Tag Archives: The Florida Project

March Madness of Movies: Best A24 Films — Round 2

These matchups were vote on by the MovieMinis Staff.

While every other bracket had some kind of outside seed make it into the elite eight, “Best A24 Films” stuck to the script with every #1 seed and #2 seed advancing through round 2.

But this is not say that that’s bad or boring in any way. On the contrary, this makes this upcoming round as hard as it could possibly be, contenders nearly impossible to decide between.

As a top eight, of sorts, of A24, these films are unbelievable. From Oscar winners to indie gems to near arthouse experiments, these eight films are about as strong as it gets from a studio, especially from such a young one.

#1 seed Moonlight has, expectedly, made it this far, and will face off against #2 seed Swiss Army Man. While Moonlight did win Best Picture, Swiss Army Man was its own kind of transformative film, at least for a few on staff.

#1 seed Lady Bird has also, expectedly, made it to round 3, and will take on #2 seed The Lobster. If there’s ever an indie name to cheer on, it’s eccentric writer-director Yorgos Lanthimos — that is, unless he’s facing off against Greta Gerwig. Either film will be a worthy choice.

#1 seed A Ghost Story held on through two rounds, but now faces its toughest challenge in Mike Mills’ absolutely lovely and sublime #2 seed 20th Century Women. Can the strength of Greta Gerwig not only help Lady Bird, but also 20th Century Women?

And finally, #1 seed The Florida Project will compete against #2 seed Ex Machina. In regard to material, these two films could not be more different, so it seems like this one will likely come down to taste.

Hopefully, the results of the next round will not be too painful.

Stay tuned for the round 3 results, which will be posted next week on Friday, March 30!

 

Featured image via A24.

March Madness of Movies: Best A24 Films — Round 1

These matchups were vote on by the MovieMinis Staff.

“Best A24 Films” went mostly as expected. The only higher seed to lose out was Locke, but that seems understandable as #6 seed The Spectacular Now is a more popular film and Locke earned its #3 seed based on a few very strong individual votes.

What’s interesting about this round is the matchups it results in. #1 seed Moonlight may be safe, but it would be wrong to deem #4 seed American Honey as easy competition. #2 seed Swiss Army Man is adored by our staff, but as seen by #6 seed The Spectacular Now’s upset, it shouldn’t be underestimated. #1 seed A Ghost Story and #4 seed A Most Violent Year could not be more different, so voting is unpredictable; the same can be said about #2 seed 20th Century Women and #3 seed The Witch.

On the other side of the bracket, #1 seed Lady Bird will take on #4 seed Obvious Child, which worked passed a tie-breaking vote against #5 seed The End of the Tour in the previous round. #2 seed The Lobster, an unorthodox but beloved film, will go head to head with #3 seed Room, a Best Picture Oscar nominee. #1 seed The Florida Project will compete with #4 seed It Comes At Night in a battle of rather different genres. Finally, #2 seed Ex Machina will match up against #3 seed Good Time, two films that range from liked to loved by our staff.

How incredibly tight these matchups were and how unbearably difficult they will be in this coming round goes to show how fantastic A24 has been as a production/distribution studio. There are many different kinds of films on this list, but they all coalesce into a very cohesive sense of the A24 brand.

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

 

Featured image via A24.

March Madness of Movies: Introducing the Brackets

Now that it’s March and the NCAA will be hosting its annual March Madness tournament soon, we at MovieMinis thought to have our own tournaments, but, of course, with movies.

In the bracket style of March Madness, we will run through four different topics in what we’re calling the March Madness of Movies.

But rather than stick to general topics, such as Best Superhero Movie or Best Animated Movie, we wanted to get specific, to vote on aspects of film that could potentially make for a much more fascinating tournament.

The four topics we ended up on are:

  • Best A24 Films
  • Best Superhero Villain of the 21st Century
  • Best Big Budget Directing of the 21st Century (cutoff at a $75 million production budget)
  • Best Cinematography Since 2010

In this write-up, we’re introducing the brackets, and in subsequent weeks, we will release the results of each round.

For each bracket, we laid out tons of potential contenders, and after a week of painful voting, we seeded each bracket. We must note that, in working through the seeding process, we were reminded of a terrible reality in the film industry.

In the potential contenders for Best Big Budget Directing of the 21st Century, with a cutoff at a $75 million production budget, there were only nine films directed by women, many of them with male co-directors. Only one ended up making our bracket, certainly not as a representation of talent, but as a magnification and emphasis of the problem. For perspective, there were literally hundreds directed by men, and the men were mostly white. This is a rampant problem in Hollywood. Women and people of color — and above all, women of color — are not only not given many chances, but when they are, failure, in any way, results in horribly unfair consequences; in essence, they’re less likely to get another chance than a white man is. This problem applies to cinematography too. In the potential contenders for that bracket, there was a proportionally similar compilation. While female cinematographers received votes, none made our bracket — again, not as a representation of talent, but as a magnification and emphasis of the problem. Hollywood must change, and part of that change comes from not ignoring the problem anymore. We need more big budget films directed by women and people of color, and we need more films, in general, lensed by women and people of color. We need women and people of color involved in every level of pre-production, production and post-production. For more statistics on female directors of big budget films, read Terry Huang’s piece on The Black List blog.

With that in mind, let’s move into how the brackets shaped up:

Best A24 Films

Perhaps unsurprisingly, Moonlight and Lady Bird earned #1 seeds. Joining them were The Florida Project and A Ghost Story. Those four films will face off against #8 seeds Green RoomMorris From AmericaDe Palma and Menashe.

The next set of top films, the #2 seeds, were Swiss Army Man20th Century WomenThe Lobster and Ex Machina, which will face off against #7 seeds The LoversWhile We’re YoungKrisha and Spring Breakers.

The #3 seeds were a mix of widely awarded films and incredibly acclaimed genre/indie pictures: LockeRoomThe Witch and Good Time. The #6 seeds that they’ll compete against leaned more toward the indie darling: The Spectacular NowThe Bling RingUnder the Skin and Enemy.

Finally, in the middle of the pack were #4 seeds American Honey, Obvious ChildA Most Violent Year and It Comes At Night, as well as #5 seeds AmyThe End of the TourThe Disaster Artist and The Killing of a Sacred Deer.

Best Superhero Villain of the 21st Century

This bracket is made up of four subcategories — MCU villains, DC villains, X-Men villains and villains from other properties — and we pulled eight contenders from each subcategory to compete. Instead of leaving them in their own sections, however, we then mixed them up and seeded from there. And we kept it to just eight per subcategory because it seemed more interesting than a likely lopsided MCU bunch had we not had that limit.

And this bracket is not just about performances. It’s about the villain, the character. That involves the writing and the directing of that character too.

With that said, the first three #1 seeds were rather simple to come to: Heath Ledger’s The Joker from The Dark Knight, Michael B. Jordan’s Erik Killmonger from Black Panther and Ian McKellen’s Erik Lehnsherr/Magneto from X-MenX2 and X-Men: The Last Stand

Perhaps surprisingly to some who dislike the character, our staff showed strong support for Tom Hardy’s Bane from The Dark Knight Rises, who took that final #1 seed.

Those four will take on #8 seeds Kevin Bacon’s Sebastian Shaw from X-Men: First Class, Ed Skrein’s Francis/Ajax from Deadpool, Mark Strong’s Frank D’Amico from Kickass and Kurt Russell’s Ego from Guardians of the Galaxy Vol. 2.

The #2 seeds went to Tom Hiddleston’s Loki from various MCU films, Alfred Molina’s Doc Ock from Spider-Man 2, the other Erik Lehnsherr/Magneto (played by Michael Fassbender) from the most recent X-Men trilogy and the second The Dark Knight inclusion, Aaron Eckhart’s Harvey Dent/Two Face.

The #7 seeds who will battle these four are Zach Galifianakis’ The Joker from The LEGO Batman Movie, Hugh Jackman’s X-24 from Logan, James Franco’s Harry Osborn/New Goblin from Spider-Man 3 and Michael Shannon’s General Zod from Man of Steel.

Two of the #3 seeds went to the last two Captain America films; Daniel Brühl’s Helmut Zemo from Civil War and Sebastian Stan’s The Winter Soldier (not Bucky Barnes) from The Winter Soldier. Liam Neeson’s Ra’s al Ghul from Batman Begins and Jason Lee’s Buddy Pine/Syndrome from The Incredibles earned the other two #3 seeds. 

Competing against them are #6 seeds James Cromwell’s Professor Robert Callaghan from Big Hero 6, Dane DeHaan’s Andrew Detmer from Chronicle, Peter Dinklage’s Bolivar Trask from X-Men: Days of Future Past and the Sentinels that Trask unleashed onto the X-Men, also from X-Men: Days of Future Past.

In the middle of the pack, earning #4 seeds, were Cillian Murphy’s Dr. Jonathan Crane/Scarecrow from the entire The Dark Knight trilogy, Willem Dafoe’s Norman Osborn/Green Goblin from Spider-Man, Samuel L. Jackson’s Mr. Glass from Unbreakable and Andy Serkis’ Ulysses Klaue from Avengers: Age of Ultron and Black Panther. They’ll match up against #5 seeds Hugo Weaving’s Johann Schmidt/Red Skull from Captain America: The First Avenger, Brian Cox’s Col. William Stryker from X2, Michael Keaton’s Adrian Toomes/Vulture from Spider-Man: Homecoming and Jesse Eisenberg’s Lex Luthor from Batman v Superman: Dawn of Justice.

Best Big Budget Directing of the 21st Century

This bracket was split up into four different subcategories. Those were “Superhero Directing” (in the upper left), “Franchise Directing” (in the lower left), “Prestige/Original/Non-Studio Franchise Directing” (in the upper right) and “Animated Directing” (in the lower right). We took some liberties with this. Mad Max: Fury Road is a part of a franchise, but we concluded that it felt more in line with its current group than it would’ve among the franchise contenders.

In Superhero Directing:

Christopher Nolan easily earned a #1 seed; many even believe that he should’ve gotten an Oscar nomination for his efforts on The Dark Knight. He’ll face off against #8 seed Tim Miller for the subversive Deadpool.

Coming in behind Nolan in the #2 seed was Ryan Coogler for Black Panther, a cultural phenomenon that many believe could become the first superhero film nominated for Best Picture.

The #3 seed went to Joe Russo and Anthony Russo for Captain America: Civil War; the Russo brothers also placed in the #7 seed for Captain America: Civil War. James Gunn will take on the Civil War Russos with #6 seed Guardians of the Galaxy.

The middle match-up comes from 2017 films: the #4 seed James Mangold for Logan and the #5 seed Patty Jenkins for Wonder Woman.

In Franchise Directing:

Peter Jackson quite easily snagged the #1 seed for his directing job on The Lord of the Rings: The Return of the King. He’s the only Best Director winner out of five nominated efforts in this bracket. Facing of against him is #8 seed Martin Campbell for the first Daniel Craig James Bond film Casino Royale.

Sam Mendes, director of another Craig Bond film, Skyfall, made the bracket as the #6 seed. He’ll compete with #3 seed Matt Reeves for Dawn of the Planet of the Apes.

Like Bond, Matt Reeves made his subcategory twice, earning the #2 seed for War for the Planet of the Apes. He’ll take on our perhaps surprising Star Wars inclusion, #7 seed Gareth Edwards for Rogue One: A Star Wars Story.

Finally, with some of the most acclaimed films of the subcategory, #4 seed Alfonso Cuarón for Harry Potter and the Prisoner of Azkaban will battle #5 seed Denis Villeneuve for Blade Runner 2049.

In Prestige/Original/Non-Franchise Studio Directing

David Fincher’s Zodiac has become regarded as on the best films, in general, of the 21st century, so he glided into a #1 seed pretty smoothly. But his contender is a tough one: #8 seed Alfonso Cuarón for landmark sci-fi film Children of Men.

George Miller earned the #2 seed for his masterful work on Mad Max: Fury Road, and will face of against legendary director and #7 seed Martin Scorsese for The Wolf of Wall Street.

Scorsese made this subcategory twice, taking the #3 seed for his directing job on The Aviator. His opponent is #6 seed Christopher Nolan for Dunkirk, who also made this subcategory twice, placing as the #4 seed for Inception. He’ll take on #5 seed Peter Jackson for King Kong.

In Animated Directing:

Quite predictably, Pixar dominated this bracket, with #1 seeds Pete Docter and Bob Peterson for Up, #2 seed Brad Bird for The Incredibles, #3 seed Lee Unkrich for Toy Story 3, #4 seed Andrew Stanton for WALL-E, #6 seeds Pete Docter and Ronnie del Carmen for Inside Out and #8 seeds Lee Unkrich and Adrian Molina for Coco.

But other animation directors made it through with their beloved films. Rounding out the eight were #5 seeds Dean DeBlois and Chris Sanders for How to Train Your Dragon, and #7 seeds Ron Clements, John Musker, Don Hall and Chris Williams for Disney’s Moana.

Best Cinematography Since 2010

Even with setting the parameter of cinematography since 2010, there were still an overwhelming number of potential contenders and our votes were widely varied, resulting in a bracket that truly represents a mix of our opinions.

