Tag Archives: Spider-Man: Homecoming

March Madness of Movies: Best Superhero Villains of the 21st Century — Round 1

These matchups were vote on by the MovieMinis Staff.

There were a few upsets in “Best Superhero Villains of the 21st Century,” but they do seem rather easily explainable. #5 seed Adrian Toomes/Vulture from Spider-Man: Homecoming topped #4 seed Mr. Glass from Unbreakable; the middle matchup is always up in the air and the former comes from such a massive property. Vulture could put up a fight against #1 seed Bane from The Dark Knight Rises, one of the weaker high seeds. In addition, #6 seed Professor Robert Callaghan from Big Hero 6 took down #3 seed Helmut Zemo from Captain America: Civil War. Zemo rose to a #3 seed due to very strong individual rankings. Plus, he’s not in the film that much, as the main conflict revolves around Iron Man and Captain America. It’s also going to be tough for Callaghan to get much further, as he’ll come up against #2 seed Doc Ock from Spider-Man 2.

Beyond that, everything went as planned. Two of the MCU’s best villains, in #1 seed Erik Killmonger from Black Panther and #2 seed Loki from multiple MCU films, will take on two The Dark Knight trilogy villains, in #4 seed Dr. Jonathan Crane/Scarecrow and #3 seed Ra’s al Ghul.

On the other side of the bracket, #1 seed The Joker from The Dark Knight will battle another smiling evildoer in #4 seed Green Goblin from Spider-Man. Both Ian McKellen and Michael Fassbender’s Magnetos, #1 and #2 seeds respectively, advanced and will take on MCU villains in #3 seed The Winter Soldier from Captain America: The Winter Soldier and #4 seed Ulysses Klaue from both Avengers: Age of Ultron and Black Panther. Finally, the fifth villain from The Dark Knight trilogy, #2 seed Harvey Dent/Two-Face, whose specifically from The Dark Knight, will face the animated contender, #3 seed Syndrome from The Incredibles.

Stay tuned for the round 2 results, which will be posted next week on Friday, March 23!

 

Featured image via Marvel/20th Century Fox/Sony Pictures/Warner Bros.

Kyle Kizu’s Top 25 Films of 2017

While 2016 limped through the Spring and Summer seasons before finishing strong, 2017 proved to be a brilliant year for film since the first few months.

Spring films such as Get Out and Logan evoked profound conversation about genre pictures, their potential and their impact. Summer studio films reinvigorated the term “blockbuster” with some actual weight. And the Fall/Winter awards contenders might be, as a whole, even more plentiful than last year.

Essentially, I had a blast at the movies in 2017. The cinematic experience is special and there were so many different times when I felt a sense of immersion, engagement and/or excitement that I hadn’t ever felt before. Thus, I couldn’t simply list a top 10 when I had upwards of 50 films I thoroughly enjoyed. So, I tasked myself to come down to 25.

To be very clear, this is a list of my personal favorites of the year. I am not suggesting that these are the best films of the year. Those are two rather different conversations. These 25 films are ranked based on how I personally responded to them, and I do recognize that some not in my top 10 favorites are among the top 10 best of the year.

Without further ado, here are my top 25 films of 2017, with some honorable mentions since narrowing down was too difficult:

Honorable mention: Columbus

Superlative Films/Courtesy

Video essayist Kogonada’s feature directorial debut, Columbus, which he also wrote and edited, is visually fascinating, beautiful and tranquil. While the story is about architecture, the film, itself, almost becomes a piece of architecture in its exquisite shot construction that reflects character interiority unlike any other film.

Honorable mention: Their Finest

Nicola Dove/STX Entertainment/Courtesy

Their Finest is one of the more refreshing stories of the year. Gemma Arterton leads the film with verve, complimented by Bill Nighy’s hilarious wit and Sam Claflin’s dashing charm. By the film’s end, after traversing the frightening setting of WWII Britain and the inspiring efforts of the British film division in inspiring its country, we come away with a lovely ode to the immense importance of the female perspective in storytelling.

Honorable mention: The Big Sick

Amazon/Courtesy

The Big Sick is almost more about family, perspective and culture, until the central romance gets its time to shine again and tugs at our hearts. That’s what makes the film so special, that it has so many different sides to it. There’s the budding relationship between Kumail and Emily, but also the conflict between Kumail and Emily’s parents, the conflict between Emily’s parents, the calls of friends in search of a career and the struggle of cultures clashing. The screenplay integrates ever aspect into a wonderful whole, and the actors all turn in such deeply felt performances.

Honorable mention: Abacus: Small Enough to Jail

PBS/Courtesy

Abacus: Small Enough to Jail follows the small bank Abacus, founded by a Chinese family in a U.S. Chinese community, as it is sued by the U.S. government in relation to the wide scale fraud that caused the 2008 financial crash. In fact, Abacus is the only U.S. bank to face charges. The immediate sense of injustice that that simple description evokes drives the entire emotional undercurrent of the documentary. But the doc goes even further, diving deeply into the cultural significance that Abacus played and still plays in its community as well as the cultural work ethic of the Chinese family behind it. The continuous conversation between the intimate small scale and the epic large scale makes this easy to both invest in and be fascinated by.

Honorable mention: Get Out

Universal Pictures/Courtesy

Allow me to explain. I do fully understand that Get Out is among the ten best films of the year and, while I disagree, I believe in the validity of arguments that call it the best. The leveraging of genre allows writer-director Jordan Peele to tell not only one of the most biting and invasive horror stories, but simply one of the most astonishingly polished narratives of any kind. But that brings me to why it can’t quite break my top 25. It’s tightly constructed. In my personal viewing experience, it was almost too tight to allow the film to take me over in ways that the 25 below did, even though I was mesmerized by the filmmaking on display.

 

25. Okja

Netflix/Courtesy

Okja is such a sublime film, one glowing with a sense of care for its originality and not just originality for its own sake. The titular super pig is an adorable blend of a pig, dog and hippo, rendered stunningly by the visual effects team, and the relationship Okja has with Mija (Ahn Seo-hyun) is one of the most authentic animal-human relationships in film of recent memory. Throw in inspiration from French and screwball comedy cinema, such tightly controlled storytelling from Bong Joon-ho and wacky delightful performances across the board, and Okja is nothing short of a joy to watch.

24. The Post

20th Century Fox/Courtesy

For obvious reasons, The Post is gripping and engaging. It reflects the unsettling world we’re encountering today. But the film is also rather uplifting. Director Steven Spielberg injects a purely journalistic energy into the camera and the pacing, and frames an emotionally moving feminist story around Washington Post publisher Katharine Graham, whom Meryl Streep plays with the utmost nuance.

23. Spider-Man: Homecoming

Marvel/Sony/Courtesy

When Marvel acquired rights to include Spider-Man in the MCU, one couldn’t help but fear that the web-slinger would fall into the studio’s generic formula. But, surprisingly, Spider-Man: Homecoming turned into one of the universe’s most enjoyable films precisely because of how it treated Peter Parker as a singular character with his own journey. And that journey is one filled with thoroughly realized conflict of youth/adolescence. In reality, Homecoming is a coming-of-age film, and one of the better ones. Parker is imagined brilliantly and his character’s arc is intertwined with the plot in ways that do the character so much justice.

22. Logan

20th Century Fox/Courtesy

A film about coming to terms with death and finding our true hearts, Logan is as much a modern Western as it is an X-Men flick. Like everything else in the picture, Hugh Jackman turns in a raw, weathered performance that truly situates Logan as depressed and suicidal. But it’s the very character work of the screenplay, the first superhero film Oscar nominated in writing, and the extremely tight direction of James Mangold that makes that journey an endlessly satisfying and emotional one.

21. Our Souls at Night

Netflix/Courtesy

Our Souls at Night could be described as a “dawning-of-age” film. It’s quiet and soulful, told from a perspective that holds the past close to heart without ever necessarily being explicit about it. And every part of the film takes on that idea, from the pacing to the dialogue to the actors. Leads Jane Fonda and Robert Redford turn in performances that are both wholly lived in and, thus, sneakily profound. The film does not necessarily state its existence like most of the art form does, and that’s exactly why it’s so good.

20. The Shape of Water

Fox Searchlight Pictures/Courtesy

It’s hard not to get wrapped up in Guillermo del Toro’s fantastical, magical vision. The world-building production design, almost balletic cinematography and the empathetic, truthful performances of Sally Hawkins and Richard Jenkins grab us by our hearts and just don’t let go. And it’s exactly that empathy that makes this film so special. The story is a touching reflection on the Other, on those that feel out of place and as though they don’t belong. Even though Sally Hawkins’ Elisa doesn’t speak, the emotional strains in her face as she expresses herself shows us that she is, in a way, the most human of us all.

19. Lucky

Magnolia Pictures/Courtesy

Oh Harry Dean Stanton, you legend. In Lucky, the late actor delivers a performance that is equally as hilarious as it is profound. He owns the screen, especially when on it alone, and imagines both the physicality and mentality of the titular Lucky so deeply. And while the film is, essentially, a vehicle for his performance, that focus allows its story to evoke some weighty ideas about life and when it’s coming to an end. Through some totally bizarre yet awesome moments, the film reminds us that both making connections and living freely is what will make the most of our lives.

18. The Breadwinner

Gkids/Courtesy

The Breadwinner may be one of the most carefully executed stories of the year. The film deals with such heavy subject matter, painting the image of women in a culture that so often suppresses them. But it also contextualizes the brilliant strength that these women build out of it, and the beautiful family bonds that so many form. There are moments, visually arresting ones, that do justice to the harsh truths at the film’s core, but the filmmakers also opt to make use of elements of innocence and wonder, specifically in its children, to complement. The result is a majestic, culturally-infused fable of bravery and love, delivered with such power by the voice performances, the score, the animation work and director Nora Twomey guiding it all so wonderfully.

17. Molly’s Game

Michael Gibson/STX Entertainment/Courtesy

Most of the time, an Aaron Sorkin film demands and earns a level of entertained engagement that few other films do. His writing is so utterly electric, and Molly’s Game is more of such, but also a platform on which he shows that his directing work can also accomplish the same. Structurally brilliant, ebbing and flowing with immense energy and building to unexpected levels of emotion, Molly’s Game is also a reminder that Jessica Chastain is one of the best in the business, period. She chews on Sorkin’s words so smoothly and effectively, producing a spark in her character that few other films of the year have.

16. The Florida Project

A24/Courtesy

What might perfectly describe Sean Baker’s The Florida Project is empathy. The film is, quite obviously, so much more than just that, but it does seem like every feature also adds to the film’s wholesome, beautiful sense of empathy. Every part of the filmmaking works to situate the viewer with Moonee (Brooklynn Prince), whether that be the oft low angle, vibrant cinematography, the free flowing narrative structure or the endlessly playful character moments. And as the situation surrounding Moonee gets tougher and tougher, we stick with her, not necessarily confronting everything, but growing an attachment to her and a need to see her come out of it all okay.

While every bit of that is such brilliant, perspective-based filmmaking, the full execution of it all rested on Prince’s shoulders, and the seven-year-old actress is a jaw-dropping force of nature. The spirit in her character emanates off of the screen at every minute, and she pulls off a scene at the end that is just unexplainably masterful.

15. Phantom Thread

Focus Features/Courtesy

Phantom Thread is like a lovely dream. It’s so odd, yet it feels undeniably real in the moment. It floats and fades before pronouncing itself again. And as we leave it behind, as we leave the theater, it’s tough not to long for it.

That’s the power that Paul Thomas Anderson has as a storyteller. With his most recent, he draws us into this delirious and delightful world, making us swoon and then shocking us, making us scratch our heads and then drawing us in so intensely. There’s a clear sense that, although the film might not seem easy to process at points, because it all ties in so efficiently at the end, Anderson had such purposed drive in every choice, in every line of dialogue.

And with that, as with every other PTA film, comes magnetic performances. Day-Lewis is wickedly delicious, but so is Lesley Manville, and Vicky Krieps takes control of every frame with eyes as fierce as any.

14. Kedi

Oscilloscope/Courtesy

A documentary about cats was, quite clearly, too simple of an expectation. It should’ve been more evident that the film would be something so much more layered.

Kedi is, for the lack of a better word, beautiful. For cat lovers, it’s irresistible. The simple image of them throughout the film yanks out more smiles than most movie experiences ever will. But the cats are placed into context. They’re not simply cute animals; they’re a part of the Turkish culture and, thus, a part of the Turkish people’s lives.

For some, these cats are close friends. For others, these cats are family. And for a few, these cats are the difference between life and death. What’s most surprising about Kedi is its mental health aspect, lovingly depicting stories of people whose faith was confirmed or whose depression was helped by them.

And its through this image that the film becomes a profound statement on life. One line toward the end of the film says it better than any analysis can: “A cat meowing at your feet, looking up at you is life smiling at you. Those are moments when we’re lucky. They remind us that we’re alive.”

