I'm beginning to love making this annual halfway point list. For me, 2017 has been a year for immense volume. Since January, I've reviewed 64 films, 58 of which were 2017 releases and not carryovers from a late 2016 awards season. Thanks to some film festival and advance press access, you can add 16 short films and four more feature films pending the windows to publish reviews. True to my website's hook, I present each film with its best life lesson from my review.
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Spider-Man: Homecoming counts as a clean slate for Peter Parker’s web-slinger. Now nestled into the established Marvel Cinematic Universe, Tom Holland is a true teenage Spider-Man, one that was never successfully conveyed by two previous franchises and their over-aged actors. Aiming to please and bursting with effervescent zest at every flip, swing, and turn, John Watts’ Spider-Man: Homecoming succeeds as a brand new jumping off point for a character that badly needed course correction.
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A significant shift in attention and investment has occurred in this series. Our hearts and allegiances swayed from rooting for the madness of our own mankind to the superior traits of humanity exhibited by Caesar and his ape brethren. A transformation of empathy like that is downright miraculous. War for the Planet of Apes is a full-bodied epic of glory and pain that matches and then exceeds the moving importance and heart this rebooted franchise has established in two previous knockout films.
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The films of Edgar Wright pulse with a signature flair for visual comedy built on wildly imaginative stylings in the areas of music, framing, camera movement, sound effects, and editing. His creative trickery wins for looks, but it also constantly advances the storytelling at hand. For that and so much more, Baby Driver is first-rate example of a kinetic film and joins the top ranks of Wright’s filmography.
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The transitive verb “beguile,” as defined by the Merriam-Webster Dictionary, means “to engage the interest of” or “lead by deception.” Hoodwink and divert are synonyms. Director Sofia Coppola’s remake of The Beguiled means to charm our corsets and britches off right in line with its title’s root definition. Methodically and dastardly, the film wishes to seduce us with a heightened intrigue of challenged sexual repression.
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Lost in Paris is an exceedingly charming ditty of a comedy from the writing, directing, and starring duo of Dominique Abel and Fiona Gordon. Three overlapping character-coded chapters follow a wayward character’s pratfalls and screwups through the course of their fateful intersections. Lost in Paris weaves its yarn with clever panache. It’s a surreal jaunt that juggles the cheekily uncouth with the innocently sweet inside its ever-present sense of whimsy.
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Scheduled months ago after starting to write my regular weekly column with them, the hosts of the "Feelin' Film" podcast, Aaron White and Patrick Hicks, kindly asked me to guest on a future full-length podcast episode. The film was Phil Alden Robinson's 1989 keeper (check that: classic) Field of Dreams. As fate would have it, the viewing and the show fell on Father's Day week. Father’s Day and baseball go together like Heaven and Iowa.
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Grant Focus Features, director Colin Trevorrow, and debuting feature writer Gregg Hurwitz all the balls in the world for putting out a movie this daringly original during the summer marketplace. Ambition notwithstanding, the extreme tonal shifts, while effective at keeping you invested in The Book of Henry to see what happens next, only half work in totality.
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This writer is an unabashed film music lover. I owned more film score CDs than ones of popular music back in the day and that ratio hasn’t changed with digital media. Hell, I wrote a long-form editorial three years ago proclaiming film music as an improvement of the Mozart Effect for babies and children which led to a playlist afterwards that I still use to this day. I am a mark for what Score: A Film Music Documentary was selling and many of the names and talents featured in the film are found on that personal playlist.
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The soon-to-be 73-year-old Sam Elliott is a goddamn national treasure and no one can convince me otherwise. Most folks go straight for the man’s imposing baritone voice or his sweet ‘stache. I go for his swagger and resolve. What makes Sam’s signature timbre memorable is the determination behind it, not its sound. The purpose makes the presence. Written especially for him by writer-director Brett Haley, The Hero is a sublime epistle to the silver screen specter cast by Sam Elliott.
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The "Pixar Punch," as I like to call it, is alive and well in the vast franchise improvement that is Cars 3. Progressive with diversity and delivered with top-shelf computer animation, Cars 3 will earn your appreciate and change your mind about the series after Cars 2. Here is my newest YouTube "Movie Classroom" video review using the ShowMe iPad app and iMovie. Enjoy!
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In Episode 4 of the new Reel Talker podcast, fellow CIFCC director Jim Alexander and I discuss The Mummy, I, Daniel Blake, My Cousin Rachel, and It Comes at Night newly arriving to theaters. In part two, we talk about the week's new Blu-ray/DVD releases and hot topic movie trends from the week. Listen and enjoy!
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