I urge you all to seek this out as soon as possible. It is one of those obscure achievements that deserves all the attention it can get.
Tag: 2017
Coco (Unkrich, 2017)
Like much of the Pixar canon, Coco is a universal film that reaches the hearts of both children and adults alike.
Columbus (Kogonada, 2017)
Columbus reminds me of Jim Jarmusch’s Paterson mixed with sprigs of Linklater’s Before trilogy and Sofia Coppola’s Lost in Translation.
Logan Lucky (Soderbergh, 2017)
Not having seen Ocean’s Eleven or its sequels, I don’t have much of a basis to make comparisons here. I know this is a heist film and a comedy, and that’s as much as I have to judge.
Beach Rats (Hittman, 2017)
This isn’t 2017’s best LGBTQ film. But in its own way, it provides a striking counterpoint to the stories that seem more hopeful in nature.
Landline (Robespierre, 2017)
If this had been less predictable, I think it would’ve gotten more attention than it has. That doesn’t mean it’s worth forgetting. Far from.
The Lego Batman Movie (McKay, 2017)
Everything is… not so awesome this time around, I’m afraid.
Battle of the Sexes (Dayton & Faris, 2017)
A number of people whose opinion I value didn’t much care for Battle of the Sexes. I decided to give it a go all the same, in case there was something in it they weren’t seeing. I’m sad to say that they were right.
Brigsby Bear (McCary, 2017)
For anyone who feels alone in this world, or who thinks their creative genius is being misplaced, Brigsby Bear is going to be the balsam you need to get through your worst days.
Girls Trip (Lee, 2017)
All hail Tiffany Haddish. Her NYFCC win was the sole reason I decided to watch Girls Trip sooner rather than later, and, well, the proof is in the pudding.
The Trip to Spain (Winterbottom, 2017)
When you need something light and guaranteed to make you smile, while also hugging you with its familiarity, The Trip films do the trick nicely. You put one on, and instantly you know what to expect.
Emilija Iš Laisvės Alėjos (Ulvydas, 2017)
Even if Emilija did not exist as a person, one can still imagine others like her finding themselves on the path of resistance, and that type of verity is what makes Emilija a compelling watch—in spite of its relative unevenness.
I Don’t Feel at Home in This World Anymore (Blair, 2017)
I Don’t Feel at Home in This World Anymore is as scrappy as they come, colouring within the lines of the comic thriller, while also gunning for something more intellectually engaging.
Good Time (Safdie & Safdie, 2017)
Good Time is gobsmackingly good. Thrillingly so. I’m in awe of what the Safdies achieve here, which is neo-noir (neon-noir?) and social realism mulched into a decayed panic attack.
The Other Side of Hope (Kaurismäki, 2017)
Aki Kaurismäki has done it again, folks. Back after a six year hiatus, his latest feature possesses all his trademarks: the slightly faded aesthetic; the po-faced performances; the scalding Finnish wit hibernating in drab décor and reams of cigarette smoke.
The Lonely Film Critic 