The #1 seeds did stand out, however: Mihai Malaimare Jr.’s lensing of The Master, Andrew Droz Palermo’s work on A Ghost Story, Roger Deakins Oscar-winning efforts on Blade Runner 2049 and Hoyte van Hoytema’s unforgettable photography on Her.

In fact, both Deakins and van Hoytema made this bracket three times. Deakins also earned a #3 seed for Skyfall and a #6 seed for Sicario. van Hoytema’s other two were Christopher Nolan films, a #2 seed for Dunkirk and a #6 seed for Interstellar.

Bradford Young also made this bracket three times, taking a #2 seed for Arrival, a #7 seed for A Most Violent Year and a #8 seed for Mother of George.

But, of course, 3-time Oscar winner Emmanuel Lubezki placed more than everyone with four spots: a #2 seed for The Tree of Life, a #3 seed for Gravity, a #5 seed for The Revenant and a #7 seed for Birdman or (The Unexpected Virtue of Ignorance).

The rest of the bracket is filled with stunning photography. Oscar winner Linus Sandgren earned a #2 seed for his work on La La Land. Other cinematographers of 2016 took spots as well, with James Laxton earning a #4 seed for Moonlight and Rodrigo Prieto earning a #4 seed for Silence.

Work from 2015 films rounded out the #3 seeds: Dick Pope for Mr. Turner and John Seale for Mad Max: Fury Road. The other #4 seeds were Luca Bigazzi for The Great Beauty and Bruno Delbonnel for Inside Llewyn Davis.

While Hoyte van Hoytema may have two Nolan films on this bracket, Nolan’s former cinematographer, Wally Pfister, earned a #5 for his Oscar-winning work on Inception. Rather recent photography also seeded #5: Rob Hardy for Annihilation and Sayombhu Mukdeeprom for Call Me by Your Name.

In fact, a couple of Roberts placed here. Robert D. Yeoman placed in the #6 seed for The Grand Budapest Hotel and the #7 seed for Moonrise Kingdom. Robert Richardson also seeded #6 for Django Unchained, while Robert Elswit was another Paul Thomas Anderson cinematographer to place, earning a #8 seed for Inherent Vice..

Finally, the last few contenders are #7 seed Masanobu Takayanagi for Hostiles, #8 seed Darius Khondji for The Lost City of Z and #8 seed Seamus McGarvey for Godzilla.

 

Follow along throughout March as we vote on these brackets and determine the best of each topic!

 

Featured image via Marvel Studios/Warner Bros./A24.

The MovieMini Awards for the Films of 2017

In difficult times, we often turn to the movies for comfort, for inspiration, for escape, for expression. We have throughout cinema’s history and we will throughout cinema’s future.

Without a shadow of a doubt, 2017 was a difficult year. But it almost seemed like movies responded accordingly. Not only were films great from January to December, but they also often transcended the art form, bleeding into real life with such vividly real emotions. That’s what cinema is meant to do.

Once a year in film wraps up, it seems only appropriate to celebrate it and to celebrate it thoroughly. 2017 is one of those years where it seems necessary, where reflection expands upon the impact that the films have.

We see this celebration in the form of awarding films, and many places and people take part, from critics to Academy voters. And while it’s fun to watch those award shows, they risk becoming frustratingly difficult to engage with. Response to cinema, to what’s “the best” has its objective elements, but it’s also often subjective and personal. That’s why we feel the need to celebrate 2017 our way, as we can only add another layer, a layer that distinctly reflects us.

Our celebration takes the form of the MovieMini Awards, a project we’ve spent more than two months on. We gathered a team. We traversed four rounds of voting. We poured ourselves into our writing. And we dressed it up a little to present it all to you.

Without further ado, here are the MovieMini Awards for the films of 2017:

Performance by an Actor in a Supporting Role: Willem Dafoe — The Florida Project

Image courtesy of A24

In much of Sean Baker’s The Florida Project, the oft-menacing Willem Dafoe plays a warmer, more paternal motel manager named Bobby.

In a scene likely to find itself on Dafoe’s Oscar reel, Bobby confronts a pedophile lurking around the motel’s many children. At first, Bobby seems to treat this man with some sympathy, but it becomes apparent that that may have been to avoid rousing suspicion among the kids. As he escorts the pedophile away, anger bubbles behind Dafoe’s facade. Then, when he angrily rebukes the man, we get a sense of how protective Bobby is of the children he’s constantly fighting with and that even now, Bobby’s seen it all before.

Perhaps the movie’s harshest reality is at the end when — spoilers — Moonee (Brooklynn Prince) is about to be separated from her mom. Dafoe, who’s spent so much time trying to help the pair, has no choice but to walk away and separate himself from the situation. He can’t help anymore and that, perhaps more than anything, hurts. He’s not there watching the pain anymore, but we see in his eyes that he’s been changed by all of this. Sure, he’s seen it all before, but that doesn’t mean he can bear to see it again — you just don’t get used to that sort of pain.

Hooman Yazdanian

Runner-up: Michael Stuhlbarg — Call Me by Your Name

Sony Pictures Classics/Courtesy

Within Michael Stuhlbarg’s sublime and endlessly warm performance, one brief moment always comes to mind. When Elio, fresh off an agonizing farewell with Oliver, wanders into his father’s study and catches his eye, Stuhlbarg lifts his chin up and breaks out an ear-to-ear smile. So begins the heartbreaking and tender penultimate scene of Call Me By Your Name.

Stuhlbarg’s performance — which is equal parts gentle, edifying and achingly human — leads to one of the most unforgettable monologues in modern film history.  “Right now, there’s sorrow, pain. Don’t kill it, and with it, the joy you’ve felt.” The soft, quiet breaking of Stuhlbarg’s voice is masterful — a perfect ending to a spectacular supporting performance.

— Michelle Lee

3. Jason Mitchell — Mudbound
4. Richard Jenkins — The Shape of Water
5. Armie Hammer — Call Me by Your Name

The Next 5
6. Mark Rylance — Dunkirk
7. Michael Shannon — The Shape of Water
8. Bill Skarsgård — It
9. Tracy Letts — Lady Bird
10. Christopher Plummer — All the Money in the World

Achievement in Makeup & Hairstyling: Ivana Primorac, Kazuhiro Tsuji, David Malinowski, Lucy Sibbick — Darkest Hour

Image courtesy of Focus Features

Heavy makeup often becomes an issue for films. When there’s so much work being done, there’s an equally large risk that something will stick out or look visually off, especially when there are other characters without makeup in the same shots. But the prosthetics in the Winston Churchill biopic Darkest Hour are seamless. Gary Oldman, an otherwise thin man, is fully transformed into a rather different type of physicality, a physicality that is integral to defining the character of Churchill. There’s so much humor in Churchill’s bumbling demeanor, and yet there’s so much power and gravitas in it as well. So many layers of the film are pulled off, including Churchill’s interactions with other characters.

The makeup work hits that sweet spot between too much and using an actor that only roughly looks like Churchill, allowing the essence of the man to come through as perfectly as possible.

— Kyle Kizu

Runner-up: Mike Hill, Shane Mahan — The Shape of Water

Fox Searchlight/Courtesy

The work done in The Shape of Water has proved to be a bit of a divide for categorization and judgment. Some deem the Amphibian Man’s exterior as, actually, a costume, it being something actor Doug Jones put on. But we look at it as makeup work, as a sort of large scale prosthetic piece designed to be skin, not costume.

And, in addition to the wonderful period details of the hair of the rest of the cast, the skin of the Amphibian Man is truly outstanding, built from such minute detail to create a creature that feels fully imagined and realized. Each part of the creature feels alive in such majestic ways.

— Kyle Kizu

3. Deborah LaMia Denaver, Adruitha Lee — I, Tonya

The Next 3
4. Joel Harlow, Cindy Harlow — Logan
5. Paul Engelen, Sarah Alice Hoyle, Lesley Nobile — Phantom Thread
6. Sarah Craig McEathron, Linda Dowds, Sean Sansom — It

Achievement in Costume Design: Mark Bridges — Phantom Thread

Image courtesy of Focus Features

Mark Bridges’ remarkable work is vital to Phantom Thread, because if it were not excellent, it’d be hard to buy into the hype surrounding Reynolds Woodcock. As important as it was for Daniel Day-Lewis to inhabit Woodcock, it was crucial for Bridges to do the same. He had to make clothing that Woodcock would, not just clothing from 1955, but clothing this particular man would make at this particular stage of his life. That meant using copious lace with rich colors — hallmarks of the Woodcock brand — and imbuing regal undertones in the many dresses Alma (Vicky Krieps) would fashion. It also meant making a wedding dress that, while beautiful to us, would’ve disappointed Woodcock.

Beyond the dresses, Bridges is responsible for dressing the characters on a daily basis. Before a word is spoken, we know what time period it is. Before Alma speaks to Woodcock in their diner meetcute, we can get a sense of her present state. Her slightly wrinkled, slightly misfit outfit contradicts with Woodcock’s strenuously put together, neat clothing.

So is it cheating to pick the film literally set in the fashion world for best costume design? Honestly, yeah, probably. Do we care? No.

Hooman Yazdanian

Runner-up: Jennifer Johnson — I, Tonya

Neon/Courtesy

Jennifer Johnson absolutely nails the look of the figure skating world in I, Tonya. Johnson’s work was especially important in capturing different stages of Tonya Harding’s life. Early on, before Harding hits it big for the 1994 Olympics, most of Tonya Harding’s clothing was handmade by her. As such, Johnson effectively made Harding’s clothing look homemade and ill-fitting, contrasting with the more prim costumes we see from Harding’s competitors.

Later, as Harding’s star is rising, we see her showing off fancy jewelry she hadn’t donned prior, representing Harding’s own feeling that she was finally making it. In the 1994 Olympics, Harding’s competition outfit looks more than up to snuff with her competitors — finally she belonged. The way Harding was dressed is an important plot point in I, Tonya, and Johnson managed to hit all her marks.

Hooman Yazdanian

3. Renée April — Blade Runner 2049
4. Lindy Hemming — Wonder Woman
5. Jacqueline Duran — Beauty and the Beast

The Next 5
6. Luis Sequiera — The Shape of Water
7. Stacey Battat — The Beguiled
8. Jeffrey Kurland — Dunkirk
9. Jenny Eagen — Hostiles
10. Michael Kaplan — Star Wars: The Last Jedi

Best Documentary Feature: Icarus

Image courtesy of Netflix

To be honest, it’s hard to say I thought I’d be calling Icarus the best documentary of the year early in the movie. Within 15 minutes, we see a man trying to cheat a cycling race show his dog’s testicles to the doctor helping him dope. What the hell is going on?

The film begins with Bryan Fogel, the documentary’s director, wanting to see how possible it would be to get away with doping in a cycling race. He enlists the help of Dr. Grigory Rodchenkov, who put Fogel on the same regiment he put Russian athletes under, injections in the butt and all. What happens after this weirdness — that’s admittedly still fascinating — is remarkable.

As Russia’s systemic doping was unveiled during filming, Icarus’ focus shifts to the scandal at large, where Rodchenkov is a major player. The movie shows the rampant, state-sanctioned cheating going on in Russia (which now finds itself banned from the upcoming Winter Olympics). More compelling than even that is the light it sheds on Russia’s treatment of anyone who could harm the nation and Vladimir Putin’s reputation.

On a more human level, Fogel delves into Rodchenkov, highlighting his emotional journey and presenting us with a three-dimensional character. Rodchenkov gets an opportunity to shine; we see his sadness, his fears and the traumatic experiences that led him here. We get a sense for his personality through his sense of humor, and in a beautiful scene at the end of the film, we see Rodchenkov frolic with Fogel’s dog on a beach, seemingly happy and free, for now.

A movie that begins with dog testicles, frozen pee and Fogel’s butt turns into a thriller rife with geopolitical conflict and, undoubtedly, one of 2017’s best films.

— Hooman Yazdanian

Runner-up: Jane

Abramorama/Courtesy

From the first minute, Jane is easy to become fascinated with. It’s a look at over 100 hours of never-before-seen footage of the famous Jane Goodall during her journeys with the apes she got so close too. But the documentary is also a sneakily epic and intimate character piece. As the film turns to its second half, we start to get a sense that we’re witnessing such a wholesome portrait of Goodall’s life, of what drove her not only as a scientist, but as a woman in that time and as a human being in general. It’s a soft portrait, but it’s unbelievably powerful. Director Brett Morgen’s control of the archival footage and quiet empathy for Goodall, which comes out in the editing, is nothing short of masterful, and Philip Glass’ score is one of the most beautiful of the year.