13. The Lost City of Z

Amazon Studios/Courtesy

The Lost City of Z, at least today, is a type of film that we rarely get. It’s an exploration epic that truly earns the epic through exactly how it explores.

Writer-director James Gray takes his time. The film is slowly paced, at first searching. But with fully immersive and mesmerizing sound design, production design and cinematography, we become invested in the world. Thus, when a journey is taken up by Percy Fawcett (Charlie Hunnam), we’re committed alongside him.

It’s brilliant character alignment that a polished, efficient storyteller like Gray thrives on. But what he does with the journey itself is truly special, placing us in the obsessive head of Fawcett so that we also end up overcome by the wondrous possibilities of the jungle. By foregrounding the personal to evoke the mythical, The Lost City of Z can accomplish both an emotional story and a fascinating one. It’s an experience that we likely won’t get from anyone else.

12Icarus 

Netflix/Courtesy

With Icarus, director Bryan Fogel accidentally struck gold, and what starts as a documentary about the potential for cycling drug tests to be undermined turns into a geopolitical thriller about how Russia has had a vast history of doping in sports and how wildly powerful people, like Putin himself, worked to cover it up.

The fascination levels are off the charts, perhaps exceeding that of any film of the year. And while the situation may have been accidental, Fogel tracks, orchestrates and constructs it all so that the fascination we viewers have is no accident. We are guided to fall into the circumstance with jarring force, but also with such perfectly precise pacing, which carries on throughout the rest of the film as the layers expand and expand.

And, in the filmmaking’s regard, Icarus also functions as a gripping character piece. Grigory Rodchenkov is, at first, simply the quirky doctor who guides Fogel through his doping regimen. But Rodchenkov is at the center of the scandal as it all kicks off. As we follow along, his story becomes filled with a profound history, toned by the current personal pain and fear for his life that the weight of an entire government rejecting his claims and putting him down causes. Yet, Fogel also makes sure to capture the fact that, through it all, Rodchenkov retains his delightful sense of humor.

Icarus truly is a wonder of storytelling that could only come through the documentary medium.

11. Jane

Abramorama/Courtesy

Jane is a sneaky documentary. It starts with plenty of intrigue — over 100 hours of footage of Jane Goodall’s first journeys has resurfaced. And the first half of the film is appropriately fascinating, operating almost as a silent film with the lack of words from Goodall in the footage, but elevated greatly by both the sound from the footage and the sound design added to it.

Yet, the whole time, due to director Brett Morgen’s calculated construction of footage, narration from an interview with Goodall and other aspects such as that sound design or Philip Glass’ outstanding score, the film genuinely captures the life lived by Goodall.

And once the final half hour starts, we become consumed by the fact that we’ve just seen an expansive, singular, epic life on screen. The film evokes journey, but it also evokes nostalgic reflection, without regrets and filled with appreciation. It’s rare to feel the intangible weight of a person’s life. Cinema, the place where that can be accomplished, doesn’t always pull it off. But Jane does.

10. Lady Bird

A24/Courtesy

The phrase “lived in” may apply here and there, but Lady Bird is, arguably, the epitome of what it truly means. There’s so much specificity not only in every scene, but in every frame. And while such intense specificity may seem as though it would be alienating, it actually casts a net of details so wide that the film becomes more universal than it would be were it not so specific.

With these details that writer-director Greta Gerwig puts into her film comes the truths behind them, and with so many truths, every single viewer has the potential to find their own truth reflected back at them. We may not have had a mother like Laurie Metcalf’s character, but we had a best friend like Beanie Feldstein’s character. We may not have struggled with depression like Tracy Letts’ character does, but we struggled with depression like Stephen McKinley Henderson’s character does. We may not have fallen for a guy like Timothée Chalamet’s character, but we feared the future like Saoirse Ronan’s Lady Bird does. And even if we didn’t experience certain aspects, Gerwig renders everything with such empathy that it’s hard to, ourselves, not feel deeply for every single character.

9. Loving Vincent

BreakThru Films/Trademark Films/Courtesy

It’s a bit unfair, as the film is the first to ever be made entirely of paintings, but Loving Vincent is, by far, the most visually stunning film of the year. The material quality that the paint lends to the image creates, in the transition between frames, such transfixing, majestic, enchanting visual movement that is singularly cinematic.

For a good portion of the film, the visual element is most of what there is to latch onto. And that’s because the true storytelling work that Loving Vincent is doing is not fully realized until the final act, in which the film establishes itself as a story about mental health.

The story follows Armand Roulin (Douglas Booth) as he comes across people who knew Vincent van Gogh before he killed himself. Each has a different story to tell. van Gogh was either a cold, distant and rude man or a soft, gentle-hearted and shy one. He was either a humble painter or visionary genius.

Yet, no one really knew van Gogh — except for the other artist he lived with before he died. van Gogh was struggling with depression. No one else understood, and so, everyone else made judgments. It’s a film about impressionism, until it suggests that impressions are flawed.

And the film clearly differentiates the perspectives of these perceivers and the perspective of truth, pushing the idea that van Gogh lived his life for no one other than those he loved and for nothing other than his mode of expression — his paintings. In that sense, Loving Vincent is one of the more distinctly human films of the year.

8. Mudbound

Netflix/Courtesy

Mudbound is rich in every sense of the word. It is both literary and cinematic, combining beautiful visuals with profound symbolism to heighten its emotional impact. Director and co-writer Dee Rees tackles race relations in the South during and after WWII with such wholesome yet restrained storytelling. But she also investigates the many different sides of these characters and their stories at the same time, such as a mother fearing for her son at war, soldiers struggling with PTSD, a woman at the will of a husband in the mid-20th century and more.

Mudbound‘s cinematography is breathtaking, as is its sound, production and costume design, and its score. These elements add to the rich narrative intangibly, but also directly locate the film in the South and as a Southern family epic. And each performance is firm, controlled and empathetic — specifically those from Garrett Hedlund, Jason Mitchell and Mary J. Blige — coalescing into the true ensemble of the year.

Mudbound is all-encompassing and tragic for that very reason. Rees subtly makes the forces of society at the time so sneakily overbearing, before showing them as fully and truly horrifying as they were.

Yet, the film leaves us on an uplifting note, crafting one of the most powerful endings of the year.

7. Star Wars: The Last Jedi

Lucasfilm/Courtesy

Where Star Wars: The Last Jedi diverts is exactly where it becomes so enthralling. As much as it worked for the original trilogy, that idea of a hero, fated to save the galaxy, was never going to work again for these new films. And so, writer-director Rian Johnson envisioned a new type of hero while deconstructing that old one.

Luke was always going to be at the center of such deconstruction. But the approach, rather than undermine the character, actually expands upon him. In The Last Jedi, Luke confronts the flaws of what he once considered his fate. He confronts old age and the traumatic scars that a perfect past ruined by the more immediate past leave, and Mark Hamill embraces these vulnerabilities entirely.

On the other end, Rey confronts the fact that her need for destiny could never be fulfilled, that she was convincing herself of the presence of one to hide from the fear that comes with confronting the world alone, and Daisy Ridley realizes this conflict thoroughly.

Rian Johnson empathizes with that fear, and the story that he crafts, in leading from fear to bravery, powerfully announces the purpose of this new trilogy. Where The Force Awakens is familiar, The Last Jedi is jarringly, but effectively different. And as Johnson also envisions visual elements that we’ve never seen before in one of these movies, as well as visual perfection of what we have seen, The Last Jedi marks itself as a the new era of Star Wars.

6. Hostiles

Entertainment Studios/Courtesy

Hostiles starts with Joseph Blocker, an army captain filled with hatred for the Native Americans who’ve killed his friends. And writer-director Scott Cooper unforgivingly foregrounds the brutality that pushes Blocker to feel that way.

But slowly, Cooper guides us along the methodical, quiet, bruised journey Blocker takes in escorting a terminally ill Native American chief, who’d killed his friends in their past encounters, back home to die on his lands — a journey that asks Blocker to give up hatred.

Not many films take hatred head on like this one does, especially because one misstep in characterization or arc could result in something troubling. But Cooper handles his narrative with perfect construction. As he foregrounds the brutality that drives the white man’s hatred, he continually reminds us of the background of a Native American genocide that has been taking place. While Blocker experiences such explicit violence in the moment, these Native Americans have been subject to less visible, more long term violence.

In that way, Cooper does not set out to redeem Blocker, but to display the process of an understanding that both Blocker and the Native American chief come to. And Cooper succeeds in doing so through not only his perfectly paced out, heartbeat-like moments of development, but through the slow shift in emotional energy from aggression to spiritual contemplation.

With Christian Bale bringing Blocker to life so viscerally and intensely through his captivating use of his eyes, delivering his best performance yet, Hostiles is an unforgettable and haunting Western that becomes even more so in retrospect.

5. War for the Planet of the Apes

20th Century Fox/Courtesy

After Rise and DawnWar for the Planet of the Apes had the opportunity to turn Caesar into a truly biblical figure in future ape history. And the film accomplishes that enormous task.

Director and co-writer Matt Reeves pulls this off through an intimate focus on character within war rather than war around character, and not only narratively, but visually too. Close-ups in this movie are just as beautiful in the visual work they do as they are in the character work they do.

Reeves’ approach to Caesar is not to idealize him, but to morally challenge him. The oppression of the apes becomes so intense that it literally manifests in Holocaust-esque imagery. Thus, its difficult not to understand the hatred that builds in Caesar, who, again, is rendered absolutely masterfully by Andy Serkis.  And since it’s difficult not to sympathize, it becomes all the more profound when Caesar steps painfully in the right direction, capped in utter perfection with one of the most powerful character climaxes of the year. Yet, Reeves also understands that good villains are reasonable, and makes the fall of this film’s antagonist more so tragic than triumphant.

War for the Planet of the Apes stands out among the blockbuster field for these very reasons. It understands, more than even most that also do, that such a massive canvas can be so effective if based in character.

4. Blade Runner 2049

Warner Bros./Courtesy

Blade Runner 2049 had no business working as well as it does. But all it took was a simple shift in perspective, from human to android. And with that shift, director Denis Villeneuve composes a tale that exceeds the profundity of even the original.

The film is a visual masterpiece, full of absolutely arresting cinematography from Roger Deakins and jaw-dropping production design, both of which leverage light in stunning fashion. And these technical elements add to the story, which builds and focuses on a world void of natural life, of natural light and of natural color. Essentially, everything is digitally constructed. So how can humanity still exist and move forward?

Through challenging the notions of humanity that humans have adopted for their entire existence. Through ruminating on exactly what it means to have a soul. Villeneuve deftly paces out this journey that Ryan Gosling’s K takes, allowing for long stretches of quiet, hypnotic development. And through that approach, Blade Runner 2049 establishes that humanity does not come from birth nor from purpose bestowed upon someone. Rather, it comes from the purpose one creates for himself, from establishing a sense of self precisely through a sense of others. Villeneuve’s film is prescient, especially in today’s world and considering the society we’re building to. It’s tragic, yet the necessary humanist touch that large canvases need more of.

3. Call Me by Your Name

Sony Pictures Classics/Courtesy

Call Me by Your Name is about bodies, and how bodies fall into and embody love. That’s why the many shots of stretched arms, toes touching, mouths meeting and more are so powerful in this film. Each is so sensually evocative because they represent how the feelings created in our minds are made real, tangible and accessible to another.

The atmosphere within which this all occurs is just as drunkenly alluring as the bodies themselves. The dream-like quality of a summer full of freedom is masterfully achieved by director Luca Guadagnino, and realized with painterly beauty by cinematographer Swayambhu Mukdeeprom. Moments aren’t necessarily connected, but still flow into one another with an unparalleled fluidity. 

The film risked indulging in the dream-like. But actors Timothée Chalamet, Armie Hammer and Michael Stuhlbarg all breathe their characters to life. Chalamet, particularly, lends Elio Perlman a physicality that perfectly represents the conflict between the summer’s freedom and the frightening feelings that his body aches to express. And as that conflict releases into love, and that love is then cut off, Elio encounters another bodily conflict, that of pain in no longer being able to express through his body. This gives Chalamet the scene of the year, as he stares into a fire in a long, single take, traversing a slew of unbearable emotions hauntingly.

Call Me by Your Name, in its entirety, is the love story of the year.

2. A Ghost Story

A24/Courtesy

A photograph. A song. A poem. A film. Each one of these mediums of art feels like an appropriate description of David Lowery’s A Ghost Story, and that might be because the film makes use of qualities of each. In long, uncut, still shots, the film stresses framing and the importance of sitting with a moment in time. Narratively and thematically, the film suggests that music is the art through which we express and through which hold onto expression. In its rumination on time, navigating this world on entirely spiritual terms, the film seems to almost speak, and speak rhythmically. And the composition of this all is specifically cinematic.

