better. For many, it will become a favourite, a classic, even a life-saver. It is sublime.

What were yours? Your comments welcome in the Comments Section.

Top Ten Of 2017 So Far

Here’s my top ten as of 30th June 2017 (so, before I saw It Comes At Night, which would definitely have slipped in there, to the detriment of Ghost In The Shell). Enjoy! Your comments more than welcome.

CJ’s Top 10 Films of 2017

While you’re there, enjoy some of the other fine shows offered by Skipi.Tv – thanks as always to Bruce, Lawrence and Sam.

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IT COMES AT NIGHT

**** (out of five)

IMG_0450Trey Edward Shults made the best feature film of 2016, Krisha. His follow-up is an intensely personal, extremely precise meditation on fear, grief, family and community. It creates, along with Get Out, Raw, Hounds of Love and Personal Shopper, a quintet of horror-adjacent films this year that have far more to say, and say it far better, than any “non-genre” releases. These auteur thrillers are, thus far, the films of 2017.

Shults is an auteur indeed. Krisha was made in his parents’ house using family members for around thirty thousand bucks. A24, the best distribution company working today (Moonlight, 20th Century Women, American Honey, The Lobster, Green Room, The Witch, Room, Amy, Ex Machina, A Most Violent Year, Locke, Under The Skin, The Spectacular Now… to name a few!) saw the film, recognised prodigiousness (Schults is only 28) and gave him five million bucks, with, it seems, total creative control. May they keep on doing so; may he be to them as Tarantino is to Miramax. Shults is uncompromising, delivering his film; it may not appeal to a mainstream genre audience, but for cinephiles, it is sublime. Every moment of the film is determined and exact, including its ambiguity. It is a distinguished work of cinema from a serious artist.

Joel Edgerton gives his finest performance to date as Paul, a man trying to keep his wife, son and dog safe in the shadow of a plague. They live in a boarded-up house in the middle of some woods, somewhere in the United States, under strict isolationist protocols; when circumstances determine those protocols to be ever-so-slightly altered – when things change – they change for the worse.

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The overriding tone here is dread. The film is relentlessly bleak, often sad, and frequently creepy, but more than anything, it’s anxious. Paranoia reigns. Paul’s determination to protect his small family has caused him to be jumpy, edgy and hard. He was a history teacher before the plague; now he’s an armed sentinel. His choices in this desperate situation are completely relatable, and the film achieves enormous power putting us in his shoes: “What the hell would I do?”

This is a lean film in every aspect, including its running time of 97 minutes (which may be all you can take). The craft across all departments is impeccable; Shults knows how to marry vision and sound. The script has many surprises and, as mentioned, some deliberate ambiguities. I gather some audiences have not exactly embraced the latter; I found them wholly satisfying (as I did the ending, which I think is brilliant). Your takeaway from It Comes At Night may really depend on what you want out of cinema. This is challenging stuff that bears intellectual rigour, or, to put it another way: if you’re not willing to think about it, you probably won’t like it.

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GET OUT

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**** (out of five)

Jordan Peele’s debut as a feature film writer/director announces him as a major talent with a big, big career ahead. Get Out is fabulous, a film that not only continually gets better as it goes along, but keeps getting better the more you think about it afterwards. It’s one of those films where the third act completely revolutionises your perceptions of the first, therefore completely justifying a second viewing. I can’t wait.

A horror film without gore or jump-scares, a treatise on casual racism in America without being didactic or pointedly accusatory, and an intelligent and intense social satire without – or with very few – “jokes”, it feels closest in our immediate culture to an excellent American episode of Black Mirror, with a very American theme. Genres don’t so much collide as smoothly intertwine – copulate, even. And, like Black Mirror but unlike a lot of American “horror” cinema, everything has a point. This is a film with something to say, which uses pure entertainment to say it – which is its genius. You’re constantly too creeped out to realise you’re learning something.

The surface level of social comment, prevalent in the first act, is casual racism. When Chris (Daniel Kaluuya), a young black New Yorker, is taken by his white girlfriend Rose (Allison Williams of Girls) to visit her parents at their upstate estate, his encounters with them, with a cop, with her brother and with their friends are an avalanche of micro-aggressions. Hearing them in this context – standing next to a white girl who seems to think her stock are more “woke” than they are – amplifies them for, at least, the white viewer. The effect is deeply squirm-inducing – an uncomfortable half hour at least – and seems “on-the-nose”. All that is rectified, however, by the brilliant intricacies of the script as it continues, and which I will not reveal.

The casting is so clever, as Williams and the actors playing her parents, Bradley Whitford and Catherine Keener, bring with them a particular suite of luggage filled with leftist progressive articles such as Girls, The West Wing and, in Keener’s case, the films of Nicole Holofcener (Please Give, Friends With Money and Enough Said). There is a “Jordan Peele” role – Chris’ best friend, Rod – but Peele wisely gifts it to LilRel Howery, who makes a juicy meal of it. And mention must be made of Betty Gabriel, whose turn as Georgina the maid is brilliant on every level.

Peele obviously knows his genre from go to woe. There are very clear influences and references to other classic thrillers, but to even mention them may spoil things a little. Better you just go. And for goodness’ sake, or at least your own, avoid the trailers, which as usual give away too much (I’m told; I’ve avoided all trailers now for years). This is a fantastic film which is going to come back into the cultural conversation at year’s end; I can’t imagine that it won’t be on my Top Ten. See it at the cinema with friends, and then go out afterwards – you’ll have plenty to talk about.