— Kyle Kizu

3. Faces Places
4. Kedi
5. Ex Libris: The New York Public Library

The Next 5
6. Abacus: Small Enough to Jail
7. Strong Island
8. City of Ghosts
9. Chasing Coral
10. Batman & Bill

Breakthrough Performance by an Actor or Actress: Timothée Chalamet — Call Me by Your Name

Image courtesy of Sony Pictures Classics

Well, well, well. Someone had themselves quite the year. Timothée Chalamet, the star of the magnificent Call Me By Your Name, undoubtedly delivered one of the best performances in recent years in this film. His expressive face and ultra-specific physicality — whether its his posture, his dancing or the way he falls into Armie Hammer — tell a story, all on their own. In Call Me By Your Name, Chalamet had lengthy close-ups of just his face and he pulled it off better than just about any veteran actor could. His tone-perfect line delivery ties the bow on a  performance that leaves no nits to be picked.

Add to that his brilliance as the scene-stealing, People’s History of the United States-reading bastion of pretension we all know in Lady Bird, and it’s hard not to get excited for his future in the industry.

That’s what made it so disappointing to see that one of his next movies is a starring role in a Woody Allen film. The young actor’s apology gives us some hope that he actually did learn from and recognize the mistake, and can make more mindful decisions going forward. It’d be a shame if he didn’t because he’s got unrivaled potential and we’d love to see him succeed.

Hooman Yazdanian

Runner-up: Daniel Kaluuya — Get Out

Universal Pictures/Courtesy

Daniel Kaluuya is ready to be a star. He’s likely been ready for a while and, frankly, it’s telling that he didn’t get a true shot until now. And now that he did get that chance, Kaluuya’s emotionally versatile, wary performance in Get Out earned him an Oscar nomination. His generally perturbed, concerned vibe is perfect for the role, as is his bemused dismissal of the consistent microaggressions hurled his way. Kaluuya’s eyes are extremely expressive — which is all the more harrowing in the context of the film — and they get a chance to do a lot of work in Jordan Peele’s many close-ups.

His accent work is impressively natural as well; Kaluuya so thoroughly inhabited the role that it was legitimately shocking to hear his thick British accent outside of the film. In 2018, the 28-year-old’s much-deserved breakthrough will continue as he is set for roles in Black Panther and Steve McQueen’s next film, Widows.

Hooman Yazdanian

3. Brooklynn Prince — The Florida Project
4. Vicky Krieps — Phantom Thread
5. Dafne Keen — Logan

The Next 5
6. Ahn Seo-hyun — Okja
7. Mary J. Blige — Mudbound
8. Tiffany Haddish — Girls Trip
9. Betty Gabriel — Get Out
10. Florence Pugh — Lady Macbeth

Achievement in Sound Editing: Richard King, Alex Gibson — Dunkirk

Image courtesy of Warner Bros.

The sound of Dunkirk is about as integral to the cinematic experience as any other aspect. With specifically sound editing, which is the creation of sounds, Dunkirk plants us firmly in the three settings of the film — the cockpit of a Spitfire, the deck of a civilian boat and the beaches of Dunkirk, France.

The sound of most war films is mainly filled with gunfire, and Dunkirk does have plenty of it. But it’s the variety of sounds that is the film’s greatest asset. We not only get bullets launching out of guns, but we get the impact of those bullets, whether they be ripping through the wooden planks of the mole, piercing the side of a boat, pinging off the Spitfire and more. Beyond the guns, though, we also get the roar of a few different airplanes, both fighters and bombers, as well as sounds that build the space of these characters so thoroughly, such as the rattle heard inside a cockpit. The goal of sound is immersion, and the sound editing of Dunkirk accomplishes that goal incredibly.

— Kyle Kizu

Runner-up: Mark Mangini, Theo Green — Blade Runner 2049

Warner Bros./Courtesy

The sound editing of Blade Runner 2049 is rather raw and incredibly forceful. The futuristic Los Angeles and Las Vegas feel rather suffocating, claustrophobic and overwhelming, and the intensity with which the sound editing team craft the sounds of the cities and the sounds of the hovers cars and the guns that fill their streets adds immeasurably to those elements and our experience of them. In a world void of nature and much color, the sounds are made to get under our skin and rattle us. Silence permeates much of the film and then, when the actions ramp up, the explosions of the sounds hit hard. Without spectacular sound editing, Blade Runner 2049 wouldn’t be nearly as effective in evoking the humanity the entire film hinges on.

— Kyle Kizu

3. William Files, Douglas Murray — War for the Planet of the Apes
4. Matthew Wood, Ren Klyce — Star Wars: The Last Jedi
5. Nathan Robitaille — The Shape of Water

The Next 5
6. James H. Mather — Wonder Woman
7. Julian Slater — Baby Driver
8. Matthew Wood, Trey Turner, Christopher Scarabosio — Phantom Thread
9. Shannon Mills, Guillaume Bouchateau — Valerian and the City of a Thousand Planets
10. Choi Tae-young — Okja

Achievement in Sound Mixing: Mark Weingarten, Gregg Landaker, Gary A. Rizzo — Dunkirk

Image courtesy of Warner Bros.

No matter how well sounds are crafted, they oftentimes don’t have as much of an impact if they’re not mixed well. In Dunkirk, the sounds evoke such visceral reactions because of how they’ve been compiled, because of their onslaught. One scene exemplifies this. During the first attack on the mole, gunfire rips through the wood, bombs explode on the hospital ship, the German fighter planes’ horns shriek from above and voices scream as bodies splash into the water. It’s a mix so overwhelming and intense that it becomes genuinely brutalist.

And that brutality is extended to the rest of the film. The volume levels are never off mark, and when they’re loud, they deafen with a purpose. The layers also extend deeply, specifically in the climactic oil scene where the three storylines collide, and the ridiculous sounds of each are mixed to perfection both in their own spaces and in the edited audial flow between those spaces. Dunkirk’s sound mixing truly raises the bar for other war films.

— Kyle Kizu

Runner-up: Glen Gauthier, Christian Cooke, Brad Zoern — The Shape of Water

Fox Searchlight Pictures/Courtesy

The Shape of Water’s sound mixing is rather subtle. There aren’t many obvious sound moments, but the sound mixing does go a long way toward building the world that our characters inhabit. Much of the film takes place in the underground government facilities, which is host to advanced technology, a creaking and echoing atmosphere and plenty of water. In fact, it often is with water where the sound of the film does such wonderful work. The sound of water is treated delicately, but also majestically, enhancing so much of the thematic work being done. In the climactic moment, that water pours down as gun shots sound out, the sound mixing as integral to the release of the moment as the writing, performances or any other aspect.

— Kyle Kizu

3. Mac Ruth, Ron Bartlett, Doug Hemphill — Blade Runner 2049
4. Mary H. Ellis, Julian Slater, Tim Cavagin — Baby Driver
5. Stuart Wilson, Ren Klyce, David Parker, Michael Semanick — Star Wars: The Last Jedi

The Next 5
6. Josh Berger, Derek Heir, Tom Johnson, Robert Hein — The Lost City of Z
7. Chris Duesterdiek, Andy Nelson, William Files — War for the Planet of the Apes
8. John Midgley, Adrian Bell, Christopher Scarabosio, David Acord — Phantom Thread
9. Paul Urmson, Brian Tarlecki, José Antonio García — Hostiles
10. Christopher Boyes, Michael Semanick, Vince Caro — Coco

Performance by an Actress in a Supporting Role: Laurie Metcalf — Lady Bird

Image courtesy of A24

There are certain supporting performances that are arguably just as key as the lead performances to the film’s success. Whether as a scene-stealing villain such as Heath Ledger’s Joker in The Dark Knight, or Anthony Hopkins psychologically fraught 26-minute “lead” performance in Silence of the Lambs or Jake Gyllenhaal’s essentially co-leading Jack Twist in the emotionally devastating Brokeback Mountain, there are films that rise to their great heights because of the perfect synchronization between a lead and their main supporting actor. And Laurie Metcalf’s role as Lady Bird’s mother Marion is one of these.

While much of the film can be seen as a young woman’s version of Boyhood, in which we watch Christine “Lady Bird” McPherson (Saoirse Ronan) go through her senior of high school, the film’s powerful, lived-in drama comes from the butting heads of Metcalf’s seemingly domineering mother (who is actually very caring towards her daughter, despite her sometimes harsh words) and the free-wheeling and free-spirited Lady Bird.

Metcalf though, unlike some other overbearing motherly performances (specifically, Allison Janney in I, Tonya), brings a bruised humanity to the role. While Marion can tell her daughter she’s not college material, or that her father has been battling depression or that she can’t afford Lady Bird’s New York state college ambitions, there’s always a bracing realism and warmth to her. While the film is told from Lady Bird’s perspective, the film wisely ends with Lady Bird realizing what her “small,” “midwest of California” city of Sacramento meant to her, but more importantly, what her wise mother, perfectly played by Metcalf, meant. Thus, for a film that’s widely considered one of the best coming-of-age stories in cinematic history, it may just be the older woman who’s already come-of-age to only go through a midlife crisis that illustrates what makes Lady Bird so powerful and relatable.

— Levi Hill

Runner-up: Tatiana Maslany — Stronger

Roadside Attractions/Courtesy

In regard to performances of characters experiencing tragedy, it’s easy for actors to overemphasize that tragedy, to make it too much of the focus. But Tatiana Maslany, in the Boston marathon bombing true story Stronger, is incredibly delicate and empathetic in shaping Erin Hurley, the girlfriend of Jeff Bauman (Jake Gyllenhaal), whose legs were amputated after the bombing.

There is certainly focus on the impact that the tragedy has on these human beings, and Maslany is absolutely gripping in those scenes, heartbreakingly bringing the overwhelming emotions to life with such vivid use of her eyes and strain in the rest of her face. But Maslany also handles the soft moments of reconnection with Jeff and the difficult frustration of Jeff’s troubled recovery so well. Her character is so selfless, but also holds her self-worth so strongly, and Maslany lives in that conflict with grace.

— Kyle Kizu

3. Holly Hunter — The Big Sick
4. Dafne Keen — Logan
5. Mary J. Blige — Mudbound

The Next 5
6. Allison Janney — I, Tonya
7. Tiffany Haddish — Girls Trip
8. Betty Gabriel — Get Out
9. Lesley Manville — Phantom Thread
10. Bria Vinaite — The Florida Project

Best Foreign Language Film: A Fantastic Woman

Image courtesy of Sony Pictures Classics

Sebastian Lelio’s best films have been dedicated to giving women who typically don’t have voices the chance to be the central characters in compassionate character pieces. In Gloria, for example, Leilo created a stunning portrait of an aging woman who still wants to have fun, to be free, to go out, to have sex, to drink and to find love. Where Hollywood rarely, if ever, gives women over 45 a chance to star, let alone in a film actually about the very ordinary life of a woman “of a certain age,” Leilo marvelously details the intimate moments of a life that deserves to be on the big screen.

However, what Lelio accomplishes with A Fantastic Woman might be his most excellent film yet — if much darker than Gloria. A Fantastic Woman follows Marina, a transgender woman working as a waitress and aspiring to be a singer, living her life with Orlando — an older businessman who owns his own textile company. Yet one day, Orlando falls ill, is taken to the emergency room and then dies.

Before even given the time to mourn for her lover’s death, Marina is treated by his family with disdain and as a potential cause of Orlando’s death. To them, she is perverse. However, with the fantastic lead performance of Daniela Vega and Lelio’s considerate direction, the film reveals the lifelong traumas people and society have placed upon her and her want to simply be treated empathetically. And even with these issues, and Lelio’s ever-changing tones (suspense thriller, romantic drama and even a musical), the film and Vega never lose sight of what is at stake for Marina. Thus, the story not only shows a “Fantastic Woman” but becomes a fantastic film of grace and defiance in the face of hate.

— Levi Hill

Runner-up: Loveless

Sony Pictures Classics/Courtesy

Andrey Zvyagintsev has become known as Russian public enemy #1, despite also being the most internationally acclaimed Russian filmmaker working today. After The Return — Golden Lion winner in 2003 — Zvyagintsev has used simple stories of family disputes as grand metaphors for the societal issues found within contemporary Russia. Loveless, his second Academy Award nominee after Leviathan, is his most scathing film yet.

One day, a young boy  — who has become emotionally distant due to his parent’s diatribic divorce — disappears walking home from school. From here, Zvyagintsev digs into the issues these two parents have, painting a portrait of social malaise and two despicable characters (Boris and Zhenya), asking whether this broken of a relationship and a society even deserve these children to begin with. Loveless is, without a doubt, one of the toughest watches from 2017, but its blunt impact is not easily forgotten.

— Levi Hill

3. Foxtrot
4. The Square
5. Raw

The Next 5
6. First They Killed My Father
7. BPM (Beats Per Minute)
8. On Body and Soul
9. Thelma
10. In the Fade

Best Animated Feature: Coco

Image courtesy of Pixar

Disney-Pixar’s Coco is enthralling in nearly every way. Visually, the film is stunning in its depictions of a small Mexican town where neighbors all know each other, as well as its inventive interpretation of the Land of the Dead. Emotionally, Coco is deeply omnipresent.

When star Miguel (Anthony Gonzalez) is chastised by his family for wanting to be a musician — his great-great grandfather ran away to chase fame as a guitarist — he steals the guitar of the town’s most well-loved musician so that he himself can perform in front of the town to prove his talent. But, the performance is on Día de los Muertos, and those who steal from the graves of the dead on Día de los Muertos find themselves lost in the Land of the Dead, where they require the aid of their ancestors to return to the Land of the Living.