A Ghost Story is one of the few films of the year, and truly of any year, to so bravely confront time. How Lowery constructs it within the film is fascinating, and helps us to be able to inhabit the ghost, even if just for a moment. As said before, the film contemplates the importance of the still moment, played out in its entirety. Five minutes uninterrupted seem like an eternity. And yet, years can also flick by in an instant. Why is that so?

Time, especially for those who have passed, challenges our existence. Do we still exist after we die? Do we still need to? And Lowery pulls off a miracle in directing this arc of the ghost, an almost comically looking figure with no mode of expression, with such emotional perfection.

A Ghost Story is simple and minimal, and yet, it feels galactic. It’s often lacking the sight of a human being, and yet, it so profoundly ponders humanity. It’s hard for the film not to feel personal, for it not to feel invasive in how vulnerable it asks us to be.

1. Dunkirk

Warner Bros./Courtesy

It may be because I’ve written nearly five thousand words for this list up to this point, and I’m tired. It may be because, for anyone who knows me or has read my work, this comes as no surprise. It may be because I’ve already written at length about Dunkirk elsewhere, like in my full review of the film. It may be because I’m unsure of whether or not I can do the film justice considering how strongly I feel about it. It may be because I’m finally realizing the extent to which a “favorite film” is personal.

Dunkirk is my favorite film of 2017. In a slightly egocentric and naive point of view, I feel that staying guarded of a personal favorite allows me to still feel as though it’s mine.

In reality, though, it’s mostly because I’m tired. But I won’t be writing anything about Dunkirk here.

Thanks for reading.

 

Featured image via Amazon Studios/Netflix.

 

*Writer’s note: Of course, I am aware of the previous allegations made against Casey Affleck, who appears in A Ghost Story, and it’s my responsibility to explicitly address them. In no way do I condone, make excuse for or ignore Affleck. My support is and will always be with not only the women affected by Affleck, but the entire #MeToo and #TimesUp movements — the silence breakers — that have so bravely led this cultural shift we so desperately need. I would like to consider myself a part of those movements, and I will continue to fight for them.

I include A Ghost Story in this list because it is a personal list and it would be a lie to say that it’s not my second favorite film of the year. I responded to it so strongly and on such a personal level. But I know that there’s also a difference between having it as a personal favorite and writing about it as a personal favorite. I don’t feel as though I could write this list, which I feel I have a right to write, without it, so I wanted to hit a middle ground: write about it, but address Affleck. I hope that I’ve handled this with respect.

Top 10 coming-of-age films since 2010

The coming-of-age genre has always been an exciting framework through which some of the more fruitful and engaging stories of any given year are told. But those stories also shed some light and visibility upon a section of people that too many films often get wrong or simply don’t care for: the young. Youth is a complex time in one’s life and deserves complex deconstruction that embraces the humor, awkwardness and explicitness that comes with it. And in the past few years, the genre has exploded with landmark tale after landmark tale. From a fantastical take such as Wes Anderson’s Moonrise Kingdom to the literal interpretation of the genre with Boyhood, coming-of-age has been a playground, both literally and figuratively, of the utmost profundity.

10. Spider-Man: Homecoming

Marvel/Sony/Courtesy

Spider-Man: Homecoming truly does wear its John Hughes inspiration on its sleeve, but in a way that feels so right and so natural to the character of Peter Parker. More than most superhero films, Homecoming focuses on youth and what a young teenager might look like as he deals with the responsibilities both of high school as well as of being a hero. The journey is truly about Parker realizing that he has to pass his classes and that he should be having fun with friends, a mindset through which he may realize that, as a hero, he can’t do everything, especially everything that an older hero like Tony Stark can. The film never sacrifices that notion, ending on the perfect note. Director Jon Watts also not only embraces those subjects, but injects the verve of adolescence into the energy of the film itself — the pacing is dynamic and the tone is always genuine, sweet, hilarious and fun. Spider-Man: Homecoming is inarguably a coming-of-age film and a superhero film.

— Kyle Kizu

9. 20th Century Women

A24/Courtesy

What’s so striking about Mike Mill’s 20th Century Women is that it not only crafts a coming-of age-story specific to the 1970s, but that it also deftly handles multiple characters’ journeys. Focusing on a post-Vietnam age, with the hippie movement almost in full force in California, the film places topics of gender, sexuality and individuality at the forefront, which, with a plethora of youthful characters, means some tensions on those fronts. Yet, the film is never exploitive nor indulgent, instead bringing an authenticity and agency to the young women, Elle Fanning and Greta Gerwig’s characters, and intertwining all of their journeys to lead to a particularly poignant and tranquil end.

— Kyle Kizu

8. American Honey

A24/Courtesy

Directed by Andrea Arnold, American Honey finds a balance between a road movie and a coming-of-age tale, both of which show a part of America rarely seen on the big screen. Detailing the poverty that strikes much of the midwest and southern parts of the United States, American Honey is not a traditional coming-of-age story where someone finds themselves at the end. Instead, the film is about people, especially young people, who are lost in the world. Through Sasha Lane’s star-making turn as the lost Star, the audience embarks on a journey of forgotten and disrespected millennials, guided by a traveling sales crew leader Jake (Shia LaBeouf’s best performance yet). What the millennials are selling to unsuspecting buyers might be fake, but the honest portrait of teenagers unsure of who they are in this world couldn’t be more real.  

— Levi Hill

7. Moonrise Kingdom

Focus Features/Courtesy

While it can be argued that every Wes Anderson movie is a coming-of-age story (even for the middle age sort), Moonrise Kingdom takes its spot next to Rushmore as one of the most idiosyncratic, but beautifully crafted coming-of-age films. The film, in a way that only Anderson can, takes the feelings of first-love and creates a relatable, if unrealistic tale about a community chasing after two young eloping lovers (Kaya Hayward and Jared Gilman). Throw in a starry cast including Bill Murray, Frances McDormand, Tilda Swinton and Edward Norton, a wonderful score from Alexandre Desplat, the typically gorgeous production design found in an Anderson film and a story about how love comes in many shapes and age groups, and Moonrise Kingdom is a whimsical and delightful coming-of-age story.

— Levi Hill

6. Dope

Open Road Films/Courtesy

Dope is refreshing in many ways, not the least that it gives its coming-of-age trappings an unique point of view. Relying on a star-making turn from Shameik Moore, Dope’s main success comes from its ability to subvert stereotypes. Unlike most Hollywood produced coming-of-age stories, Dope is strictly about an intelligent, young African American high school student as he juggles college applications, the SAT and academic interviews — all in the hopes of getting into Harvard. Even when it turns into a fast-paced caper film of Malcolm (Moore) being in the wrong place at the wrong time — explicitly opening dialogue around urban Black stereotypes and such — writer-director Rick Famuyiwa refreshingly plays against expectations. Malcolm is a brilliant, quick-witted, handsome young man and he’s not going to let society tell him differently. Because of this, Dope stands apart from 95% of modern-day youth stories.

— Levi Hill

5. The Edge of Seventeen

STX Entertainment/Courtesy

Kelly Fremon Craig’s directorial debut, The Edge of Seventeen, is vibrant, hilarious, truthful and different. The film overcomes its potential genre pitfalls by embracing the bluntness of its main character Nadine (an outstanding Hailee Steinfeld). While Nadine may be shy among strangers, the film itself, with pitch perfect editing, writing and performances from its ensemble, tackles high school life with a similar head-on strength that she shows when among friends. Whether it be through typical high school hijinx, through the oddly specific situation of Nadine’s best friend dating her brother and through the grief in all of Nadine’s family after her father’s death, The Edge of Seventeen takes youth seriously both in its fun and its struggles, realizing that every side of youth is intertwined.

— Kyle Kizu

4. Moonlight

David Bornfriend/A24/Courtesy

Moonlight is a singular coming-of-age tale. While it may explore sexuality and individuality as many other films do, the way in which those aspects are understood and the particulars of those aspects, that this is a story about a gay Black man, stand apart. Structured almost like a play in three literal acts (it was based on Tarell Alvin McCraney’s play In Moonlight Black Boys Look Blue), Moonlight crafts a story that’s both quiet and pulsating, as it’s in the silence, in the soft glances and pained reactions, where the film says most. It allows us to absorb, through its cinematography, its breezy sound design, its unbelievable performances and more, the complex pains of a young boy/young man, Chiron, constantly having to reconcile himself with his city, his family, his community and himself when all seem to actively work to suppress. The film is simultaneously about Chiron understanding his sexuality and about him understanding his masculinity. We see him hide behind masks throughout, but we also see him yearn to be himself, which renders his quiet vocalization of truth at the end, to the one man he loved, so utterly powerful.

— Kyle Kizu

3. Lady Bird

A24/Courtesy

More so than maybe any film on this list, there’s a universal specificity to what Lady Bird accomplishes. All coming-of-age stories are deeply personal, as they chart (typically) an individual’s realization of their own personhood — who they are going to be in this world. But Lady Bird doubles down on this, acting as a photo album of a year (a senior year in high school) for Christine “Lady Bird” Mcpherson (Saoirse Ronan) in the sleepy town of Sacramento, California. Within this year, she dates some boys, meets new friends, joins theater, leaves theater, loses her virginity, learns of her dad’s depression, gets accepted to a college 3000 miles away and argues with her domineering, but ultimately caring mother (the Oscar-worthy Laurie Metcalf). While some of this may sound sad, or almost too specific, writer-director Greta Gerwig makes sure that this personal story is filled with grace and warmth. Whether in a small scene of her father giving Lady Bird a cupcake on her birthday morning, or when she crushes on a boy at a garage show, or when she argues with her mother about if she should just go to the nearby UC Davis rather than a school in New York, Lady Bird captures that very important year in all of our lives with more authenticity than nearly any other film.

— Levi Hill

2. Boyhood

IFC Films/Courtesy

Boyhood is a landmark film for a multitude of reasons. While the 12-years-in-the-making component is one of the first — if not the first — for a fictional feature, it’s how the story reconciles these 12 passing years. Using the same actors, with most of the same locations, writer-director Richard Linklater wisely focuses on how time, and thus age, affects us all. In a literal sense of coming-of-age, we see Mason (Ellar Coltrane) go from childhood to the fringe of adulthood. Linklater never magnifies the scale more than exactly what time gives us. Instead, for nearly three hours, the audience is asked to quietly ruminate on life experiences. To split time between divorced parents. To watch your mom go in a different career. To move from one city to the next. To make new friends. To have your first feelings of love. To smoking weed for the first time. To going off to college. In Boyhood, 12 years of a lived life happen, which create the most epic, yet intimate film on this list.

— Levi Hill

1. Call Me by Your Name

Sony Pictures Classics/Courtesy

Call Me by Your Name is not just about the central relationship. Yes, it’s a stunningly tender portrait of two young men exploring their sexuality together, but it’s also a very raw look at two young men grappling with their individual insecurities and their inadequacy. And writer James Ivory and director Luca Guadagnino accomplish this through their focus on the quiet, minute, almost untraceably intimate moments that end up building to something so tangible and real.

The actors adopt this method, finding truth in every aspect of their performance. Timothée Chalamet, as Elio, is a revelation, evoking playfulness, but behind a guarded exterior. We see the struggle Elio traverses in realizing his attraction to Armie Hammer’s character, Oliver, and — through Sayombhu Mukdeeprom’s erotic cinematography — we’re guided along as he slowly opens up to the idea. Next to that, Hammer’s character is purposefully elusive, rendering the moments of contemplation, particularly one in a hotel room, all the more emotional.

And at the end, Call Me by Your Name unveils its coming-of-age narrative. Through Michael Stuhlbarg’s character, as Stuhlbarg delivers the most profound monologue of the year, we understand that Elio and Oliver helped each other be themselves and feel good about themselves. Stuhlbarg’s monologue emphasizes the difficult notion that, too often, we hide from our feelings, especially those of pain — and as Elio grows and becomes an adult, he has to make sure to feel even if it hurts.

— Kyle Kizu

 

Featured image via IFC Films.

Box Office Report: ‘Blade Runner 2049’ is slow out of the gate

Blade Runner 2049 won the weekend handily, taking in an estimated $31.525 million. However, that number is well below the initial $45 million estimates and a definite disappointment for a film with a $150 million price tag. The sequel to the landmark classic Ridley Scott film has gotten outstanding reviews so far, currently sitting at an 89% on RottenTomatoes, and it’s directed by recent Oscar nominee Denis Villeneuve — all of which poses questions about how studios will value talent behind the camera and a well-received film against how well said film does financially. With another $50.2 million from international markets, and it still to release in more markets, the film has a road to profitability, especially if the good reviews and word of mouth give it legs. But that will be answered by next weekend’s numbers.

