One the one hand, it's deeply depressing that almost everything I said in my introductory paragraph to last years The Must See Films of 2016 article also applies handily to 2017, because it means that like 2016, 2017 has been an awful year for any number of reasons. One the other, it's also really convenient that I can change the year and have an introductory section to this article ready to go, so I'm going to do just that. You've gotta take the small victories where you can, after all.
2016 2017 may have been a shit year for a vast number of reasons, but the sheer number of high quality films released means that by and large, cinema wasn't one of them. Sure, there have been a few quite high-profile disappointments (I'm looking at you, Warner Bros), but on the whole there have been an awful lot of really great films released this year, to the point where this list became surprisingly hard to narrow down to a reasonable number.
But narrow it down I did. Below are a list of the films released this year in the UK that I would consider to be "Must See" movies - not necessarily the most "worthy" or the most important, just ones that I personally think any fan of cinema owes it to themselves to see.
So, in release date order;
La La Land
It's been almost a full year since I saw it, and I still find myself humming "City of Stars" and "A Lovely Night" from time to time. La La Land's lasting legacy might have been tainted somewhat by an unfair backlash and a now infamous Academy Awards cock-up, but that doesn't stop it from being a beautifully crafted and emotionally resonant film, one that handily puts to bed the idea that "they don't make 'em like they used to". Between 2015's excellent Whiplash and now this, writer/director Damien Chazelle has established himself as not just a director worth keeping an eye on, but one whose films I will always make the effort to see.
You can read my full review of La La Land here.
There's a moment quite early on in Star Wars: The Last Jedi that concisely sums up writer/director Rian Johnson's approach to his entry in this new trilogy. After an opening space battle establishes the stakes of the main plot, we cut to where we left Rey at the end of Star Wars: The Force Awakens, still standing in front of Luke Skywalker with her arm outstretched, offering him his father's lightsaber. He slowly reaches forward, gently takes it from her... and throws it straight over his shoulder and off a cliff. Like Luke, Star Wars: The Last Jedi simply isn't interested in the plot threads left hanging by Star Wars: The Force Awakens, nor is does it care for what direction you thought the franchise might take - and it's all the better for it.
Rather than trying to answer the questions posed by its predecessor, Star Wars: The Last Jedi either ignores them or undermines them entirely in what feels like a deliberate refutation of J.J Abrams' "mystery box", instead choosing to spend its time in much more interesting ways. What we have here what many (myself included) wanted Star Wars: The Force Awakens to be - not a movie that panders to the characters and iconography of the original trilogy but one that isn't afraid to take bold creative risks with them, and while that's certain to anger the more possessive Star Wars fans, it also results in the most original, imaginative and genuinely exciting Star Wars film since 1980.
The Room is almost inarguably the king of "so bad it's good" cinema, a movie so obviously incompetent at every possible level of both film-making and story-telling that it genuinely has to be seen to be believed, but it's the man at the centre of it all, Tommy Wiseau, that really makes it such a fascination. He's not just someone who wrote, directed and starred in a hilariously awful movie - he's also a bizarre, eccentric figure who looks like an alien in a poorly fitted and badly designed skin suit and somehow sounds even stranger, which is only the start of what makes him such an oddity of a public figure. No-one knows how he funded what ended up being the absurdly expensive production of The Room; no-one knows what country he was born in; hell, no-one even knows how old he really is. He is, quite literally, an enigma.
Naturally then, "fans" of Wiseau's trashterpiece are sure to find a lot to enjoy in The Disaster Artist, which is based on The Room co-star Greg Sestero's "The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made". Opening when Greg and Tommy first met at an acting class in 1998 and following them as they move to Hollywood before deciding to make their own movie, The Disaster Artist explores both the relationship between the two of them and The Room's more than just troubled production.
Oh, Christ.
Warner Bros might not be separating their DC Extended Universe films into distinct "phases" in the same way that Marvel Studios have their Marvel Cinematic Universe, but it's pretty obvious that Justice League is the culmination of the DCEU to date in the same way that Avengers Assemble once was for the MCU. As such, with 5 films under its belt it seems only appropriate that we attempt to put these films in some kind of ordered list from worst to best. That the majority of these films are outright terrible makes this something of an unrewarding and difficult task - nevertheless;
5. Suicide Squad
Even referring to David Ayer's Suicide Squad as "a movie" seems like a compliment it hasn't earned - never before had I seen such a poorly edited, incompetently directed and terribly written collection of scenes on the big screen, which when combined with Jared Leto's grimy STD Joker and a confused, ugly aesthetic makes Suicide Squad one of the most deeply unpleasant, cringe-worthy cinema-going experiences I've ever had. That it has its defenders is frankly beyond me - it's anti-entertainment, and I refuse to spend any more time thinking or writing about it than I already have.
You can read my original review of this irredeemable trash here.