At its core, Coco speaks to narratives of lineage, familial love and finding oneself — and it ties each of these themes together with the thread of familial bonds that transcend time and space — all in the context of a very special holiday, Día de los Muertos, or Day of the Dead.

— Sophie-Marie Prime

Runner-up: The Breadwinner

Gkids/Courtesy

The Breadwinner is a film that elevates animation in ways directly connected to the art form. The story it tells is harrowing and dark, and the content is often restrained so that the film may appropriate for families, as the film involves families. But it also is always pushing at the glaring social issues inherent to the narrative, specifically the oppression of women in much of Afghanistan’s culture. As visually striking as it is emotionally engaging, the film also shows love for the great parts of that culture, the parts that bond the beautiful family at the story’s core, and the parts that allow the film to also act as an almost fable-esque tale that is distinctly youthful. The Breadwinner is essentially animation, constructing a narrative with such significant real world implications while maintaining a sense of wonder that only animation can hold.

— Kyle Kizu

3. Loving Vincent
4. The LEGO Batman Movie
5. Cars 3

Performance by an Actor or Actress in a Specialty Role: Andy Serkis as Caesar — War for the Planet of the Apes

Image courtesy of 20th Century Fox

Andy Serkis has been innovating ever since his performances as Gollum in The Lord of the Rings trilogy nearly two decades ago. That became a turning point for motion capture, but it’s really been the new Planet of the Apes trilogy and performance capture where Serkis has changed our idea of what acting is and what it means to perform. Truly, in the Apes trilogy, we are seeing Serkis’ performances; we are seeing him bring the character of Caesar to life. Visual effects may realize the ape exterior, but it is Serkis’ performances that realize his interiority.

In War for the Planet of the Apes, Serkis not only offers his most emotional turn in this technological phenomenon yet, but also one of the most emotional turns of any performer of the year. With War, director and co-writer Matt Reeves sets out to specifically test Caesar, to bend and break his character so that his morals come directly into conflict with what’s needed to save the apes. Serkis hits on this conflict heavily, painting Caesar as a tragic figure, but also as an epic one. Precisely because of the sometimes heartbreaking and sometimes visceral, rage-filled facial expressions in the raw close-ups of Caesar, War is elevated intangibly and turned into a gripping blockbuster, a vast epic and an intimate character piece all at once. It is no coincidence that Andy Serkis’ Caesar will be remembered as one of the greatest characters put to film in the 21st century.

— Kyle Kizu

Runner-up: Doug Jones as Amphibian Man — The Shape of Water

Fox Searchlight/Courtesy

Doug Jones has made quite a career for himself, notably starring in many of Guillermo del Toro’s films, including as the notorious Pale Man in Pan’s Labyrinth. Jones’ work as The Asset, or Amphibian Man, in The Shape of Water is among the best he’s ever done. His handle of sensuality, innocence and intimidation are essential to the characterization of this mysterious creature. The way he sits, hoping to get back on Giles’ (Richard Jenkins) good side after eating one of his cats, exhibits his humanity. His embrace for humans after so much betrayal at their hands is heartwarming, while his protective vengeance is satisfying. Jones makes his Amphibian Man a feeling being, and he makes us believe it’s all possible.

Hooman Yazdanian 

3. Saara Chaudry as Parvana — The Breadwinner
4. Anthony Gonzalez as Miguel — Coco
5. Gael García Bernal as Héctor — Coco

The Next 5
6. Taika Waititi as Korg — Thor: Ragnarok
7. Robert Gulaczyck as Vincent van Gogh — Loving Vincent
8. Will Arnett as Batman — The LEGO Batman Movie
9. Andy Serkis as Supreme Leader Snoke — Star Wars: The Last Jedi
10. Michael Cera as Robin — The LEGO Batman Movie

Achievement in Production Design: Dennis Gassner, Alessandra Querzola — Blade Runner 2049

Image courtesy of Warner Bros.

With Arrival, Denis Villeneuve distinguished himself as a director who can, in collaboration with a brilliant production designer and set decorator, design sets the way physical space/light artists do. And with Blade Runner 2049, and production designer Dennis Gassner and set decorator Alessandra Querzola, he only furthers this notion.

Blade Runner 2049 is, quite simply, jaw dropping, Much of that comes from Roger Deakin’s photography, but an equal if not greater portion comes from the production design. Undoubtedly influenced by the light and space artist James Turrell, like Arrival was, the sets are often beacons of light, mostly artificial but often natural. Here is where the designs elevate to thematic significance. The world of Blade Runner 2049 is void of nature and color much like the original, hence the focus on spaces that bring in light. But this is a future 30 years removed from the original, and where the original was gritty, this world has attempted to smooth out the surfaces, to make perfect a world without nature and natural color — hence the brilliant, jarring, forceful shapes of the sets.

Production design and set decoration can often feel merely like dressing, like pretty layers simply for the sake of pretty layers. But Blade Runner 2049 is the epitome of design working on unmatched levels.

— Kyle Kizu

Runner-up: Paul Denham Austerberry, Shane Vieau, Jeff Melvin — The Shape of Water

Fox Searchlight/Courtesy

The production design of The Shape of Water works like nearly every other element of the film, evoking a quiet, majestic beauty. The sets of Elisa (Sally Hawkins) and Giles’ (Richard Jenkins) apartments are so deeply decorated, elegantly colored, delicately aged and thoroughly lived in that they, alone, would’ve pushed this craftsmanship up this far on the list, but the film also lays out the underground facilities and much of the exteriors with such period strength. Good production design for period films is an accomplishment in and of itself, but The Shape of Water is also distinctly a fantasy film, a Guillermo del Toro fantasy film with just as much flourish in the production design of that aspect as well. The film becomes a visual genre delight through its sets.

— Kyle Kizu

3. Nathan Crowley, Gary Fettis — Dunkirk
4. Rick Heinrichs, Richard Roberts — Star Wars: The Last Jedi
5. Mark Tildesley, Véronique Melery — Phantom Thread

The Next 5
6. James Chinlund, Amanda Moss Serino — War for the Planet of the Apes
7. Aline Bonetto, Anna Lynch-Robinson — Wonder Woman
8. Jean-Vincent Puzos, Maria Andrea Rangel, Naomi Moore — The Lost City of Z
9. Sarah Greenwood, Katie Spencer — Darkest Hour
10. Claude Paré, Rosalie Board — It

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

Image courtesy of 20th Century Fox

Similarly to Andy Serkis’ performances in this trilogy, the visual effects have been sorely under-awarded. But enough is enough. The clear, unmatched, inarguable standout of the year in this craft category is the trilogy’s final installment, War for the Planet of the Apes.

With years of further development from the first, the visual effects team envisions the apes in their most photorealistic manner yet. The hairs, both individual and packed together, are palpable and tangible, and the rough skin, often shot in harrowing, raw close-up, looks weathered in ways that only truly lived in skin often does.

But the apes aren’t all that the visual effects can boast about. The film is host to wondrous production design, and the extension that the visual effects provide — such as in the opening action sequence or in the mostly CGI cave home that gets raided early on in the film — is purely breathtaking.

The team even developed a system for the creation of trees in the forests that the characters traverse. Rather than model them one by one like done in the past, the team uses the system, titled Totara, to develop trees in groups and allow factors such as competition for sunlight and the age of separate trees in relation to how they grow next to each other to determine the ultimate layout of a forest.

On so many levels, the visual effects of War for the Planet of the Apes functions in ways that the craft should — enhancing character and enhancing the characters’ interactions with their setting. It is a genuinely groundbreaking picture from a visual effects standpoint.

— Kyle Kizu

Runner-up: Scott Stokdyk, Martin Hill, Philippe Rebours, François Dumoulin — Valerian and the City of a Thousand Planets

STX Entertainment

Valerian and the City of a Thousand Planets will never get accused of having too compelling a story and especially not of having good acting. But the visuals are worth the price of admission alone. They just about had to be too, given this movie’s groan-inducing line delivery and dialogue.

The unique (in a good way) character design, sweeping landscapes of spectacular worlds, captivating opening sequence and especially notable market design help make Luc Besson’s latest film a visual masterpiece. Unfortunately, it couldn’t go beyond that.

Hooman Yazdanian

3. John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer — Blade Runner 2049
4. Andrew Jackson, Andrew Lockley, Scott Fisher, Paul Corbould — Dunkirk
5. Dennis Berardi, Shane Mahan, Trey Harrell, Kevin Scott — The Shape of Water

The Next 5
6. Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan — Star Wars: The Last Jedi
7. Erik-Jan De Boer, Stephen Clee, Lee Jeon Hyoung, Joon Hyung Kim — Okja
8. Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick — Guardians of the Galaxy Vol. 2
9. Bill Westenhofer, Frazer Churchill, Alex Wuttke, Mark Holt — Wonder Woman
10. Charley Henley, Ferran Domenech, Christian Kaestner, Neil Corbould — Alien: Covenant

Achievement in Film Editing: Lee Smith — Dunkirk

Image courtesy of Warner Bros.

How Lee Smith was passed on for an Academy Award nomination for his work on Inception is baffling. But there is nothing that can take away from what he’s accomplished with Christopher Nolan’s most challengingly structured film since that mind bending thriller. The fact that Dunkirk works at all on a narrative level is a testament to how good its film editing is. And the fact that Dunkirk’s narrative does not simply just work, but becomes something emotionally profound and entirely singular points to its film editing as something genuinely special.

The first moment that the film editing comes into focus for the audience is a stark, forceful cut from Cillian Murphy’s soldier as a composed leader to him as a shivering, broken man.

But that moment is simply one layer. The entire structure of the film is continuously working to offer us a perspective of the grand event taking place. Running them on the time scales that he does, Nolan, and Smith in the execution of those scales, forces us into absorbing the intense, distinctly human efforts of the soldiers, pilots, generals and, most importantly, civilians. Running them chronologically would vastly limit the emotional possibilities.

On more of a technical level, running them chronologically would also rid the film of the immense tension it holds. Composer Hans Zimmer utilizes the Shepard Tone illusion in his music to craft a sense of never-ending rising tension. Nolan constructed the screenplay in the same manner and intended to construct the film under that guiding illusion as well. Lee Smith executes the edits with that idea of a constant rise in the narrative stakes. When there’s a release in one storyline, the stakes of another are amped up. The whole film, in turn, becomes a masterpiece of suspense.

Dunkirk’s greatest and most stunning, borderline indescribable moment of film editing comes in its climax, the oil scene. It’s here where the three storylines collide, but the climax fascinatingly plays out of order. Smith underscores their collision with an effectively overbearing force, but he also disorients us with the composition of the entire sequence while never losing our focus through the coherence in that very composition. It is extraordinary editing that only comes from a film editor with a complete grasp on what “cinematic” means, and intention to break its rules and extend its possibilities.

— Kyle Kizu

Runner-up: Mako Kamitsuna — Mudbound

Netflix/Courtesy

There’s a tension in the storytelling of Mudbound. It attempts to constantly utilize purely novelistic features, such as narration and overt symbolism, to maintain the literary beauty of the piece while it also attempts to render the story as something specifically cinematic.

The simultaneous success of these two layers is due to plenty of brilliant work from various departments, but one of the most integral is the film editing. Mako Kamitsuna’s control of pacing is extremely tight, doling out the emotional beats not necessarily smoothly, but on an intensely affecting wave of progression. Kamitsuna does wonders for each character, but also for the piece in balancing those characters. She evokes the deeply personal while also painting the journey of so many different people and turning the film into a sprawling epic.

— Kyle Kizu

3. Jonathan Amos, Paul Machliss — Baby Driver
4. Joe Walker — Blade Runner 2049
5. Walter Fasano — Call Me By Your Name

The Next 5
6. Nick Houy — Lady Bird
7. Gregory Plotkin — Get Out
8. Dylan Tichenor — Phantom Thread
9. Sean Baker — The Florida Project
10. Alan Baumgarten, Elliot Graham, Josh Schaeffer — Molly’s Game

Achievement in Cinematography: Hoyte van Hoytema — Dunkirk

Image courtesy of Warner Bros.

Hoyte van Hoytema’s cinematography for Dunkirk may not pop quite like Roger Deakins’ lensing on Blade Runner 2049 does, and for that reason, we expect this to be an unpopular pick. But picking the one that pops the most would be a cop out. It should be about the service the cinematography provides to the film’s story and to the cinematic experience. In that light, while it was close, we firmly believe in our winner.

The simple existence of some of the imagery in Christopher Nolan’s war epic is something not to be underappreciated, as van Hoytema and his crew literally invented rigs that could lock the IMAX cameras onto the exteriors of Spitfires. So much of the aerial photography wouldn’t be possible before this film, which represents visual storytellers pushing cinematic boundaries to explore the power of the cinematic image.