Coming in second is The Mountain Between Us, making an estimated $10.1 million. The Idris Elba and Kate Winslet-led film has crashed critically, and needs to hit approximately $70 million to recoup its $35 million budget and marketing costs. It currently stands at $13.7 million worldwide.

Continuing its dominance is the Stephen King adaptation It, grossing approximately $9.655 million. With that, its domestic total has crossed $300 million and if it doesn’t completely fall off, it should overtake Spider-Man: Homecoming’s $332.8 million domestic total.

The third new release this weekend, My Little Pony: The Movie, placed 4th with an estimated $8.8 million. Animated films have been sparse this year with Pixar’s Coco still not releasing for over a month.

Kingsman: The Golden Circle, the actual winner of the previous weekend, dropped to 5th with an estimated $8.1 million. While the film doesn’t have as golden of a critics’ rating as the first, it’s well into profitability, which could warrant a third if director Matthew Vaughn wishes.

In 6th, the Tom Cruise-starring American Made made an estimated $8.073 million, bringing its domestic total to $30.444 million. While some were concerned about its slow start last weekend, the film will end up making its money make, sitting at $98.544 million worldwide on an estimated $50-$60 million budget.

This upcoming weekend sees the release of Happy Death Day, and horror films always end up rather successful in their opening weekends, so Blade Runner 2049 will have to fight off scares to forge a trajectory to success.

*All weekend numbers are domestic, meaning that they’re from theaters in the US and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

 

Featured image via Warner Bros.

Box Office Report: ‘It’ eats new releases ‘American Assassin’ and ‘mother!’ to remain on top in second weekend

Monster hit It once again took home the top spot at the box office, drawing in an estimated $60 million this past weekend, bringing the domestic total of the Stephen King adaptation to $218.71 million. With many weekends still left to devour, It already stands as the eighth largest domestic grossing film of the year and will jump past The Fate of the FuriousLogan and Despicable Me 3 to the fifth spot by the end of next weekend. By the end of its run, the film could challenge Spider-Man: Homecoming, which brought in $1.875 million this weekend to hit $330.26 million domestically, and even, if it has as strong of legs as it seems rearing up to, the $389.8 million of Guardians of the Galaxy Vol. 2.

New releases took the second and third spots of the weekend. The Michael Keaton-starring action film American Assassin racked up an estimated $14.8 million domestically. On a $33 million production budget, the film looks like it might just make its money back, needing to reach about $70 million worldwide to turn a profit.

Darren Aronofsky’s art house horror film mother! struggled at the box office, only making an estimated $7.5 million, likely due to an incredibly unmarketable story (and thus, poor trailers), a shifted release date and divisive reception from both critics and fans. With word of the intense reactions to the film spreading, it would be hard to imagine it fairing any better relatively next weekend. On a $30 million production budget, Aronofsky’s latest is shaping up to lose money. It’ll need strong international showing to prove otherwise.

The Reese Witherspoon romantic comedy Home Again took home an estimated $5.33 million in its second weekend, bringing its domestic total to $17.13 million. The film will turn a profit on its $12 million production budget, likely ensuring that many more cookie cutter studio rom-coms will continue to be made.

Wind River is turning out to be one of the more successful independent films of the year, catching an estimated $2.55 million in its fourth weekend wide, during which it has stayed between the 7th and 3rd spot — the middle of the pack.

Finally, Dunkirk incredibly maintains a top ten spot for the ninth weekend in a row — the entirety of its release — pulling in an estimated $1.3 million to shoot its domestic total up to $185.14 million. It seems like Christopher Nolan’s war film will pretty much, by the end of its run, match the domestic take of Interstellar, which made $188 million in US and Canada markets. Worldwide, Dunkirk is pushing $510 million, currently sitting at $508.34.

All films will have trouble doing similar relative business next weekend due to the releases of Kingsman: The Golden CircleBattle of the Sexes and Stronger. Hopefully, the order will be more interesting then.

*All weekend numbers are domestic, meaning that they’re from theaters in the US and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

Featured image via Warner Bros.

How ‘It’ made a killing at the box office, laughed away initial expectations

We have an arm-severing, face-chomping, immortal demon-clown to thank for saving the box office. New Line Cinema and Warner Bros.’ It raked in a record-breaking $123.1 million — finalized numbers after $117.2 estimates. Like a red Derry-branded balloon floating skyward from an evil death-sewer, the box office rose from its historic slump. Considering that the film’s initial box office projections were in the $50 million range, It’s runaway success becomes all the more remarkable. But just how did It conquer the box office?

For starters, It didn’t have much to compete with. Since the other film opening this weekend was the critically-panned Home Again, the biggest threat to It was The Hitman’s Bodyguard. That film has been meekly holding up the box office since it opened three weeks ago, so the arrival of It injected some much-needed fresh energy into movie-goers. Additionally, there hadn’t been an event film arguably since Dunkirk in July, and even that juggernaut of a film didn’t have as broad of an appeal as It. Slim pickings at the marquee can create the right circumstances for an opening weekend triumph, but not necessarily one that generates $100 million. For those numbers, It needed the support of its target audience, and I’m not just talking about the demon-clown enthusiasts out there.

While that demographic is hopefully small, the appeal of It casts a wide net. Fans of the original 1990 miniseries likely came out in droves to see an updated version of the story that traumatized them 27 years ago. Then, there’s fans of the original novel, and in broader terms, Constant Readers — Stephen King’s own base of devotees, also known as the poor souls that sat through The Dark Tower. Of course, It attracted horror junkies in general, some of whom likely brought large groups of friends, as the genre entails, which accordingly gave the film’s box office numbers an extra boost. It also came hot off the heels of Stranger Things, and the film’s trailers released at around the same time that Stranger Things 2’s marketing campaign began. Both properties are 80’s-set horror stories featuring Finn Wolfhard, so fans of the hit Netflix show likely contributed to the massive opening weekend.

Ignoring the wide demographic that It appeals to, the film’s marketing was exemplary. Despite some lukewarm reactions to the first photo of Pennywise, a series of stellar trailers — creepy music and terrifying shots that tantalized without spoiling anything — ensured that It maintained a significant amount of hype. Per Variety, when footage for the film was displayed at CinemaCon last March, It started 235,000 new social media conversations, just slightly trailing behind the most talked about film, Spider-Man: Homecoming, which started 251,000 conversations. Even as It’s release date came nearer, the marketing maintained its successful streak — just watch this.

And then reviews dropped. Critics were largely favorable toward It — our own Levi Hill called it “the best Stephen King adaptation outside of Stanley Kubrick’s The Shining.” Of course, not all critically favorable films are box office hits — look no further than It Comes at Night — but still, critic responses undeniably play a part in determining financial success. Horror films too often rely on jump scares alone, so when one like It is praised for its craft and emotional resonance, cinephiles will show up for opening night.

It’s positive critical reception points to one simple fact about the film’s box office success: It is just damn good, and audiences will pay for damn good filmmaking. The script — credited to Chase Palmer, Gary Dauberman and Cary Fukunaga — deftly balances scares and character development, while Andrés Muschietti’s direction brings those scares to life. The way he directs Bill Skarsgård, who is sublime as Pennywise, makes the character hilarious at times, but always frightening. Additionally, Chung-hoon Chung proves why he is one of today’s best cinematographers — his unnerving shots amplify the terror, and he can now add It to a filmography that already includes The Handmaiden and Oldboy. Of course, the ensemble cast includes a host of incredible child actors, all with terrific careers ahead of them.

It’s financial success fits within the box office narrative of late — audiences can still parse cinematic quality, and they will pay for it. The fact remains that Michael Bay still has a Hollywood career, but Transformers: The Last Knight underperformed in the global box office — even in China, whose market made the franchise’s previous entry a billion dollar movie. Similarly, the critically panned King Arthur: Legend of the Sword was an outright flop, making $146 million on a budget of $175 million.

In contrast, original films like Get Out, Dunkirk, The Big Sick, Baby Driver and Girls Trip are all box office successes, and while they’re not pulling in cash like Wonder Woman or any of this year’s Marvel films, all of these movies show that quality filmmaking pays off in spades — Get Out made $252 million on a $4.5 million budget, Dunkirk will end up with $500 million worldwide and Girls Trip broke $100 million domestically, which is a first for a Black-led, Black-written, Black-directed and Black-produced film. It’s massive opening weekend is the latest film that speaks to an obvious message — good movies will generally make good money. Whether or not Hollywood listens is up in the air.

Featured image via Warner Bros.

Box Office Report: ‘It’ feeds on box office, floats to largest horror opening record with $117+ million

Box office tracking once again severely underestimated a film’s potential, with It blowing away initial $50 million predictions to make an estimated $117.15 million this weekend, according to Box Office Mojo. Other estimates have pushed as far as $125 million.

Not only is this a massive win for the film, but it puts It among the top of the entire year and, in certain categories, of all time. With $117.15 million, It‘s opening weekend will outgross that of Spider-Man: HomecomingWonder WomanThe Fate of the Furious and Logan (not combined). At the moment, the Stephen King adaptation, directed by Andy Muschietti and starring Bill Skarsgård as Pennywise the Dancing Clown, only stands behind Guardians of the Galaxy Vol. 2 and Beauty and the Beast, and should stay in the top 10 openings of 2017 once the year is over.

That number also marks the largest September opening ever by nearly $70 million (and possibly more so if the actuals turn out to be $125+ million) and the largest opening for a horror film ever. It falls just short of the largest R-rated opening, which belongs to Deadpool at $132.4 million.

On merely a $35 million production budget and with upwards of $60 million taken internationally, It has already made it’s money back, and then some. A sequel is in the works, but New Line Cinema (a label of Warner Bros.) will be very comfortable financing the next chapter, and perhaps offering it a larger production budget.

The weekend’s #2 is a sharp fall off from It, as Home Again, the Reese Witherspoon romantic comedy, grossed an estimated $9 million. That marks almost a $110 million difference between first and second place.

After three weekends at the number 1 spot, The Hitman’s Bodyguard falls to #3, taking an estimated $4.85 million. Despite less than favorable critical ratings, the film, made for $30 million, is massively successful.

Wind River continues a very solid run after expanding wide, with its domestic total exceeding $25 million, assuredly making its money back.

Finally, after releasing in every market, Dunkirk will soon wrap up its theatrical run. It stayed in the top 10 this weekend, landing #8 with an estimated $1.95 million. Its $183 million domestic total nears Interstellar‘s $188 million, and has a chance at passing it. The film should also reach $500 million worldwide, currently standing at $492 million, which already distinguishes it as the largest grossing World War II film of all time (not adjusted for inflation).

*All weekend numbers are domestic, meaning that they’re from theaters in the U.S. and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

Featured image via Warner Bros.

The Summer Oscars: The Best in Movies of Summer 2017

No one is going to fight for last summer. It was a horrific time for movies, blockbuster after blockbuster failing both financially and critically, and the few indie gems that did come out being ignored. While its best film, Hell or High Water, is undeniably magnificent, the list falls off steeply after that. So when it came to this summer, many were hesitant. Would the studio continue to crank out garbage? Unfortunately, it did, with Pirates of the Caribbean: Dead Men Tell No Tales and Transformers: The Last Knight both continuing a disgusting trend. But unlike last summer, for every stink pile this summer, there was a brilliantly entertaining crowdpleaser. For every horribly messy embarrassment, there were two or three films that showcased some of the most masterfully artful filmmaking of recent memory. Despite it being one of the worst periods for the box office, this summer’s movies themselves, as many have said, represent one of the best seasons we’ve had in a long time. In May, Guardians of the Galaxy Vol. 2 and The Lovers hit on both ends of the cinematic spectrum in lovely fashion. As June rolled around, It Comes At NightThe Big SickBaby Driver and The Beguiled showcased why relatively smaller films are where we should invest our interest. But let’s also not forget about the wondrously historic event that was Wonder Woman. In July, blockbusters found life again, as Spider-Man: Homecoming reinvigorated the web-slinger, War for the Planet of the Apes capped off one of the best trilogies of all time and Dunkirk stunned as an overwhelming cinematic achievement that perhaps only Christopher Nolan could’ve made. Indies didn’t stop either, with A Ghost Story haunting us to this day, Girls Trip stomping on everyone’s pre-conceived notions and Atomic Blonde kicking everyone’s ass as women have this summer. A dip may have expectedly come in August — it’s almost unavoidable — but within the bad were gems like Ingrid Goes WestLogan LuckyWind River and the arresting, John Cho-starring (more please!) Columbus.