The aerial portion might be van Hoytema’s greatest accomplishment on this film, the difficulty of it unimaginable. But the rest of the Dutch-Swedish photographer’s work is transfixing. In no other film will we find an IMAX camera carried handheld like a GoPro. These shots transport us, immerse us within the film. We feel the Dunkirk beach and live on it because van Hoytema is literally running on it, carrying the IMAX camera next to his head. It’s not necessarily flashy cinematography, but it’s just as striking as any other imagery of the year.

Even without flash or pop, van Hoytema is still able to leave us with haunting iconography, epitomized in the tranquility of a Spitfire coasting over Dunkirk and in the defiance of that same Spitfire crackling as it burns.

— Kyle Kizu

Runner-up: Roger Deakins — Blade Runner 2049

Warner Bros./Courtesy

Even the best director is only as good as the crew that works with them, and luckily for Blade Runner 2049 helmer Denis Villeneuve, his crew contained arguably one of the best cinematographers working today: Roger Deakins. From the orange-laden dunes of a desolate Las Vegas to the grungy, dilapidated iron works in a massive factory, the landscapes and spaces of Blade Runner 2049 are gorgeously captured by Deakins’ keen eye for visual storytelling. Every set, environment and piece of architecture is meticulously angled, without feeling overtly staged, as Deakins is able to imbue even the most kinetic sequences with a harrowing stillness. After DP’ing two previous films with Villeneuve, Deakins’ third with the director might be his cinematic magnum opus.

— Sanjay Nimmagudda

3. Dan Laustsen — The Shape of Water
4. Rachel Morrison — Mudbound
5. Swayambhu Mukdeeprom — Call Me by Your Name

The Next 5
6. Darius Khondji — The Lost City of Z
7. The Camera Crew — Phantom Thread
8. Andrew Droz Palermo — A Ghost Story
9. Masanobu Takayanagi — Hostiles
10. Alexis Zabe — The Florida Project

Achievement in Music Written for Motion Pictures (Original Score): Jonny Greenwood — Phantom Thread

Image courtesy of Focus Features

Phantom Thread is twisted and psychological, subtle and calculated. Jonny Greenwood’s score fills a baseline-level role of enhancing an already complex narrative, while at the same time standing alone to fill the haunting silences between the characters with suspicion, passion and condemnation.

In truth, as gorgeous and sinewy as Paul Thomas Anderson’s direction, and the performances of Daniel Day-Lewis and Vicky Krieps are, Greenwood’s score alone tells the story of Phantom Thread just as well. Dances on piano keys and stringed orchestras communicate infatuation, tenderness, frustration and internal chaos with precision and cutting honesty.

It does so, however, without negating the inherent frivolity and bliss felt when Day-Lewis and Krieps are seen walking near a beachy cliff together. Greenwood’s composition is so exacting, that, after seeing the film, one can picture its imagery just by listening to “Alma” or “Phantom Thread III.” The score of the film is a study in the same themes as its acting performances: love, manipulation, control and obsession.

— Sophie-Marie Prime

Runner-up: Hans Zimmer — Dunkirk

Warner Bros./Courtesy

Recently, Hans Zimmer, in collaboration with Christopher Nolan, has been one of the most effectively experimental film composers in the industry. With Interstellar, he abandoned percussion and composed from a deeply emotional starting point to craft his most personal score to date. With Dunkirk, he abandons melody almost entirely, treating the score like a layer of sound design — Alex Gibson, the supervising music editor, was nominated by the Academy in the Sound Editing category. The score becomes undoubtedly his most intense.

With Dunkirk, Zimmer uses the Shepard Tone, an illusion of constantly rising tension. In conjunction with the structure of the film, the score works wonders in physically, viscerally affecting viewers. The music, with the illusion and with Zimmer’s almost underwater atmospheric sound design, feels invasive and manipulative in how it provokes that reaction, even leaning into horror-esque compositions to elevate the suspense, which turns the cinematic experience of the film into a thoroughly wholesome one.

But then the score turns to the unbearable beauty of Edward Elgar in its most emotional moments, specifically with “Variation 15,” rendering the music as not only a mode of intensity, but also as a mode of humanity.

— Kyle Kizu

3. Alexandre Desplat — The Shape of Water
4. Daniel Hart — A Ghost Story
5. Oneohtrix Point Never — Good Time

The Next 5
6. Tamar-kali — Mudbound
7. Philip Glass — Jane
8. Michael Giacchino — War for the Planet of the Apes
9. Max Richter — Hostiles
10. Mychael Danna, Jeff Danna — The Breadwinner

Achievement in Music Written for Motion Pictures (Original Song): “Mystery of Love,” Sufjan Stevens — Call Me by Your Name

Image courtesy of Sony Pictures Classics

Sufjan Stevens may be the perfect movie musician. Stevens has uniquely mastered evoking tone without being one-dimensional. He penned two brand new songs for Call Me By Your Name and they ended up as our top two finishers in this category.

As Elio (Timothée Chalamet) and Oliver (Armie Hammer) hike together, “Mystery of Love” plays. Stevens initially appears to be singing from Elio’s perspective: “Oh, to see without my eyes/ The first time that you kissed me.”

Stevens’ lyrical work combines with airy, delicate vocals to evoke the wondrous flight of the heart for a first love. But he doesn’t lay claim to Elio’s full range of emotions. He’s interpreting just like we are, projecting. He speaks not just for Elio, but for us as well.

Even as Elio and Oliver frolic through beautiful wilderness, it all feels fleeting. Stevens describes the quiet terror of this fleeting love perfectly, speaking the contradiction into truth: “Oh, oh woe-oh-woah is me.”

It’s so good now, how bad will it be when it ends? Such is the fear of an impermanent love. Stevens sings “Now my riverbed has dried/ Shall I find no other?” He’s asking us, can it get this good again? And if not, is it truly better to have loved and lost?

Hooman Yazdanian

Runner-up: “Vision of Gideon,” Sufjan Stevens — Call Me by Your Name

Sony Pictures Classics/Courtesy

Sufjan Stevens has mastered the art of heartbreak. On “Visions of Gideon,” Stevens’ ethereal voice encapsulates the experience of love lost and he vocalizes the fleeting nature of love. Did it really happen? He sings: “For the love, for laughter I feel up to your arms/ Is it a video?”

Played during Call Me By Your Name’s final scene, with a close-up of Elio (Timothée Chalamet) staring into a fire and crying, “Visions of Gideon” perfectly complements Elio’s hurt. As Stevens sings “I have loved you for the last time,” he forces the audience to pay attention. Elio’s face shows us the pain and Stevens’ song blocks the exits.

Hooman Yazdanian

3. “I Get Overwhelmed,” Daniel Hart — A Ghost Story
4. “Remember Me,” Kristen Anderson-Lopez, Robert Lopez — Coco
5. “The Pure and the Damned,” Oneohtrix Point Never, Iggy Pop — Good Time

The Next 5
6. “Mighty River,” Mary J. Blige — Mudbound
7. “The Crown Sleeps,” Qais Essar, Mychael Danna, Jeff Danna — The Breadwinner
8. “How Shall A Sparrow Fly,” Ryan Bingham — Hostiles
9. “Summer Storm,” Joel P. West — The Glass Castle
10. “This Is Me,” Benj Pasek, Justin Paul — The Greatest Showman

Achievement by a Debut Director: Greta Gerwig — Lady Bird

Image courtesy of A24

In probably the biggest anomaly of our voting, Gerwig managed to beat out Jordan Peele here despite finishing behind him in Best Director and Lady Bird falling behind Get Out for Best Picture. We can only attribute to this some overlap between voting blocks for Lady Bird and Call Me By Your Name, whose director Luca Guadagnino is far from a feature debut.

Whatever the reason may be, Gerwig manages a much-deserved win here. Though she co-directed a film in 2008, Lady Bird was Gerwig’s debut as a lone director, which is a monumental task itself. And what a debut it was.

Gerwig’s proclivity to excel when shifting the film’s tone is incredibly impressive, reminiscent of work you’d expect from a director in her 10th outing. The way she draws performances out of every single actor in the film is stunning. The intimacy she establishes without an overemphasis on close-ups is masterful. The camera still drives these intimate moments as much as Gerwig’s phenomenal screenplay do, with Gerwig employing over-the-shoulder shots to let us literally see things from different characters’ perspectives. Gerwig builds Lady Bird’s setting precisely, with everything from room decorations to parking lot hangouts reeking of authenticity. Emotional punches hit when we least expect them, like when Lady Bird leaves douchey Kyle’s (Timothee Chalamet) house and we get a glimpse at his sick father.

With all of these talents and such a beautiful handle of subtlety so early in her directing career, it’s incredibly exciting to await what Gerwig has in store for us next.

Hooman Yazdanian

Runner-up: Jordan Peele — Get Out

Universal Pictures/Courtesy

Jordan Peele, of Key and Peele fame, was long pegged as a comedian. But, in his big screen directorial debut, Peele showed the world he can do much more than that. In Get Out, he’s crafted a horror movie for the ages. His mastery of pacing and genre belie his lack of experience. The fact that Peele’s first film has already become a cultural touchstone, mined for conversation topics and memes alike, bodes well for his future in filmmaking.

Every industry is better off for having people like Jordan Peele, and his combination of social awareness, sheer brilliance and ingenuity should make him a leading auteur in the film industry for years to come (although we’re not going to pretend we won’t miss his acting as well).

He’s already hinted at a possible sequel to Get Out as well as the fact that he’s toying with other “social thrillers,” as he calls them. Sign us up.

Hooman Yazdanian

3. Aaron Sorkin — Molly’s Game
4. John Carroll Lynch — Lucky
5. Kogonada — Columbus

The Next 5
6. Matt Spicer — Ingrid Goes West
7. Julia Ducournau — Raw
8. William Oldroyd — Lady Macbeth
9. Taylor Sheridan — Wind River
10. Chris McKay — The LEGO Batman Movie

Best Original Screenplay: Greta Gerwig — Lady Bird

Image courtesy of A24

Lady Bird wants freedom and attention, independence and spontaneity. She’s a performer in the way that we all are as we shape ourselves into the people we want to be — and into the type of friend, daughter, son, sibling, parent, etc. those around us want us to be, too. She wants to be liked, and she wants to like herself.

Within that narrative, there are notes of Wizard of Oz-ian conflicting desires to both leave home and return home once you’ve left. Lady Bird paints its story through a subtle lense of class. There is a mother who wants to keep her daughter close so desperately that she pushes her away in the process.

Lady Bird is nostalgic, wise and authentically adolescent. Lady Bird is truly something special.

Gerwig sews fresh and endearing narratives of friendship and finding oneself with threads of class and fearsome yet irresistible independence. With Lady Bird, she crafts a character that is always lovable and at times self-centered, the latter of which is an inevitable part of growing up.

— Sophie-Marie Prime

Runner-up: Jordan Peele — Get Out

Universal Pictures/Courtesy

From a purely storytelling perspective, what stands out about Jordan Peele’s Get Out screenplay is how unbelievably tight it is. This is screenwriting of the utmost efficiency and control. Both the story’s arc and Chris’ (Daniel Kaluuya) are smooth and hit every necessary beat hard. The ensemble is balanced brilliantly. The symbolism is deeply ingrained in the conceit as well as in the consistent, layered and always motivated character actions. And the emotions ring true.

Those last two aspects are where the screenplay transcends simply being brilliant storytelling (which would be enough, alone, to earn its place here). Get Out evokes reality for so many Black folks, and it evokes it specifically with storytelling, with written characters, like Chris, and storytelling concepts, like the Sunken Place, that craft a narrative with such pressing implications, with such profound symbols.

— Kyle Kizu

3. Paul Thomas Anderson — Phantom Thread
4. Emily V. Gordon, Kumail Nanjiani — The Big Sick
5. Sean Baker, Chris Bergoch — The Florida Project

The Next 5
6. Vanessa Taylor, Guillermo del Toro — The Shape of Water
7. Bong Joon-ho, Jon Ronson — Okja
8. Liz Hannah, Josh Singer — The Post
9. Kogonada — Columbus
10. Sebastián Lelio, Gonzalo Maza — A Fantastic Woman

Best Adapted Screenplay: James Ivory — Call Me by Your Name

Image courtesy of Houston Cinema Arts Festival

“When you least expect it, Nature has cunning ways of finding our weakest spot. Just remember: I am here. Right now you may not want to feel anything. Perhaps you never wished to feel anything. And perhaps it’s not to me that you’ll want to speak about these things. But feel something you obviously did.

You had a beautiful friendship. Maybe more than a friendship. And I envy you. In my place, most parents would hope the whole thing goes away, to pray that their sons land on their feet. But I am not such a parent. In your place, if there is pain, nurse it. And if there is a flame, don’t snuff it out. Don’t be brutal with it. We rip out so much of ourselves to be cured of things faster, that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to make yourself feel nothing so as not to feel anything ― what a waste!”

Scripts and their words and structure are always the blueprint for what will become either a great film, or a classic one. James Ivory’s precise, careful, emotionally resonant adaption of André Aciman’s adaptation of Call Me by Your Name — as illustrated by the above scene, the best of 2017 — is an all-time classic. Like the novel its based on, and thanks to considerate direction by the always fantastic Luca Guadagnino, Ivory’s script puts an emphasis not on plot, but on small character beats that culminate in a denouement (starting with the dialogue above) that will leave most viewers flattened with the insightful depths of emotional honesty.

— Levi Hill

Runner-up: Dee Rees, Virgil Williams — Mudbound

Netflix/Courtesy

Mudbound aims to utilize many novelistic qualities of storytelling, and the brilliance with which the film accomplishes that starts precisely with Dee Rees and Virgil Williams’ adapted screenplay. There’s plenty of narration throughout, but it’s all used so purposefully and, in turn, effectively.

The story of Mudbound is heavy, and Rees and Williams take care of that aspect. There’s expressionism in much of the plot details and the construction of many of the character moments. Rees and Williams, however, are also restrained throughout, allowing the quiet details to speak loud.

The writers don’t simply take care of one character, but of all of them. The emotional balance they lend to each member of the ensemble is nothing short of outstanding, but Rees and Williams also do craft the Black characters so profoundly that it is they who hold onto our hearts long after we’ve closed our Netflix tab.

— Kyle Kizu

3. Scott Neustadter, Michael H. Weber — Our Souls at Night
4. Mark Bomback, Matt Reeves — War for the Planet of the Apes
5. Hampton Fancher, Michael Green — Blade Runner 2049

The Next 5
6. Aaron Sorkin — Molly’s Game
7. James Mangold, Scott Frank, Michael Green — Logan
8. Anita Doron, Deborah Ellis — The Breadwinner
9. Rian Johnson — Star Wars: The Last Jedi
10. James Gray — The Lost City of Z

Achievement in Directing: Christopher Nolan — Dunkirk

Image courtesy of Warner Bros.

Christopher Nolan is one of the quintessential directors of our time, telling iconic story after iconic story. Awards bodies may not have recognized him for much of his career, but films like The Dark Knight and Inception are cultural landmarks that will stand the test of time. After nearly 20 years of Nolan building one of the most impressive filmographies ever, he brings us Dunkirk.

Dunkirk is an interesting convergence point in his career. It’s yet another incredibly entertaining blockbuster that also acts as an innovative, subversive art film. It’s a film that, while not necessarily as culturally pervasive as some of his other work, will be remembered by general audiences more than most films are. But it just so happens to be in a genre that is a bit more friendly for organizations such as the Academy, who have finally nominated Nolan. And while it might not be his most impactful piece in the ways that his other landmarks are, Dunkirk does also happen to be Nolan’s greatest directorial effort.

With Dunkirk, Nolan structures and constructs a story so forceful in its specifically cinematic features. The director is often the figure around which the multitude of crafts are organized and where they are put into coherent focus. The fact that each layer of Dunkirk’s cinema — its sound design, its production design, its cinematography, its score, its ensemble and more — all excel not only individually and not only as parts of a whole, but as a singular, organic whole that serves story is a testament to how absolutely refined, precise and, frankly, masterful Nolan’s focus as a director is on Dunkirk.

Cinema is meant to be a purely visual art form, and Dunkirk is a film that challenges established structures to expand notions of what can be accomplished visually. The film quite literally offers us never-before-seen imagery. In that light, Dunkirk is a significant, important accomplishment in film. Those accomplishments don’t necessarily become the most widely beloved films of their time; although, Dunkirk is not far off and comes closer than similar films (but in truth, they don’t make films like Dunkirk). But when a film not only challenges boundaries but actually pushes them, that organizing force, the director, should be celebrated endlessly.

— Kyle Kizu

Runner-up: Jordan Peele — Get Out

Universal Pictures/Courtesy

Jordan Peele’s Get Out is probably one of the year’s most beloved films, but most of that love has been pointed at Peele’s excellent screenplay. Peele’s directorial work, however, is just as skillful.

Peele is already a master of hinting at tension, rather than shoving it down our throats. The way he shifts from a normal close-up to an extreme close-up on Chris’ face, crowding up his — and the viewers’ — space, during the famous “no, no, no” scene with Georgina (Betty Gabriel) is a perfect example. (Watch it)

He shows an uncanny mastery for knowing just how long to let a shot linger. When Daniel Kaluuya’s Chris stares into the eyes of a downed deer, we get a sense of Peele’s pacing and of the movie’s tone. This is no comedy. No, this is a movie crafted by someone who knows how to do horror. He knows when to subvert our expectations for a jump scare and when to satisfy them, when to point out irony in our societal preconceptions and when to emphasize the terror in them.

Hooman Yazdanian

3. Luca Guadagnino — Call Me By Your Name
4. Greta Gerwig — Lady Bird
5. Denis Villeneuve — Blade Runner 2049

The Next 5
6. Guillermo del Toro — The Shape of Water
7. Dee Rees — Mudbound
8. Paul Thomas Anderson — Phantom Thread
9. Sean Baker — The Florida Project
10. Matt Reeves — War for the Planet of the Apes

Performance by an Ensemble: The Cast of Lady Bird — Saoirse Ronan, Laurie Metcalf, Tracy Letts, Beanie Feldstein, Lucas Hedges, Timothée Chalamet, Stephen McKinley Henderson, Lois Smith, Bob Stephenson, Jake Mcdorman, Jordan Rodrigues, Shelly Yuhan

Image courtesy of A24

From top to bottom, Lady Bird is populated by phenomenal performances. Saoirse Ronan is pitch perfect, exuding the essence of her character in every scene, notably in her characteristic audition for the school play. As much as Ronan’s Lady Bird wants to think she has herself figured out, Ronan makes the questioning subconscious visible.

Laurie Metcalf might be even better than Ronan in her wonderful, lived-in performance as Lady Bird’s mom, Marion. And Tracy Letts plays empathy, kindness and bottled-up depression excellently in one of the year’s best supporting performances.

Beanie Feldstein’s wondrous depiction of the longing best friend has flown under the radar this year, but it deserves recognition. Timothée Chalamet and Lucas Hedges each capably occupy smaller roles while consistently managing to steal scenes. For Chalamet, it’s with pretension and humor; for Hedges, it’s with awkwardness followed by an explosion of pain.

Even those in smaller roles — such as school staff depicted by Bob Stephenson (who might have the year’s funniest scene as the football coach directing a play), Stephen Henderson, Jake McDorman and Lois Smith — get chances to shine through.

In addition to the individual excellence of the performances, Lady Bird is able to thrive off the excellent give-and-take between its actors. The best moments in the film tend to be emotional exchanges between the characters, something this cast seems to have mastered. Additionally, the sheer fact that even actors in much smaller parts got chances to shine highlights the effectiveness of this ensemble. Characters had opportunities to control their own scene without the leads insisting on taking up all the air in a room.

In a film carried by a screenplay devoted to making each of its characters as full-fledged and real as possible, Lady Bird’s cast had to be excellent and they were in the year’s best-acted film.

Hooman Yazdanian

Runner-up: The Cast of Get Out — Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Betty Gabriel, Lil Rel Howery, Lakeith Stanfield, Marcus Henderson, Caleb Landry Jones

Universal Pictures/Courtesy

The phrase “perfectly cast” is often thrown about too freely. Every once in a while, however, it rings entirely true.

The cast of Get Out is an impeccable blend of veteran actors and relatively unknown newcomers. At its core is the exceptional Daniel Kaluuya, an English actor who was previously best known to American audiences for Sicario and the Black Mirror episode “Fifteen Million Merits” (note: if you haven’t seen this episode, do yourself a favor and watch it). Kaluuya turns in a charismatic and soulful performance as Chris Washington, rightly earning an Oscar nomination for the role.

The Armitages could not have been cast better, with the ever-perfect Catherine Keener and Bradley Whitford, two widely-respected actors with storied careers who have still somehow maintained enough anonymity to seamlessly blend into these characters. Quite literally everyone else in the cast is also pitch perfect, including Allison Williams, Lakeith Stanfield, and scene-stealer Lil Rel Howery. Altogether, it produces one of the most formidable ensembles of 2017.

— Michelle Lee

3. The Cast of Call Me by Your Name — Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel, Vanda Capriolo
4. The Cast of Mudbound — Jason Mitchell, Mary J. Blige, Rob Morgan, Carey Mulligan, Garrett Hedlund, Jason Clarke, Jonathan Banks
5. The Cast of The Shape of Water — Sally Hawkins, Richard Jenkins, Octavia Spencer, Michael Shannon, Michael Stuhlbarg, Doug Jones

The Next 5
6. The Cast of Dunkirk — Fionn Whitehead, Mark Rylance, Tom Hardy, Kenneth Branagh, Jack Lowden, Barry Keoghan, Tom Glynn-Carney, Aneurin Barnard, James D’Arcy
7. The Cast of The Big Sick — Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Anupam Kher, Zenobia Shroff, Adeel Akhtar, Vella Lovell,  Bo Burnham, Aidy Bryant, Kurt Braunohler
8. The Cast of The Post — Meryl Streep, Tom Hanks, Bob Odenkirk, Tracy Letts, Sarah Paulson, Bradley Whitford, Bruce Greenwood, Matthew Rhys, Allison Brie, Carrie Coon, Michael Stuhlbarg, Jesse Plemons
9. The Cast of The Florida Project — Brooklynn Prince, Christopher Rivera, Valeria Cotto, Bria Vinaite, Willem Dafoe, Mela Murder, Josie Olivo, Aiden Malik
10. The Cast of Okja — Ahn Seo-hyun, Hee-Bong Byun, Steven Yeun, Tilda Swinton, Jake Gyllenhaal, Paul Dano, Lily Collins, Daniel Henshall, Giancarlo Esposito

Performance by an Actor in a Leading Role: Timothée Chalamet — Call Me by Your Name

Image courtesy of Sony Pictures Classics

In many ways, Timothée Chalamet’s characterization of Elio Perlman is one marked by opposites. Elio is carefree but methodical, melancholic but exuberant and, above all, full of both boyish naivete and extreme precociousness. Which is all to say, Chalamet portrays 17-year-old Elio in all of his unabashed complexity, producing perhaps the most fully realized character of 2017.

Chalamet benefits from a rare brand of charisma, one that emits empathy rather than mystery. This allows Chalamet to make Elio’s quietest moments his most revealing, including a devastating final scene. As the end credits begin, we see Elio’s avalanche of emotions, from disbelief, to anguish, to as close to acceptance as he can come. Shot in one beautiful, long take, this scene caps off one of the strongest and most nuanced performances of the decade.

— Michelle Lee

Runner-up: Daniel Day-Lewis — Phantom Thread

Focus Features/Courtesy

In Paul Thomas Anderson’s Phantom Thread, Daniel Day-Lewis inhabits dressmaker Reynolds Woodcock, who, at first glance, seems to be the archetypal obsessive artist. But as the film carefully unravels, Day-Lewis’ layered performance hints at much more. His peevish nature isn’t just a product of obsession; it’s a yearning for the past — as with many artists, Woodcock believes authenticity is leaving his industry. He fears it’s out with the old, in with the vile “chic.”

Day-Lewis’ oeuvre has instilled anything his character says with an aura of significance. We can’t help but hang on every witty, biting word. His exchanges with Alma (played by the amazing Vicky Krieps) are works of art, their first meeting a perfect meet cute imbued with nervous energy and infatuation.

Day-Lewis has said this film will be his last. If it is, it would be a perfect swan song to an amazing acting run, adding one more brilliant performance to a career chock full of them. But we hope the greatest living actor has a change of heart.

Hooman Yazdanian

3. Daniel Kaluuya — Get Out
4. Andy Serkis — War for the Planet of the Apes
5. Hugh Jackman — Logan

The Next 5
6. Robert Redford — Our Souls at Night
7. Christian Bale — Hostiles
8. Jake Gyllenhaal — Stronger
9. Harry Dean Stanton — Lucky
10. Woody Harrelson — The Glass Castle

Performance by an Actress in a Leading Role: Margot Robbie — I, Tonya

Image courtesy of Neon

I, Tonya was one of the most — if not the most — fun movies of 2017. It’s witty and gripping, and handles certain domestic violence issues with great care. Margot Robbie shows the world a side of Tonya Harding that no one had ever seen before, and perhaps didn’t care to see. While the real-life, 1994 “incident” left America believing Harding was evil, Robbie’s portrayal of Harding begs to differ. She’s certainly no angel, but she is also a woman who has experienced abuse, physical and emotional. This version of Harding is tough, endearing and hilarious.

Robbie’s performance is one of thoughtfulness, even in comical moments. With the current social climate, performing a female character who is physically abused is no easy feat. And on top of that, to make said female character funny in such a serious matter is unbelievable. Despite knowing the outcome of the “incident,” we truly can’t help but cheer for Tonya to beat the odds. The Tonya Harding the media introduced us to in 1994 couldn’t do it, but the one Margot Robbie introduces us to makes us second guess whose side we were once on a few Olympics ago.

— Samantha Celentano

Runner-up: Saoirse Ronan — Lady Bird

A24/Courtesy

In a year of amazing lead actress performances — seriously, the actresses in our Next Five would all contend in a normal year — Saoirse Ronan has flown under the radar. She’s picked up nominations all year and even won a Golden Globe, but not many discuss that her performance in Lady Bird is one of the most genuine of the year.