It’s been shocking to watch this summer unfold, great movies releasing almost weekly. Top 10 lists of this season rival those of the entirety of last year. So, to combat this strange idea that films not from the fall should be left on the cutting board when it comes time for awards season, we at MovieMinis thought to award the best of summer 2017 so that they may have their fair share of the spotlight:

Best Original Screenplay: Emily V. Gordon, Kumail Nanjiani — The Big Sick

Amazon/Courtesy

Comedies had fallen flat. Great romcoms were almost non-existent. Then, The Big Sick showed up and not only gave us more from the genre than we’ve had in a long while, but genuinely brought out the best that it could offer. And it all starts with its absolutely pitch perfect script. Kumail Nanjiani and Emily V. Gordon based The Big Sick in the true story of their romance, and it’s easy to immediately feel the truth at the core of the film, which features such emotionally resonant scenes that hinder on what a character says and what another doesn’t — the film being, on a whole, about communication and perspective. Gordon and Nanjiani give thorough perspective to each character in the film, something that most films in general don’t do. Kumail, Emily, Emily’s parents, Kumail’s parents and Kumail’s friends are all written with a care for independent motivation and given actual arcs that are fulfilled. And all of this is outside of the comedy, which is perhaps its best feature. While, these days, most jokes in films feel forced, The Big Sick is all about natural humor, humor that feels informed and plays off of the film’s themes of perspective and culture. Truly, The Big Sick‘s script is wholesome. But if we were being honest, it deserves this award if only for that 9/11 joke.

— Kyle Kizu

Runner-up: David Lowery for A Ghost Story

Bret Burry/A24/Courtesy

A Ghost Story‘s screenplay reportedly hovers around 30 pages. Many know that the “one page, one minute” concept is a mostly incorrect generalization, but to have 30 pages turn into 90+ heart-wrenching minutes is a feat, a feat because writer-director David Lowery somehow finds a harrowing, haunting truth with very few words. It’s not surprising, considering that the film is essentially a showcase of minimalism on all levels, but each line of dialogue, each crafted scene, in setting and progression, hold the weight of the human condition — our fight against time. The characters are defined with a tragic tenderness. The supernatural concept is executed so organically. While most of the film becomes about the visual, it’s the written word that conceives such a thing, and it’s hard not to be wholly moved by the simple and profound written word of A Ghost Story.

— Kyle Kizu

Nominees:
3. Trey Edward Shults — It Comes At Night
4. Bong Joon-ho, Jon Ronson — Okja
5. Christopher Nolan — Dunkirk

Honorable Mention: Kogonada — Columbus

Best Adapted Screenplay: Mark Bomback, Matt Reeves — War for the Planet of the Apes

20th Century Fox/Courtesy

The most recent Planet of the Apes trilogy is led by one of the best film characters of all time, Caesar (Andy Serkis), and that is a huge credit to the screenplays behind the films. In the best of them all, War for the Planet of the Apes, the script plunges Caesar to his lowest point, and it is nothing less than riveting. Despite the regality that emanates from him, he is brought to a crushing point of desperation — exacerbated by the menacing, if sympathetic Colonel (Woody Harrelson). Ultimately though — and this is perhaps the most defining trait of this Apes franchise — Caesar’s downfall makes him yet more human in the eyes of the viewer, and more importantly, his arc by the end of the film feels rewarding and earned. Over the course of three films, Caesar has transformed from a mere pet into an epic hero of biblical proportions — a legendary Mosaic figure that thenceforth enriches and informs the history of the apes. Then of course, War’s script maneuvers tone expertly — showing us the harrowing depths of Caesar’s fall, but also taking moments to inject much-needed levity through Bad Ape (Steve Zahn) and franchise mainstay Maurice (Karin Konoval). Such a script makes War the capper to one of the great film trilogies of all time, a sentiment echoed by 20th Century Fox’s plans for a major awards campaign.

— Harrison Tunggal

Runner-up: Sofia Coppola — The Beguiled

Ben Rothstein/Focus Features/Courtesy

There are two wars in Sofia Coppola’s The Beguiled. One is obvious— the film follows a school of women and young girls in the Confederate south as they nurse a Union soldier back to health. The other is far more subtle; it wages beneath the surface, simmering behind genteel manners, flirtatious glances and courteous dinners. Coppola’s script rises to the challenge of the particular setting, imbuing those infamous Southern manners with surprising malicious underpinnings. Even Colin Farrell’s charming Union soldier comes across as harmless on paper, but it’s the nonverbal threats accompanying his every word that leave the audience on the edge of their seats. News that Coppola was adapting the original 1971 film came with both criticism and anticipation, but in the end, the script is one of her all-time best. Talk about nailing an ending.

— Kate Halliwell

Nominees:
3. Erik Sommers, Chris McKenna, Christopher Ford, Jon Watts, John Francis Daley, Jonathan Goldstein — Spider-Man: Homecoming
4. Alice Birch — Lady Macbeth
5. Allan Heinberg, Zack Snyder, Jason Fuchs — Wonder Woman

Honorable Mention: Destin Daniel Cretton, Andrew Lanham — The Glass Castle

Performance by an Actress in a Supporting Role: Holly Hunter — The Big Sick

Amazon/Courtesy

Holly Hunter has always been a reliable character actor, winning an Oscar in 1993 for Jane Campion’s The Piano. However, it has been awhile since she gave a performance that dominated the critics circle and awards season talk. Well, thanks to her touching, humorous and scene-stealing turn in The Big Sick, it appears that she is about to enter those conversations again, and maybe even dominate them.

In the film, Hunter plays Beth, the mother to Zoe Kazan’s character Emily Gardner whose sudden medical condition puts her into a coma. From here, Emily’s ex-boyfriend, Kumail Nanjiani (playing himself) feels like he has to stay bedside to Emily throughout this ordeal, despite Beth’s wishes for him to keep his distance. At first, Beth’s character seems like the stereotypical, stuck-up mom who doesn’t believe anyone will know her daughter better than her. Yet thanks to both Hunter’s acting and Nanjiani’s writing, the film slowly reveals the depths of character that have made Beth such the stern mother she is. While she may live an upper-middle class life, saying her life has been easy is a miscalculation of her tics. Being the performance behind some of the most tear-jerking scenes in the movie (and since the movie might be the biggest tear-jerker of the year so far), Hunter won us over. Look for major awards talk to come her way this year.  

— Levi Hill

Runner-up: Rooney Mara — A Ghost Story

A24/Courtesy

No one does repressed grief quite like Rooney Mara. From her turn as a restrained, lovestruck shopgirl in Carol, to Lisbeth Salander’s trademark subdued fury, Mara has built a career on her ability to speak volumes with a single look. A Ghost Story marks a return to form for Mara, who is genuinely devastating as a grieving wife haunted by her recently deceased husband. Mara is as understated as always, and again she’s enormously effective. Pain flickers across her face, then it’s quickly replaced with a sort of emptiness, a numb realization that things will never return to the way they were before. Mara has reached a point in her career where perfection is expected, and as such, her performance in A Ghost Story will most likely miss out on any awards season recognition. Even so, it’s comforting to know that performances like these are just another film for Mara. We can look forward to many more understated, brilliant turns to come.

Just perhaps not ones that involve eating an entire pie.

— Kate Halliwell

Nominees:
3. Tiffany Haddish — Girls Trip
4. Tilda Swinton — Okja
5. Kirsten Dunst — The Beguiled

Honorable Mention: Zoe Kazan — The Big Sick

Achievement in Costume Design: Jeffrey Kurland — Dunkirk

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Dunkirk may not jump out as a film with amazing costume design. And that’s exactly why it’s such an achievement. Costume designer Jeffrey Kurland didn’t have the uniforms in hand to simply recreate. Each garb had to be handcrafted with the character’s definition ingrained in each thread. Upon close inspection, what may have initially looked like an endless see of brown becomes an indicator of what kind of soldier each one is. For Tommy (Fionn Whitehead), his uniform is overwhelming and big, a sign of his youth and inexperience. Alex (Harry Styles) wears, as some may not have noticed, a slightly different uniform (people have connected his character and his regiment to Scotland), one that fits tighter and is more controlled, indicative of his higher status. But the singularity of uniforms wouldn’t have been enough to sell the look of this film. Dunkirk is about being there. It’s about feeling as though you’re on the beaches, as though you’re being bombed by German planes. It’s about the feeling of being stuck. And the costumes had to be designed with this gritty, dirty, sweaty sense of desperation, of being washed over by ocean water, of being stranded for a week and beaten down into the streets and sand.

But the costumes are also about the civilians who came across on boats. The sweaters have already been raved about humorously on social media. But the 40s English attire truly does inform the story. These are ordinary men thrust into an operation far greater than anyone may handle, and the humble simplicity in a hand-knitted red sweater truly does impact the film and call to the “Dunkirk spirit” as much as the soldiers’ wear and tear does.

— Kyle Kizu

Runner-up: Stacey Battat — The Beguiled

Focus Features/Courtesy

Period dramas tend to seem like a boring choice when it comes to costume design recognition, but the pastel evening gowns and crinkled crinolines of The Beguiled are too fabulous to ignore. In one particularly memorable scene, Kirsten Dunst’s sexually repressed Southern belle comes to dinner in a ruffled, revealing gown that ostentatiously shows off her best assets. Her attempt at wooing Colin Farrell’s charismatic Union soldier is just as unsubtle as the gown itself. Instead, he’s more interested in Elle Fanning’s far younger seductress, who is all blushing cheeks and fluttering eyelashes in a series of flowy white gowns. Nicole Kidman presides over the chaos as a stern, commanding governess. She’s nearly always clothed in imposing high-necked gowns, excepting the already infamous “Bring me the anatomy book!” scene, where she’s literally up to her elbows in blood. What a waste of a gorgeous nightgown.

— Kate Halliwell

Nominees:
3. Holly Waddington — Lady Macbeth 
4. Cindy Evans — Atomic Blonde 
5. Lindy Hemming — Wonder Woman

Honorable Mention: Annell Brodeur — A Ghost Story

Achievement in Production Design: Nathan Crowley — Dunkirk

Warner Bros./Courtesy

Similar to its costumes, Dunkirk doesn’t jump out as a film with stunning production design. In actuality, it’s not meant to be one. The production design, much like every other craft aspect of the film, acts in service of immersion, in service of the visceral, tangible, largely physical experience. Shooting on the real beaches of Dunkirk came with a big problem: part of the central setting, the mole, had been destroyed. And thus, production designer Nathan Crowley was tasked with recreating it, with building a pier that’s been, alongside the soldiers, the blunt victim of unforgiving waves and, more terrifyingly, dive-bombers. As Tommy (Fionn Whitehead) and Gibson (Aneurin Barnard) run down the breakwater, squeezing between soldiers and traversing blown off portions over only planks, the mole feels and, most importantly, looks alive, like a character bracing alongside the soldiers.

The sets of ship interiors and exteriors during attacks, of a stronghold in the city and of the equipment and vehicles on the beaches are designed with that same gritty, worn down aura and historical accuracy. These sets are complex and extensive, built to invoke claustrophobia. Crowley also makes use of portion sets and cardboard cutouts for backgrounds, extending the view of soldiers endlessly, capturing the scope of 400,000 men.

But where the film engulfs us next is in its design of its planes, recreating Spitfires through redesigns of other planes. The dogfight sequences are some of the most stunning of Dunkirk, and the fact that real planes are used, interiors and exteriors designed with pinpoint precision, does wonders for the main goal of the film: transporting us there.

— Kyle Kizu

Runner-up: Aline Bonetto — Wonder Woman

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In the first act of Wonder Woman, we feel a sense of awe not yet felt within the DC Extended Universe, as we explore the island of Themyscira, where Wonder Woman was brought up by the Amazons. The architecture and culture of Themyscira is reminiscent of the ancient Greeks, but unique enough to fascinate and intrigue viewers, and that’s a credit to production designer Aline Bonetto. Of course, her work in designing the drabness of London and the battlefields of World War I are admirable, but her work in designing Themyscira is truly praiseworthy. She carves out a space within the DCEU that’s bright and majestic, and it leaves us nothing less than wonderstruck.

— Harrison Tunggal

Nominees:
3. David Scheunemann — Atomic Blonde
4. James Chinlund — War for the Planet of the Apes 
5. Scott Chambliss — Guardians of the Galaxy Vol. 2

Honorable Mention: Hugues Tissandier — Valerian and the City of a Thousand Planets

Achievement in Makeup and Hairstyling: John Blake, Jay Wejebe — Guardians of the Galaxy Vol. 2

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The makeup in Guardians of the Galaxy Vol. 2 is nothing short of pristine. The stunning makeup on the colorful aliens Yondu (Michael Rooker), Drax (Dave Bautista) and Gamora (Zoe Saldana) were carryovers from the first Guardians film, but this time, John Blake, Jay Wejebe and their team created an entire race of aliens covered in a gold sheen — the Sovereign. These aliens look like walking Oscars, which could be somewhat prophetic given the team’s excellent work in this film. If that weren’t enough, the film also puts a spotlight on the Ravagers, a motley crew of scarred, deformed space pirates, which put the onus on the makeup team to create a variety of hardened alien thieves. In particular, the film’s joke about Taserface (Chris Sullivan) wouldn’t have worked had it not been for an appropriately tasered face. Even though Star Wars: The Last Jedi might throw this makeup team’s chances at Oscar glory for a loop, they deserve every bit of praise for this list of summer awards.