Ronan especially shines when on screen with Laurie Metcalf, and both impeccably pull off the quick mood swings that can characterize a mother-daughter relationship. They move from crying to an audiobook to immediately fighting, from fighting to marveling at the perfect dress in a very Ross-like store. Ronan’s performance in these scenes is incredibly naturalistic.

Her best work is late in the film when her character’s mom refuses to speak to her. Lady Bird pleads with Marion, trying to get her to admit that she’s proud. But as Ronan’s voice trembles, Lady Bird shows that she’s internalized her mom’s criticisms: “Please, Mom, please I’m so sorry, I didn’t mean to hurt you. I appreciate everything you’ve done for me. I’m ungrateful and I’m so sorry…” Then, she yells, “Talk to me, Mom! Mom, please! Talk to me!” Her pleading to get her mom’s attention might have been the most stirring, powerful moment in an excellent film full of them. For that reason, and many others, Ronan was one of the best lead actresses of the year.

Hooman Yazdanian

3. Frances McDormand — Three Billboards outside Ebbing, Missouri
4. Sally Hawkins — The Shape of Water
5. Brooklynn Prince — The Florida Project

The Next 5
6. Meryl Streep — The Post
7. Jessica Chastain — Molly’s Game
8. Daniela Vega — A Fantastic Woman
9. Vicky Krieps — Phantom Thread
10. Haley Lu Richardson — Columbus

Best Motion Picture of the Year: Call Me by Your Name

Image courtesy of Sony Pictures Classics

It is genuinely hard to come by a movie that conveys love the way Call Me by Your Name does. One of the best parts about this film is that it is not necessarily a gay love story, but rather a love story that is about two bisexual people. The script is derived from the novel of the same name by André Aciman, and it is perfection — not just the adapted screenplay (James Ivory), but the set, the soundtrack, the performances and the earnest storytelling by Luca Guadagnino. With such an extraordinary love and gut-wrenching heartbreak, how could this not be the best movie this year?

To begin, it is difficult not to fall in love with this movie when we’re suddenly spending a summer somewhere in Northern Italy. The set design and cinematography alone are enough to make us drop everything and find an apricot farm in Italy to live on. The soundtrack jumps from beautiful, classical piano to awesome 80’s jams, and then to original songs by Sufjan Stevens, which we end up playing on repeat after leaving the theater. Timothée Chalamet, although not completely new, seems to be what we have been missing from amazing movies. The pure chemistry and passion portrayed by him and Armie Hammer is astounding. This movie wouldn’t have been what it was if Elio and Oliver were played by anyone else. To top it off, Michael Stuhlbarg gives audiences the speech of a lifetime at the end. It is a speech everyone should hear.

In short, every feature of this film combines to create a beautiful experience that is guaranteed to move you, to leave you speechless. It’s a love story, but better, more transcendent.

— Samantha Celentano

Runner-up: Get Out

Universal Pictures/Courtesy

Jordan Peele’s Get Out is an accomplishment of the highest order. It entered the Best Picture race back in February 2017, and it came in armed with a brilliant cast, a first-time director who should probably take over the industry and a tight script devoid of any fat. As solely a cinematic accomplishment, it holds up, giving us tension, laughter, anguish, relief and a twist that feels earned. Get Out explores what it means to feel trapped, whether that’s by an oppressive system or by one’s own emotions. It gives us humanity. In the film’s final minutes, Chris (Daniel Kaluuya) is driven by a survival instinct but trapped by grief he has suppressed, leading him to make a questionable decision that nearly proves fatal.

Additionally, Get Out has impacted its culture in a way films packed with social criticism thrive to do. The film has produced memes, sure, but it more importantly came out at the perfect time to spark conversation about injustices in policing and the dangerous nonchalance of white, liberal racism. In a time when the latter has been oft-ignored in favor of whataboutism decrying  “those racists over there,” Peele put it in viewers’ faces. He made it undeniable. Racists come in all different packages. They don’t just say the n-word; they can pelt and oppress with subtler microaggressions too.

Hearkening back to genre greats of the past like Stepford Wives while reinvigorating horror with passion, ingenuity and social commentary, Get Out is one of the best films of 2017.

Hooman Yazdanian

3. Lady Bird
4. Phantom Thread
5. Mudbound
6. Dunkirk
7. The Shape of Water
8. Blade Runner 2049
9. The Florida Project
10. Coco

The Next 10
11. The Big Sick
12. The Post
13. I, Tonya
14. War for the Planet of the Apes
15. Star Wars: The Last Jedi
16. Wonder Woman
17. Stronger
18. Good Time
19. The Beguiled
20. Hostiles

 

Featured image courtesy of Warner Bros./20th Century Fox/A24/Universal Pictures/Focus Features/Sony Pictures Classics.

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

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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

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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

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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, or why exactly he took his own life — 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

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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

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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

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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

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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

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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

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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

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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.

Independent Spirit Award nominations: Analysis and predictions

While it may still be a long time before we get the 2018 Oscar nominations — with all of the guild and critics prizes yet to come — the cinematic gods blessed us with arguably an even more interesting set of films: the Independent Spirit Awards.

Unlike the Oscars, which always tend to be predicated on what studio spends the most for its films to garner nominations and eventual wins — assuming the quality of the film is mostly there too — the Independent Spirit Awards almost always go for an eclectic crop of nominees. For example, the highly acclaimed, but rarely seen The Rider receiving nominations for Best Feature over a film like Mudbound and for Best Director over Greta Gerwig with Lady Bird.

While submissions and snubs are abound in any awards show, the Indie Spirit Awards do their job in providing a wealth of options that have both broke out in the mainstream (Get Out, Lady Bird, Three Billboards), masterpieces waiting to be released after a hugely successful festival run (Call Me by Your Name, I, Tonya) and underseen but deserving gems (The Lovers, Columbus, Beach Rats).

Below you will find an analysis of the main categories, with way-too-early predictions in each category for what may win come March 3rd, 2018.

 

Best Feature:

Sony Pictures Classics/Courtesy

Call Me by Your Name
The Florida Project
Get Out
Lady Bird
The Rider

Analysis: Anyone of these films are quality enough to win, all being festival favorites throughout the year. And four of them (Call Me by Your Name, The Florida Project, Get OutLady Bird) are legitimate contenders for Best Picture nominations.

With that being said, once seeing how the whole field looks, it appears that there are truly only two threats for the win here: Call Me by Your Name and Get Out. The Rider was stronger than anyone expected, picking up Best Feature, Best Director, Best Cinematography and Best Editing nominations. Lady Bird was great across the board, but missed out on a Best Directing nom, showing a potential weakness for the win. The Florida Project received a Best Feature and Best Director nom, but missed out on Best Supporting Actor for Oscar front-running Willem Dafoe, as well as Best Editing, Best Screenplay, and Best Cinematography. All of these missed noms show an overall weakness that The Florida Project has (or just how highly competitive indies were this year).

Nonetheless, if Get Out and Call Me by Your Name are the frontrunners and thus the titans of the field, then there honestly aren’t two better options. Get Out is one of the highest grossing indies of all time, as well as, still, one of the best reviewed of the year. It’s a film from first-time director Jordan Peele that goes straight for the jugular of white liberalism and the hidden racialized beliefs that persist within society. The film is a savage satire on the institutions and ideas that stigmatize and oppress minorities. Balancing horror, comedy, mystery, thriller, drama and practically everything in between, Get Out remains the event film of the year when it comes to creating relevant and necessary discussion about America’s past and present race relations.

Call Me by Your Name may be more modest in its aims. However, there may not have been a more sensual screen realization of the aching, painful first love a young person goes through. Where most films about a homosexual relationship feature societal pressure and punishment for their non-conforming relationship, such as the tribulations the characters face in Moonlight or Brokeback Mountain, Call Me by Your Name instead allows the pain to come from two lovers that know their time together is running out. With excellent performances from Timothée Chalamet and Armie Hammer, Call Me by Your Name makes you feel the ching lust, the heavy desire, the impending heartbreak that these two young men face. Directed by Italian maestro Luca Guadagnino, Call Me by Your Name is a queer masterpiece, but a universal one too.  

Will win: Call Me by Your Name
Could win: Get Out
Should win: Call Me by Your Name

 

Best Director:

Universal Pictures/Courtesy

Jonas Carpignano, A Ciambra
Luca Guadagnino, Call Me by Your Name
Jordan Peele, Get Out
Sean Baker, The Florida Project
Benny and Josh Safdie, Good Time
Chloé Zhao, The Rider

Analysis: Every nominee here is absolutely deserving, yet, it was interesting to see the field expanded to six nominees, and one of them wasn’t Greta Gerwig’s 400 Blows-esque debut with Lady Bird. Nonetheless, if Benny and Josh Safdie got in over her, for their subtle exploration of white privilege in America within their very-not-subtle bad decisions heist thriller, then so be it. Their urban, gritty descent into madness with a stunning, Indie Spirit-nominated Robert Pattinson might actually be a threat to win here due to Good Time being so strong in every other category — landing a Director, Actor, Supporting Actor, Editing and a worthy yet fully unexpected Supporting Actress nomination.

But who am I kidding? Like above, there are really three, but more likely two nominees that can win. Sean Baker has a chance, due to The Florida Project moving nearly everyone who sees it, but this will be a Guadagnino versus Peele showdown. And both are incredibly deserving. While it appears that the beauty of Call Me by Your Name would be a likely Best Feature winner, the intensity and relevancy of Get Out will make it hard to be ignored for the Best Director award.

Will win: Jordan Peele, Get Out
Could win: Sean Baker, The Florida Project or Luca Guadagnino, Call Me by Your Name
Should win: Jordan Peele, Get Out

 

Best Female Lead:

Fox Searchlight/Courtesy

Salma Hayek, Beatriz at Dinner
Frances McDormand, Three Billboards outside Ebbing, Missouri
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Shinobu Terajima, Oh Lucy
Regina Williams, Life and Nothing More

Analysis: This category is a prime example of what makes the Independent Spirit Awards so special. We have three women who are potential Oscar nominees (and maybe even winners), and three women who likely will be ignored by most critics and guild prizes, despite being entirely worthy. Regina Williams, Shinobu Terajima and Salma Hayek all give arguably their career best in films that were all greatly reviewed, and, in the case of Beatriz at Dinner and Life and Nothing More, showed strength in multiple categories.

But truly, this is a Robbie or Ronan or McDormand win, who showcase some of the best lead performances of the year, regardless of gender. Robbie continues to dazzle audiences by going against type, as funny, but twisted real-life figure skater Tonya Harding in the pitch black comedy biopic I, Tonya. Frances McDormand brings a bruised humanity to Three Billboards, upstaging great performances from Sam Rockwell, Woody Harrelson and John Hawkes. The film is an angry examination of the lack of urgency of police in certain situations, as well as a pitch-perfect character study of the women and police involved in an unsolved murder and rape case. McDormand gives one of her all-time best, which by her standards, says a lot about the masterful Martin McDonagh film.

Then, there is Saoirse Ronan, giving her career best in Lady Bird — a film in which she deftly balances being both an intelligent teenager with large ambitions, as well as a naive young woman figuring out life as she goes. Featuring moments comical and entirely moving, especially when in scenes with her screen mother Laurie Metcalf, Ronan is a real threat to be the major winner for Lady Bird.

Will win: Frances McDormand, Three Billboards outside Ebbing, Missouri
Could win: Saoirse Ronan, Lady Bird
Should win: Honestly, all of them are excellent.

 

Best Male Lead:

Sony Pictures Classics/Courtesy

Timothée Chalamet, Call Me by Your Name
Harris Dickinson, Beach Rats
James Franco, The Disaster Artist
Daniel Kaluuya, Get Out
Robert Pattinson, Good Time

Analysis: It’s hard to call a race over when each nominee is incredible, but this one, for all intents and purposes, is likely over.

James Franco gives his best performance yet, in the moving, hilarious and ultimately tragic The Disaster Artist, a film about the making of the worst film of all time, The Room. Then there’s Robert Pattinson’s masterfully manipulative Connie in Good Time — another career best and potential dark horse Oscar candidate. Daniel Kaluuya carries what is shaping up to be one of the awards season heavy hitters, deftly playing a victim and a person unwilling to be subjected to the horrors that white culture thrust upon him.

Ultimately though, Timothée Chalamet will walk away with the award. Whether you love or just like Call Me by Your Name, there’s no doubting the raw lead performance from the 21-year-old Chalamet. There’re a few scenes in this film where Timothée sells the lies that his character tells to loved ones, but also the hidden truths that are found in body language. One of the last scenes in the film, which is nothing shorter than at least a five-minute close up, on nothing else but Timothée’s face, will surely be a scene that people will be haunted by as they leave this masterful, beautiful, exhilarating film about the passion and pain of first love.