— Harrison Tunggal

Runner-up: Shandra Page, Tony Ward, Mia Goff, Natalie Christine Johnson — The Beguiled

Focus Features/Courtesy

Rarely does hairstyling get as much recognition as makeup, but the work of the hair team of The Beguiled is as integral to the film as every other craft department. With the film’s themes and concepts, of sexual attraction, of a deconstruction of the male gaze, of a community of women separated from the warring country, and with the historical setting, the hairstyling had to be pitch perfect. And it is. The younger children all hold a sense of curiosity and innocence within the larger scale of events. Nicole Kidman emanates a regal authority, fitting her position as head of the house. Elle Fanning’s hairstyling evokes the explorative sexuality that is centric to the film’s story, as is the quiet and repressed core of Kirsten Dunst’s character, whose hair reflects her journey of attempting to break free from a community she doesn’t feel as though she truly belongs to. On an aesthetic sense, the hairstyling is beautiful. But because of the fact that it serves the story so thoroughly, it deserves endless recognition.

— Kyle Kizu

Nominees:
3. Jessie Eden, Sasha Grossman — It Comes At Night 
4. Laura Morse, Christine Blundell — Wonder Woman 
5. Sian Wilson — Lady Macbeth

Honorable Mention: Lesley Vanderwalt — Alien: Covenant

Achievement in Cinematography: Hoyte van Hoytema — Dunkirk

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It was hard to imagine Christopher Nolan without his longtime cinematographer Wally Pfister. But after Interstellar, it became hard to imagine Nolan not working with Dutch-Swedish lenser Hoyte van Hoytema for the foreseeable future. And their collaboration on Dunkirk shows just why Hoytema may be Nolan’s greatest partner. From the breathtaking first image to the mesmerizing penultimate shot, Hoytema’s work represents the pinnacle of cinema, especially in its IMAX 70mm form. As what’s been said time and time again with Dunkirk‘s craft categories, the main goal of the cinematography is for immersion. And it does that unlike any film truly has. Utilizing the IMAX camera like a go-pro, Hoytema places us as a soldier on the beach, ducking for cover, racing to the departing boats, shaking at the shockwaves of bombs. Through the cinematography, we inhabit a space on the small civilian boats, thrown around by waves. We inhabit a space below deck on navy destroyers, nearly drowning after being downed by a U-boat. We inhabit a space in the air, peering through the scope, veering left and right, laboring as we try to shoot down the German ME 109s. These are camera angles that haven’t been fully realized until this film, with Hoytema and the team inventing rigs to place cameras where they’ve never been before.

On a technical level, the work is astounding. At first, it might not seem as artistic as his cinematography on Interstellar. But Hoytema is perhaps more subtly artful in his rendering of Dunkirk. Like the shot above, there’s this breathtaking sense of scope, this arresting design of the mise-en-scene that tones the look of Dunkirk with a trapped claustrophobia amid one of the largest and most important events of the 20th century. And at the end, the wandering camera almost finds a tranquility unexpected with a film like Dunkirk. Farrier’s (Tom Hardy) Spitfire, gliding with the soldiers below and the city in the background, is truly a shot for the ages, a quiet one that allows us to breathe after all of the overwhelming movement. It’s cinematography that represents the best that cinema can offer, that fights for the medium, both of the film format and of film in general, with something purely visual.

— Kyle Kizu

Runner-up: Andrew Droz Palermo — A Ghost Story

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If Dunkirk showcases the best that cinematography can offer on the large scale, then A Ghost Story offers the best of cinematography on a small scale. Andrew Droz Palermo’s work truly shows an artist in tune with every thematic level of the art. With A Ghost Story, we’re meant to project our emotions onto the titular ghost, and Palermo rightfully lingers, hangs and frames shots in ways that overwhelm — especially in the framing of uninterrupted still shots — to a point where it’s impossible not to find a profound emotion, or ten, within the eyes of the ghost. But Palermo also excels in movement, his tracking in particularly. There’s this haunting, majestic, almost mythic poetry as we slowly follow the ghost, wholly crafting the film’s spirituality and invoking just what the film needed to become truly great: making us, the viewer, a ghost ourselves.

— Kyle Kizu

Nominees:
3. Philippe Le Sourd — The Beguiled
4. Bill Pope — Baby Driver
5. Michael Seresin — War for the Planet of the Apes

Honorable Mention: Elisha Christian — Columbus

Achievement in Film Editing: Lee Smith — Dunkirk

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Dunkirk performs an illusion: the Shepard tone. You may think I’m talking about the score. I’m not. The score performs the illusion too, but Dunkirk, the film itself, is structured in a way that replicates the effects of the typically musical anomaly — something Christopher Nolan intended while writing the screenplay. It’s a massive, difficult task to weave together three storylines that not only are all constantly rising in tension, but also play out on different timeframes. Before jumping in, outside of those complex aspects, Lee Smith is incredibly calculated when crafting action scenes. The Spitfire sequences have been raved about for their realism, and credit must be given to Smith for how fluid and steady the progression of each dogfight is. And right before the soldiers are dive-bombed by German planes, Smith lingers on reaction shots, of eyes wandering up to the sky at the source of noise, masterfully building suspense. But Smith has done these and similar things before, his work on the grander scale of Dunkirk being what truly solidifies this as his and Nolan’s greatest collaboration yet — a monumental feat when considering their work on Inception. Despite jumping backward and forward in time, there’s never a sense of imbalance in the film’s momentum. Each thread feels as though it’s still progressing, even when it’s treading water we’ve been through before — often thanks to careful revelations of dramatic irony. And as the film builds, the structure does too. As expected, the three timelines meet at a singular moment. But instead of simply crashing them together, Nolan and Smith play the climax out of order as the threads seem to try to find each other. There’s a great sense of disorientation, a purposeful one to tone the chaotic, senseless and harrowing event happening before their (and our) eyes, but the scene never loses focus or coherency — a quality that all the best edited films have. The climax plays out of order, but it plays so masterfully that out of order feels somehow more organic, an intangible sense of filmic cohesion, just as the entirety of Dunkirk is, due to how the film is put together.

— Kyle Kizu

Runner-up: Jonathan Amos, Paul Machliss — Baby Driver

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While Dunkirk is a monumental feat in film editing, Baby Driver isn’t as far off as one would assume. Blending the tap and dance sound mixing of a classical musical, with more ferocity of any heist scene featured in Fate of the Furious, Baby Driver would not be as successful of a film as it is without the incredible, crisp editing that Jonathan Amos and Paul Machliss pull off. Edgar Wright’s films always feature bravado filmmaking, with wipe pans, dual screens, long tracking shots and practically anything else the cinematic genius can think of, and only editors with the most amount of precision could bring all of the visual and aural synchronization together. So while this might be our runner-up for Best Editing, don’t be surprised if the film manages an ACE nomination later this year.

— Levi Hill

Nominees:
3. David Lowery — A Ghost Story
4. Sarah Flack — The Beguiled
5. Matthew Hannam, Trey Edward Shults — It Comes At Night

Honorable Mention: Meeyeon Han, Yang Jinmo — Okja

Achievement in Sound Editing: Richard King, Michael W. Mitchell, Randy Torres — Dunkirk 

Warner Bros./Courtesy

If we had to pick the most important technical aspect of Dunkirk, which would be an entirely unfair and borderline impossible task, the one that would be the most understandable to point to is sound, both editing and mixing.

Editing is the crafting of sounds and, in Dunkirk, it’s often specific sounds that add the most to the suspense. The incoming wane of the German planes’ horns is truly horrifying, as is the bombs’ explosions, which find a terrifyingly earthy, subsurface sound as they lift sand and soldier into the air.  When we’re in the interior of planes, the rumble of metal adds to a sense of immersion, to a sense of fear and anxiety in the smallest of spaces. And with the approach of Nolan, to remove the face of the enemy, bullets are louder, more jarring and more affecting. They pierce, whether it be through skin or sand or wood or metal, with a jolting, invasive, bodily ping. Dunkirk is meant to be a suspense film, and the specific sounds of war, sounds that real Dunkirk veterans have said are louder than the actual event, are crafted here with their fullest effect.

— Kyle Kizu

Runner-up: Will Files — War for the Planet of the Apes

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In the rebooted Planet of the Apes trilogy, we see some of the most realistic special effects of all time, but the CGI wizardry wouldn’t hold up if not for excellent sound editing. The sound editing of War for the Planet of the Apes completes the film’s masterful CGI illusions, connecting our expectations of ape sounds with the visuals onscreen. We are convinced that the apes onscreen are grunting, shuffling about in the snow and fighting in a realistic way. Additionally, the sounds of war — the opening and closing battle scenes in particular come to mind — are immersive, putting us on the ground alongside Caesar and his apes. War films are often recognized for their sound editing, and in these awards, War for the Planet of the Apes is no different.

— Harrison Tunggal

Nominees:
3. Choi Tae-young — Okja
4. James Mather, David Mackie, Nina Norek — Wonder Woman
5. Shannon Mills, Guillaume Bouchateau — Valerian and the City of a Thousand Planets

Honorable Mention: David Acord, Addison Teague, Lee Gilmore — Guardians of the Galaxy Vol. 2

Achievement in Sound Mixing: Mark Weingarten, Unsun Song — Dunkirk

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Sound mixing is how all of the sounds are brought together to create an atmosphere. And, quite evidently, Dunkirk has an auditory atmosphere fit for a horror film. No, truly. Dunkirk‘s sound mixing is in the vein of horror films. Think to the bombing of the hospital boat. As the giant ship’s metal moans as the boat tips into the wood of the mole, a voice can be heard screaming repeatedly, its body being crushed. Body’s jump off into the water, each splash toning the already terrifying scene that’s featured gunshots riddling the pier and bombs exploding on the boat.

The mix overwhelms us into a transfixed terror, hosting obviously physical elements within those attacks. But it also is subtly physical, working on every layer, literally, to render the beach, boats and air tangible. The wind and splashing waves almost feel like they hit us, constantly sitting behind the dialogue, reminding us of the setting. The wisp of the air, rattle of the Spitfire’s cockpit and masks of the pilots render dialogue as muffled and communication as difficult, as it would be in its reality. Dunkirk‘s sound mixing can transition from desperate voices drowning within the interior of a ship to massive explosions on its exterior with such fluidity while also maintaining the chaos of the situation. And that’s the true purpose of sound mixing, to become physical and to inform the story. With Dunkirk, there’s almost no movie at all without the horror that the mix provokes.

— Kyle Kizu

Runner-up: Kasper Pedersen, Al Green, Mary H. Ellis, James Peterson — Baby Driver

Sony Pictures/Courtesy

Sound will always be one of the most underrated aspects of film, especially sound mixing. Where sound editing can tend to favor bombast, as sound editing represents the actual sounds we are hearing, mixing has to favor subtlety. Mixing is how the sound designers bring together all of the disparate sounds to create one perfect aural mix.

And honestly, it doesn’t get much better than what can be heard in Edgar Wright’s summer masterpiece Baby Driver. Featuring a booming soundtrack, with tight editing of car chases and heist scenes in sync with the sound, the Baby Driver mixing team had their work cut out for them. Imagine having to combine a rollicking Bellbottoms song, with the faint singing and air drumming of Ansel Elgort (in-tune with the music), with a souped-up muscle car’s engine running, all the while in the distance a heist with sirens and shooting is taking place. Sound like a doozy? Well, that’s just the first scene in a film filled to the brim with impeccable craft in the audial categories.  

— Levi Hill

Nominees:
3. Chris Duesterdiek, Erin Michael Rettig, Shawn Holden — War for the Planet of the Apes
4. Michael L. Barnett — A Ghost Story
5. Chris Duesterdiek, Danny Michale, Park Jong-kun — Okja

Honorable Mention: Ronnie Mukwaya — Wonder Woman

Achievement in Visual Effects: Dan Lemmon, Joe Letteri — War for the Planet of the Apes

20th Century Fox/Courtesy

If one were to travel back in time to 1968 and show Charlton Heston War for the Planet of the Apes, one could undeniably convince him that the film was made using real ape actors (Hell, you could convince me that the film was made using actual apes). Of course, one would cause irreparable harm to the space-time continuum, possibly precipitating an actual simian hegemony, but that’s beside the point. The fact is, the visual effects in War (and the trilogy it belongs to) are utterly groundbreaking. Great CGI is nothing new, but the way the rebooted Planet of the Apes franchise is predicated on photo-real apes is nothing short of extraordinary. These films need their apes to look believable, or else there’s no way an audience could invest in its characters, and it works — in the faces of these apes, we see genuine human emotion. The words “movie magic” get thrown around too casually to wholly represent the peak craftsmanship involved in creating this franchise’s apes, but one does feel a sense of wonderment at seeing something as totally unique and powerful as the CGI in War.

— Harrison Tunggal

Runner-up: Scott Stokdyk, Joe Letteri — Valerian and the City of a Thousand Planets

STX Entertainment

Valerian and the City of a Thousand Planets initially looked like a visual risk, seemingly bordering on muted overuse of CGI that could fall flat and become forgettable. Thankfully, the film evades that pitfall, so much so that it almost makes up for the unengaging story and one dimensional characters. And that’s because, in a way, the visual effects do impact the story. The beings and objects that the CGI in Valerian and the City of a Thousand Planets creates are distinct. Worlds are rendered with attention to detail, not just aesthetically, but societally, as civilizations are visually crafted with systems, practices and purpose. That’s what takes the visual effects to the next level. They’re stunning and beautiful to look at, generating imagery that only a visual master like Luc Besson and an expert visual effects team could’ve concocted — aliens are neither replicants of humans nor are they so wildly complex — and making use of color in distinct and attractive ways. But the visual effects also serve to world-build, or in this case, universe-build, and they’re taken to the next level for it.

— Kyle Kizu

Nominees:
3. Matthew Crnich, Ray McMaster, Doug Spilatro, Christopher Townsend — Guardians of the Galaxy Vol. 2
4. Jeon Hyoung Lee, Jun Hyoung Kim, Mike F. Hedayati, Erik De Boer — Okja
5. Viktor Muller, Bill Westenhofer, Loeng Wong-Savun — Wonder Woman

Honorable Mention: Theodore Bialek, Lou Pecora, Dominik Zimmerle — Spider-Man: Homecoming

Performance by an Actor in a Supporting Role: Mark Rylance — Dunkirk

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Similar to his Oscar-winning Bridge of Spies turn, Rylance’s performance in Dunkirk is incredibly understated, with perhaps even less screen time. In the film’s aftermath, one quickly realizes that it’s the work of an actor who informs every bit of himself, physically and vocally, with why his character is the way he is. Truly, the aftermath, both at the end of the film and after audiences have left the theaters, is where Rylance’s performance holds the most weight.

Within Dunkirk, Rylance plays a civilian committed to crossing the channel, even in dire circumstances, and a man with a fascination for the RAF’s planes. But pay close attention to the dialogue after his boat, the Moonstone, full of rescued soldiers, dodges one final attack before making its way back to England, and Jack Lowden’s Collins asks Rylance’s Mr. Dawson how he knew the maneuvers to evade the German plane. Mr. Dawson says that his son was in the RAF before Peter, the son that we’ve known, reveals that he had a brother who died three weeks into the war. Mr. Dawson says, “I knew he’d see us through,” before tending to a shaking, terrified soldier (Cillian Murphy). In that moment, and after that specific line and that specific image, we pause, our breaths almost taken away.

The exposition, about the engines of Spitfires, delivered with a comforting admiration, becomes highly personal. The recurring fatherly moments — both in image (his heartbreaking nod to Peter after a tragic reveal) and in dialogue (his collected yet commanding presence when organizing a hectic rescue) — portray a character so defined and so thoroughly realized that, in repeat viewings, it’s difficult not to be in awe of Rylance as a performer.

But finally, one moment stands out. As Collins’ plane crashes into the water, Peter tells his Dad that he didn’t see a parachute and that the engine was out. Mr. Dawson doesn’t respond. Peter repeats. Mr. Dawson steers his boat firmly ahead. Peter repeats again, adding that the pilot is probably dead. Finally Mr. Dawson flings around, yelling, “Damnit Peter, I hear you!” He glances back. “Maybe he’s alive.” His volume lowers to a heartbreaking reserve. “Maybe we can help him.” It’s a moment that comes before the revelation, and is powerful when first seen. But in learning of his dead son, one who flew with the RAF, this moment transforms. His yells and his desperation are in an image of his son. In that moment, Mr. Dawson is trying to save the son that he couldn’t, and Rylance uses every ounce of his physical emotion to find that truth.

Dunkirk is an overwhelming spectacle, a film more about the event and the mass of people than purely individuals. Many have said that the near nameless, near faceless characters are simply there, without much emotion. But imagine Dunkirk without Rylance’s Mr. Dawson. It’s really difficult. Imagine Mr. Dawson as played by someone other than Rylance. It’s almost impossible. Rylance plays the most pivotal role in the film. Mr. Dawson is the core, the heart, the father — a character with actual inspiration from Christopher Nolan’s late father — that guides this picture’s emotions along a harrowing journey. It’s Rylance who sees us through.

— Kyle Kizu

Runner-up: Ray Romano — The Big Sick

Amazon/Courtesy

In The Big Sick, Kumail (Kumail Nanjiani) meets Beth (Holly Hunter) and Terry (Ray Romano), the parents of his ex-girlfriend, Emily (Zoe Kazan), who falls into a coma. Despite Beth and Terry’s initial dismissiveness toward Kumail, he still decides to have lunch with them in the hospital cafeteria. As if things couldn’t get any more uncomfortable, Terry almost immediately dials the awkward levels to precipitous heights: “So, uh. 9/11. . .” Nevertheless, Terry develops a close bond with Kumail over the course of the film, and Ray Romano gets the chance to showcase his iconic comedy chops, while diving into his best dramatic role. Romano’s delivery relishes the awkwardness of Terry’s situation, but underneath it, there’s a tenderness and sincerity that The Big Sick depends on, and makes it all the more endearing and emotional.

— Harrison Tunggal

Nominees:
3. Michael Fassbender — Alien: Covenant
4. Chris Pine — Wonder Woman
5. O’Shea Jackson Jr. — Ingrid Goest West

Honorable Mention: Steven Yeun — Okja

Achievement in Music Written for Motion Pictures (Original Score): Hans Zimmer — Dunkirk

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Many weren’t sure what to expect with Dunkirk‘s score, unsure of how legendary composer Hans Zimmer could expand his already endlessly experimental career after voiding percussion and crafting his most emotional score with Interstellar. But somehow, with Dunkirk, Zimmer goes further, composing music that serves the film in an entirely different way. Here, Zimmer seemingly avoids musicality entirely, instead enhancing the soundscape of the film infinitely by adding to it. The center of the score is the tick of a watch, representing the urgency and immediateness of time. The tick is overbearing at times, ramping up tenfold, invading our bodies and digging its way into our heads. Much of the score’s lower sections are made up of sounds that feel as though they’re remnants of the battle itself, as though they’re the creaks of boats, the wanes of the ocean against a ship’s metal or the explosions of bombs. There are certain horror inspirations, with the biting strings of violins, the moan of the bass, the constantly and quickly fluctuating volume of a high pitched, auric screech. The beginning of Home sounds as though it’s been plucked straight out of a horror film.

As mentioned before, Zimmer makes use of the Shepard tone, a musical illusion that sounds like it’s constantly rising in tension. For a film based in suspense, tension and terror, such an illusion has immense effect, the pieces often becoming so filled with energy that’s then released in climactic fashion during the attack sequences.

But even despite the fact that Zimmer strays from typical musicality, he still manages to compose some career best work. In particular, The Oil represents everything utterly magnificent about Zimmer. Like pieces from Interstellar and The Dark KnightThe Oil starts incredibly low in volume and thin in layers. Playing at the climax of the film itself, The Oil builds in layers and volume consistently for six straight minutes, adding literal rise to the illusion of rising, before exploding into its own climax just as the film does. With this, the piece then becomes a serious, overbearing manipulation of the mind and the body, which initially sounds unpleasant, but, when watching the film’s climax, grabs hold of the eyes in ways that the climax couldn’t without the piece and in ways that cinema strives for.

And all of this comes without discussion of the film’s most emotional and most musical element: the influence of Edward Elgar’s Nimrod. Portions of it can be heard in Home, beautifully encapsulating the “Dunkirk spirit” as the civilian boats arrive. But none is more moving than Variation 15, a variation on Nimrod composed by Benjamin Wallfisch and produced by Zimmer, which plays at the end of the film. There’s something “unbearably moving” about it, as Christopher Nolan himself says in regard to Nimrod. And the piece does just that. The events at Dunkirk were a “military disaster” as Winston Churchill put it. But there’s “a victory inside this deliverance,” and it is exactly Variation 15 that renders not only the journey of the characters as triumphant, but Zimmer’s score and Dunkirk itself as well.

— Kyle Kizu

Runner-up: Daniel Hart — A Ghost Story

A24/Courtesy

Whether it’s the grating strings that herald Whatever Hour You Woke, or the warm, embracing melody of a single violin on Post Pie, Daniel Hart’s score for A Ghost Story never relents in its uncanny power to haunt the listener. The sense of introspective melancholy found in any of the score’s tracks lingers with the listener, until — especially through the defining track, I Get Overwhelmed — a swell of emotion becomes inescapable, maybe even cathartic in a powerfully ethereal way. A Ghost Story asks its viewer to project emotions onto the titular lonely specter, but Hart’s score amplifies those emotions, making them profoundly affecting in myriad ways. Resultantly, listening to Hart’s score is its own singular experience, one that exists beyond the confines of the film itself. Just put it on at night, maybe even fall asleep to it, and see what it tells you.

— Harrison Tunggal

Nominees:
3. Michael Giacchino — War for the Planet of the Apes

4. Brian McOmber — It Comes At Night
5. Oneohtrix Point Never — Good Time

Honorable Mention: Michael Giacchino — Spider-Man: Homecoming

Performance by an Ensemble Cast: The Big Sick

Amazon/Courtesy

Where the potential for brilliant ensemble work in The Big Sick started was with the script, as Emily V. Gordon and Kumail Nanjiani wrote each character with a genuine emotional arc. But that would’ve been for only so much had the roles not been cast to utter perfection. Kumail plays himself, which could’ve turned out poorly for the film. But he allows for a vulnerability that speaks to the reality of the story while other playing-themselves-stunts might’ve avoided such an aspect. Zoe Kazan, playing Emily, gives herself over to the role, also finding a vulnerability, except with the perspective of her character, which makes for a performance that feels singular and truthful. Romano and Hunter, playing Emily’s parents, play off of each other impeccably well, nailing the key traits of character that allow for a back and forth rhythm that elevates the importance of their relationship and role within the story as well as the comedy that they provide. The same goes for Anupam Kher and Zenobia Shroff, playing Kumail’s parents, who bring an opposite perspective, but an equally dynamic chemistry. Throw in Bo Burnham basically playing himself (which is a good thing!) and supporting characters that each feel like their own person, and The Big Sick is the type of ensemble that doesn’t come around that often.

— Kyle Kizu

Runner-up: Okja

Kimberly French/Netflix/Courtesy

Every member of Okja’s ensemble cast is essential, bringing new dimensions and nuances to the film. Of course, there’s Ahn Seo-hyun, who gives the film its beating heart, and the obvious standouts like Tilda Swinton, bringing her unique brand of weird humor, and Jake Gyllenhaal, who adds to the zaniness by giving a performance that is essentially a Joker audition. Though he doesn’t have much screen time, Giancarlo Esposito also lends the film his trademark cool. The cast comprising the Animal Liberation Front brings their A-game too, as Paul Dano and Lily Collins play determined, uncompromising activists. Steven Yeun arguably gives one of the best performances in the film, since he is playing a distinctly Korean-American character, one that is essential in developing the theme of linguistic boundaries, and how systems of power play into them. Every character in Okja is rich and specific in detail, and only through a stellar ensemble cast can the film’s characters be truly realized.

— Harrison Tunggal

Nominees:
3. Dunkirk
4. Baby Driver
5. The Beguiled

Honorable Mention: Spider-Man: Homecoming

Achievement in Directing: Christopher Nolan — Dunkirk

Melina Sue Gordon

While many may still hold that The Dark Knight or Inception are better films, few will argue that Christopher Nolan’s direction of Dunkirk isn’t the best of his career, which is seriously saying something. The film has been awarded so many categories above precisely because of how every aspect of this film is working at full power and with full force, something that comes together under the guidance of one of the true auteurs of our time. Dunkirk is Nolan’s most cinematically ambitious film, utilizing the IMAX film format like it never has before and turning to visual elements of film, and away from dialogue and conventional story, to craft a piece of art that is wholly and purely cinematic, that can only exist as a piece of cinema. Nolan’s guiding hand paces the film to craft unmatched tension and structures the film to capitalize on and make the most of the historical event as well as to continue his investigation into time. It is at once Nolan’s most experimental film, the film that deviates the most from his typical style and expands his purview, while also being perhaps the most “Nolan” film we’ve gotten so far. His composition of action sequences, grounded in the physical, tangible reality of practical sets and practical effects, represents a technical genius on par with Alfonso Cuarón and George Miller, directors of similarly gigantic cinematic achievements. But his handling of theme, that of time, invoked by the film’s structure, elevates him above being purely a masterful technician. Nolan, showcased perhaps most efficiently and thouguhyl by his direction of Dunkirk, is a masterful storyteller.

Runner-up: David Lowery — A Ghost Story

Bret Burry/A24/Courtesy

A Ghost Story is obviously a very personal story to David Lowery, and sometimes, because something’s personal, it fails to be translated and executed in a way that resonates with audiences. And yet, there’s so much care offered to each frame, to each performance, to how each aspect of production, from technical to emotional, coalesces into the singularity that is A Ghost Story — a tale about grief that is as human as any film you might think of. Lowery’s direction, how he holds on to scenes, how he paces and progresses the narrative and how he forces the viewer to confront the film, is sublime. But his job as a director perhaps becomes elevated by how he works with his team and how he opens up to suggestion. The film initially was structured much more linearly until Shane Carruth came in to help edit. The film also lacked the song I Get Overwhelmed and how that song is intimately connected to the characters until Daniel Hart, who created the song, suggested it. Lowery’s personal vision doesn’t fail because he allows others in on it. A Ghost Story is not the sign of a typical “auteur,” but of someone who knows that in order to craft his deeply personal message, it has to become about the collaboration between everyone. And in that way, under that type of direction, A Ghost Story is a fully realized story about the weight of time.

— Kyle Kizu

Nominees:
3. Edgar Wright — Baby Driver
4. Bong Joon-ho — Okja
5. Trey Edward Shults — It Comes At Night

Honorable Mention: Matt Reeves — War for the Planet of the Apes

Performance by an Actress in a Leading Role: Florence Pugh — Lady Macbeth

Roadside Attractions/Courtesy

It was a summer of nasty women. In an attempt at viral marketing, the team behind The Beguiled rolled out a summer campaign that dubbed its leading ladies “vengeful bitches.” While the term certainly fit, an unassuming summer indie ended up making Sofia Coppola’s scheming Southern belles look positively docile. Lady Macbeth, starring Florence Pugh, was the feminist, “burn the patriarchy” movie of the summer. In the beginning, it’s a tired tale; Katherine (Pugh) is married off to an older man in what is quickly revealed to be a loveless marriage. Unlike similar period dramas, however, Katherine is no damsel in distress. She makes the jump from blushing bride to cunning psychopath in the blink of an eye, manipulating everyone in the household as her plan comes to fruition. It’s a star-making performance for Pugh, who shot the film at 19 and currently sits on the precipice of becoming Hollywood’s newest ingenue.

— Kate Halliwell

Runner-up: Ahn Seo-hyun — Okja

Netflix/Courtesy

None of Okja’s jabs at the meat industry, animal rights activism and the violence condoned by capitalism would hit hard without the audience’s investment in the relationship at the film’s core — the friendship between Mija (Ahn Seo-hyun) and Okja. Since Okja is a CG creation, Ahn deserves praise for being able to act alongside a stuffed animal (later replaced with a CG super pig). She wrings heaps of emotion from us, as she frolics with Okja in the woods of her home, and as she descends into a hellish meat packing plant to save her friend. Ahn is one of the best child actors working today, and she has an undeniably bright future ahead of her.

— Harrison Tunggal

Nominees:
3. Aubrey Plaza — Ingrid Goest West
4. Charlize Theron — Atomic Blonde
5. Gal Gadot — Wonder Woman

Honorable Mention: Nicole Kidman — The Beguiled

Performance by an Actor in a Leading Role: Andy Serkis — War for the Planet of the Apes

20th Century Fox/Courtesy

War for the Planet of the Apes, despite the grandeur and bombast implied by the title, is an intimate character study. As a result, the film relies heavily on closeups of character’s faces, more so than its two predecessors, and Andy Serkis (Caesar) rises, like he’s never done before, to that challenge. Serkis should have been nominated for awards for his pioneering motion capture work long ago, but detractors claim that CGI gives him an unfair advantage. No matter where you stand on this issue, it’s undeniable that War is predicated on Serkis’ performance. The computer wizardry behind Caesar needs to start somewhere, and Serkis provides expressions that could stand on their own. If the film isn’t evidence of the man’s talent (It is!) just look at this. We knew Serkis could deliver an extraordinary breadth of emotion from the previous films in the Apes franchise, but War considerably widens that breadth. Through the film’s close-ups, the camera lingers on the pain, weariness and sometimes joy that Caesar feels, and those emotions are extremely palpable. In particular, when Caesar is reunited with his loved ones, we see a character defined by his composure break down completely, and Serkis’ performance is powerful enough to move us to tears. Serkis truly deserves every amount of praise that comes his way, and hopefully, come fall, Academy voters won’t tune out such praise.

— Harrison Tunggal

Runner-up: Joel Edgerton — It Comes At Night

A24/Courtesy

It Comes at Night is a film that revels in ambiguity, and that extends to Joel Edgerton’s performance as Paul, a man trying to protect his family amid a viral apocalypse. In many ways, the ambiguity in the film shows how difficult it can be to trust other people, and Edgerton’s performance is nuanced enough to suggest varying degrees of morality and maybe something sinister too. He claims to have been a teacher, but how does he know how to efficiently dispose of a body, let alone shoot with tip top accuracy? Edgerton’s facial expressions don’t give us any answers, intentionally keeping us in the dark. There’s a certain weight to the character that Edgerton brings too, a grounded sense of power that gives every yell and deep stare a harsh resonance, and that’s the brilliance of his performance.

— Harrison Tunggal

Nominees:
3. Robert Pattinson — Good Time
4. Kumail Nanjiani — The Big Sick
5. Woody Harrelson — The Glass Castle

Honorable Mention: John Cho — Columbus

Best Motion Picture of the Summer: Dunkirk

Warner Bros./Courtesy

From the very beginning of Dunkirk, especially if viewed in IMAX 70mm, we are immersed, moved and affected on every sensory level in ways that virtual reality could only dream of. As showcased by its various technical awards, Dunkirk is a film that begs to be seen theatrically, that fights for the art form of cinema as it’s truly and only a cinematic experience. It’s host to action sequences that we almost never get, realistic and bracingly physical scenes that truly transport us to the beaches of Dunkirk, to the boats on the channel and to the air above, realized by artists, on every level, working toward their full potential. Its structure is experimental and, through perfect execution, almost groundbreaking, opening up a new space in how one experiences a film and how a filmmaking crafts a tense and utterly transformative story. But then there’s the sense of theme within the film that elevates it, a theme that Christopher Nolan’s been obsessed with investigating since the start of his career: time. Time works in the film to add to suspense. But it also works in building perspective, to capture scope and to evoke humanity. Dunkirk is wrapped in terror, horror, fear and more, but there’s a through-line of humanity, how all of those intense and overwhelming emotions come directly from our humanity, something Nolan approaches with empathy. In its final minutes, toned triumphantly, Dunkirk solidifies itself as more than just a technical achievement. It’s a film that represents everything that film stands for, in the theatrical, cinematic experience, both on a sensory level, but also on a deeply emotional, resonant and empathetic level as well.

— Kyle Kizu

Runner-up: It Comes At Night

A24/Courtesy

In It Comes at Night, indie-cinema-savior A24 and budding horror visionary Trey Edward Shults team up to deliver a sparse, Lynchian slow-burn of a horror-thriller, one where nightmares bleed into reality to create an inescapable sense of fear and dread. Such fear is merciless and it easily devours even the most moral of people, so when the film postulates this sentiment, a lurch in the gut becomes inevitable. Never mind the ambiguity surrounding the identity of the titular “it.” Ignore the divided opinions between critics and audiences. This film warns us that untethered, insidious fear will be our doom, and it’s a warning that needs heeding now more than ever.

— Harrison Tunggal

Nominees:
3. A Ghost Story
4. The Big Sick
5. War for the Planet of the Apes
6. Baby Driver
7. Wonder Woman
8. Okja
9. Good Time
10. The Beguiled

Honorable Mention: Columbus

 

A Note: We at MovieMinis feel a need to take into account sexual harassment and assault when relevant to films. ‘A Ghost Story’ is one of those films where a conversation must be had in order to be responsible writers, journalists and human beings. Casey Affleck was accused of sexual harassment while making the film ‘I’m Still Here.’ The cases were settled out of court. We will not, nor will we ever, act as the court, but we will and must believe the women that took cases up with him because it is necessary — as so few victims of sexual harassment, sexual assault and rape are believed in the first place. This past of Casey Affleck has influenced many viewers of ‘A Ghost Story’ in deeply negative and painful ways, so we must make clear that our recognition of the film is not in support or endorsement of him. We denounce those actions and we must confront the reality that ‘A Ghost Story’ will always be affected by his presence. In our decision to recognize the film, we aimed to fully avoid Affleck and hoped to look at the achievements of the other people who made undeniably excellent contributions to the film. While ‘A Ghost Story’ should never be looked at as wholly separate from Affleck, we feel as though there’s a way to both celebrate the work of certain artists while also not ignoring the problems that arise with his involvement. We hope we’ve been responsible and we stand with survivors and victims. 

Featured image via Warner Bros.

Box Office Report: As summer closes, box office reaches historic low with top earner merely making $10 million

Box Office Report for the weekend of August 25 to August 27:

As the summer closes with its last weekend, the box office has reached the year’s lowest point and, as reported by Box Office Mojo, the worst weekend in about 16 years.

The Ryan Reynolds/Samuel L. Jackson-starring The Hitman’s Bodyguard took home the top spot with an estimated $10.05 million, bringing up its domestic total to approximately $39.61 million. The film’s reported budget is $30 million, meaning that, despite it’s mostly negative reception as it sits at 39% on RottenTomatoes after 143 reviews, it will almost certainly make its money back, and then some. The weekend gross of The Hitman’s Bodyguard, however, is the lowest earning top spot of the year. One would have to go all the way back to the weekend of February 3-5, when M. Night Shyamalan’s Split made $14.42 million, to come close to a worse #1 earner. Some say that the film’s finalized weekend number — its ‘actuals’ — will dip, meaning that it could even sink below $10 million.

Annabelle: Creation placed second with an estimated $7.35 million. Taking place within the Conjuring franchise, which itself has crossed $1 billion, the film should cross $100 million domestically within the coming weeks (it currently sits at $77.88 million). With a budget of $15 million, the horror prequel will be, relatively, one of the year’s most profitable films.

New releases, though, proved incredibly unappealing, with the animated film Leap! being one of only two to break the top ten. The Weinstein Company acquisition, which premiered internationally last year, made only $5.01 million domestically.

Wind River, which performed well during a limited release, expanded to over 2,000 theaters, and took home an estimated $4.41 million at the domestic box office. The indie, coming from Sicario and Hell or High Water screenwriter Taylor Sheridan, features what many critics are calling Jeremy Renner’s best performance.

Christopher Nolan’s Dunkirk stuck around in the top ten after its 6th weekend in theaters, raking in another $3.95 million to claim the 6th spot. At this point, the World War II epic has yet to fall more than 47% from weekend to weekend, and never more than 41% after its second weekend, showing that it has strong legs. With a domestic total currently sitting at $172 million, the film will soon beat The Boss BabyGet Out and The LEGO Batman Movie to become the highest domestic grossing film that is not a sequel or a franchise vehicle — an accomplishment that Nolan is incredibly familiar with.

After Spider-Man: HomecomingThe Emoji Movie and new release Birth of the DragonGirls Trip, like Dunkirk, finds itself in the top ten after its 6th weekend, making an estimated $2.26 million domestically. The all-Black, all-female comedy recently crossed $100 million domestically.

Finally, in a bid for the 5th spot on the “highest domestic grossing superhero films” list, which is currently held by Iron Man 3 at $409.01 million, Wonder Woman added 1,407 theaters, expanding to a total of 2,210. The DC Extended Universe picture took home $1.68 million, bringing its domestic total to $406.2 million. It should claim that 5th spot in due time, putting it behind only The Dark Knight RisesAvengers: Age of UltronThe Dark Knight and Marvel’s The Avengers respectively.

The following weekend may be even more abysmal, with very few new releases that could make any notable dent. Unless Tulip Fever somehow strikes a chord with audiences, next weekend’s top earner may be well under $10 million.

The one after that, however, will see the release of It, which Variety reports could make about $50 million domestically its opening weekend, according to early box office tracking. With Jennifer Lawrence’s mother!, Kingsman: The Golden CircleThe LEGO Ninjago Movie and Tom Cruise’s American Made coming in the weeks following, the fall season will hopefully reinvigorate the box office.

*All weekend numbers are domestic, meaning that they’re from theaters in the U.S. and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*