Will win: Timothée Chalamet, Call Me by Your Name
Could win: James Franco, The Disaster Artist
Should win: Timothée Chalamet, Call Me by Your Name

 

Best Supporting Female:

Holly Hunter, The Big Sick
Allison Janney, I, Tonya
Laurie Metcalf, Lady Bird
Lois Smith, Marjorie Prime
Taliah Lennice Webster, Good Time

Will win: Allison Janney, I, Tonya
Could win: Holly Hunter, The Big Sick or Laurie Metcalf, Lady Bird or Lois Smith, Marjorie Prime
Should win: Laurie Metcalf, Lady Bird

 

Best Supporting Male:

Nnamdi Asomugha, Crown Heights
Armie Hammer, Call Me by Your Name
Barry Keoghan, The Killing of a Sacred Deer
Sam Rockwell, Three Billboards outside Ebbing, Missouri
Benny Safdie, Good Time

Will win: Sam Rockwell, Three Billboards outside Ebbing, Missouri
Could win: Armie Hammer, Call Me by Your Name
Should win: Any of the five are incredible.

 

Best Screenplay:

Lady Bird
The Lovers
Three Billboards outside Ebbing, Missouri
Get Out
Beatriz at Dinner

Will win: Three Billboards outside Ebbing, Missouri
Could win: Get Out or Lady Bird
Should win: Lady Bird

 

Best First Screenplay:

Donald Cried
The Big Sick
Women Who Kill
Columbus
Ingrid Goes West

Will win: The Big Sick
Could win: Ingrid Goes West
Should win: The Big Sick

 

Best Cinematography:

The Killing of a Sacred Deer
Columbus
Beach Rats
Call Me by Your Name
The Rider

Will win: Call Me by Your Name
Could win: The Killing of a Sacred Deer
Should win: Columbus

 

Best Editing:

Good Time
Call Me by Your Name
The Rider
Get Out
I, Tonya

Will win: Get Out
Could win: Call Me by Your Name
Should win: Good Time or I, Tonya

 

John Cassavetes Award:

A Ghost Story
Dayveon
Life and Nothing More
Most Beautiful Island
The Transfiguration

Will win: A Ghost Story
Could win: Dayveon or Life and Nothing More
Should win: A Ghost Story

 

Best Documentary:

The Departure
Faces Places
Last Men in Aleppo
Motherland
Quest

Will win: Faces Places
Could win: Last Men in Aleppo
Should win: Faces Places

 

Best International Film:

A Fantastic Woman
BPM
Lady Macbeth
I Am Not a Witch
Loveless

Will win: A Fantastic Woman
Could win: Loveless
Should win: A Fantastic Woman

 

Featured image via Universal/Sony Pictures Classics/A24.

‘The Florida Project’ Review: A joyous, visually stunning playground of wonder and humanity

The Florida Project may follow six-year-old Moonee (Brooklynn Prince) and her gang of friends at The Magic Castle, the cheap hotel they live at, but it’s truly one of the more hauntingly emotional films of the year.

And it’s a strange concoction that results in that. The film doesn’t shy away from or take shame in childhood, fully delving into the freedom, bliss and almost aimless wandering of young children to a point where the film becomes a free flowing journey that defies standard narrative conventions. Rather than try to make scenes with Prince and the other young actors adult friendly, the film truly comes at it from the perspective of Moonee, and realizes that there’s so much beauty in the eyes of children — that the world, even a run down motel, can become a grand playground, and not necessarily in stereotypically childlike ways. Shot with transfixing, mesmerizing, constant motion by cinematographer Alexis Zabe, who lingers like Lubezki and tracks like Deakins, but almost always places us on a low angle next to the kids, The Florida Project is a visual wonder that embraces its greatest source of imagination.

Yet, co-writer, editor and director Sean Baker realizes that, despite there being a certain sense of innocence within them, children are never free of the difficulties of the world, especially those born in particularly difficult circumstances. Baker expertly layers the growing story of family struggle, always shown from the eyes of Moonee. We see scenes of loving connection, of joyful play — but as Moonee starts to confront more and more, while she may not realize it in full, there comes a point when we understand what’s been happening all along as most that view this film have the adult luxury of inference. It’s a harrowing approach, one that humanizes and empathizes with Moonee and her mother Halley, portrayed with bracing strength by Bria Vinaite. And that’s what elevates The Florida Project — empathy. The film never exploits its characters’ lives, but simply understands them and, in turn, portrays them both sensitively and candidly.

Playing the manager of The Magic Castle, Willem Dafoe is a massive source of empathy. He moves from stiff strictness to overwhelmed frustration to soft, deep care in a way that’s somehow so subtle, yet something we can still feel throughout.

But surprisingly, Dafoe’s performance, despite warranting all the awards talk that he’s getting, is not the biggest one of note in The Florida Project. It’s Brooklynn Prince’s. It’s understandably difficult for young actors to fully envelop themselves in roles, but Prince gives every ounce of herself over to this film. It’s from her that we get the sense of wonder and joy in childhood — her energy infectious and singular and so real. It’s from her that we confront sobering truths. In the final minutes, Prince delivers a scene of emotion that is quite genuinely arresting, that takes the weight of the entire story and lays it bare with an overwhelming vulnerability. Baker composes his climactic moment with such expert, dynamic editing. But Prince is the one who causes this scene’s humanity to reverberate from the screen and dig into our bones. It’s an accomplishment that can’t properly be described, and something even more jaw-dropping when realizing that this is a seven-year-old actress we’re watching.

The Florida Project may be film’s pinnacle representation of childhood. It presents both its most wonderful qualities, without indulging, and its most genuine truths, without exploiting. It’s unlike anything we’ve seen.

Grade: 9.1/10

 

Featured image via A24.

Box Office Report: ‘Happy Death Day’ kills ‘Blade Runner 2049’ for top spot

Blade Runner 2049 had a chance at repeating at the top spot in its second weekend, considering its outstanding reception from both the critics and the general public. However, financially, the sci-fi blockbuster is fairing similarly to the original: not well. It only made an estimated $15.1 million this past weekend, bringing its domestic total to just over $60 million. Worldwide, Blade Runner 2049 has taken in $158.5 million, and, with a budget of $150 million, it’s looking as though the film’s best hope is to barely break even. It would have to make approximately $300 million worldwide to do so.

What ended up killing the Denis Villeneuve film was the new Groundhog Day-esque horror film Happy Death Day, which won the weekend with an estimated $26.5 million. Horror films are often successful in their opening weekend, and this was no exception. Add in the relatively favorable reviews, and the film should stay in the top five for at least another weekend, but likely longer.

Behind Blade Runner 2049 was the Jackie Chan action flick The Foreigner, which took home an estimated $12.84 million in its opening weekend. Overseas, the film has already made an additional $88.4 million for a $101.24 million total. On a $35 million production budget, The Foreigner is already profitable.

Rounding out the top 5 were It, making an estimated $6.05 million, and The Mountain Between Us, earning approximately $5.65 million. The Stephen King adaptation continues its dominance, with just over $630 million worldwide, while the Idris Elba and Kate Winslet romantic adventure thriller is struggling intensely.

One of the other new releases, Professor Marston & the Wonder Women, failed historically this past weekend. The film made only $737,000, one of the worst debuts for a release in over 1,000 theaters. With a fantastic 87% on RottenTomatoes, its financial disappointment may point to failures in marketing. Granted, it still is only its opening weekend, and things could change with word of mouth and expansion.

However, A24’s The Florida Project, which opened in just 4 theaters last weekend and expanded to 33 this weekend, took home an estimated $401,141 for a total of $623,949. Assumedly, the small independent film should have a rather small budget, meaning that it’s shaping up to turn profitable as it continues to expand. It’s also one of the most critically acclaimed films of the year, and a hot contender for Best Picture at the Oscars.

*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 Universal Pictures.

4 brilliant performances from actors under 15 years old

Unfortunately, young actors often stick out in films. It’s hard to blame anyone in those situations; these actors are usually out of their comfort zone in such a highly demanding atmosphere, and it’s difficult for directors to truly direct someone so young.

But children are so integral to stories, adding layers that are wholly missing in stories all about adults. So, it’s a wondrous delight when a film features a great performance from a young actor. They’re few and far between, and take extreme talent from both the actor and the storytellers.

In honor of the acclaim that 7-year-old actress Brooklynn Prince is receiving for her turn in Sean Baker’s The Florida Project, which is currently in theaters, the MovieMinis staff is taking a look at some of its favorite young actor performances of recent times, from actors under 15 years old.

Dafne Keen, Logan (2017) — 10/11 years old

Ben Rothstein/20th Century Fox/Courtesy

Logan might be billed as Hugh Jackman’s movie, but Dafne Keen steals the show as a young clone of Logan, X-23. She matches Jackman’s trademark intensity in every way, snarling and stabbing just like Wolvie in his prime, maybe even better (she does have those rad foot claws after all). Don’t believe it? Just check out her screen test with Jackman. More than that though, Keen is able to showcase impressive dramatic chops throughout Logan. The film’s ending, though emotional already, is predicated on Keen’s command of the scene. The way she responds to Jackman on an emotional level is stunning to behold — we really do believe that a young girl is losing the father she just recently connected with, and Keen ensures that not a dry eye is left in the theater. Her quoting of the final lines from Shane as she stands over Logan’s grave is easily the most poignant moment in the X-Men franchise. Between Dafne Keen, Millie Bobby Brown from Stranger Things and Ahn Seo-hyun from Okja, would it be too much to ask for an Avengers-style team-up of pint-sized, kickass actresses? Hell, set it in the X-Men universe. 20th Century Fox, the ball is in your court.

— Harrison Tunggal

Abraham Attah, Beasts of No Nation (2015) — 12/13 years old

Netflix/Courtesy

Beasts of No Nation is an intense film that presents a harrowing picture of war-torn Africa and the many child soldiers thrust into performing horrific acts. It’s a heart-breaking portrait of the violence committed and the dehumanization these children experience, but the film wisely puts the film’s quietly building emotional wallop on the shoulders of newcomer Abraham Attah. Attah, as a young boy who saw his family die at the hands of an invading war within his hometown, portrays the full character arc of innocence gone awry, to hate-filled violent monster, all the way back to a boy reconciling the loss he has experienced in a short time. It’s a tricky arc for any actor, let alone one who had never acted before. Yet Attah is perfect, and while was shunned by the Oscars, rightfully won the Best Actor award at the Independent Spirit Awards.

— Levi Hill

Mackenzie Foy, Interstellar (2014) — 13/14 years old

Warner Bros./Paramount/Courtesy

Without an amazing performance from Mackenzie Foy, Interstellar potentially collapses in on itself like a forming blackhole. Murph is the heart and soul of the film, the source of both its human vulnerability and its human strength. Her spark, vibrancy in a time of dust storms and food shortages is invigorating. Foy embodies all of that, from the upbeat tempo of her line delivery, to the subtle lift of her eyebrows when adventure calls. Yet, so much of that comes out of the character’s love of her father. As much as she is capable and willing to be independent, her father is her role model and her rock during such difficult times. Thus, his leaving is the greatest of betrayals.

And in that goodbye, a scene of immense tragic poetics, Foy is stunning. She has to traverse so many emotions, from quiet vulnerability to raw desperation to subtle hope to heartbreaking anger. In response to “I’m coming back,” her delivery of the line “when” shatters us. And as she runs out of the house, calling out for her father as he drives away, her tears shatter us.

It’s difficult to truly see how important Foy’s performance is at first. But she genuinely is the basis off of which Jessica Chastain works, granting each of Chastain’s most emotional moments even more weight because of how much we became invested in Murph as a child. And all of the immensely moving moments of Cooper’s guilt are just that much more moving because we found such a strong connection between him and Murph at the beginning of the film. Interstellar is about a father and a daughter, a relationship that defines the veins of the film, a beating heart that doesn’t beat without the brilliance of Mackenzie Foy.

— Kyle Kizu

Jacob Tremblay, Room (2015) — 8 years old

A24/Courtesy

In a film that focuses on psychosexual abuse, familial ostracization and guilt-induced suicidal tendencies, it’s hard, if not impossible, to perceive even a glimmer of hope in the wake of such trauma. Yet somehow, Jacob Tremblay gives an inconceivably optimistic performance in Lenny Abrahamson’s Room. As Jack, Tremblay represents the only tether to humanity for the perpetually-victimized Ma (Brie Larson) — the crux of the film’s emotional weight rests on the duo’s shoulders. Tremblay masterfully combines elements of precociousness, curiosity and an indelible level of courage to convey an uneasiness of the unknown, of a world outside the eponymous room, while remaining a pillar of strength for his overwhelmed mother. Larson’s performance relies a great deal on her onscreen son’s presence, and Tremblay somehow intimately commands each scene he’s in not through long-winded dialogue or overt acting, but, rather, restrained emotion. The level of his abuse, of his victimization is just beneath the surface of his wonder with the outside world, and Tremblay hints to it but never reveals it until the moment’s right. It would’ve been easy for a child’s performance to disrupt the rhythm of a such delicately-written melancholic narrative, but when said performance actually acts as the emotional core, you can’t help but be minutely unnerved and immensely impressed.

— Sanjay Nimmagudda

 

Featured image via A24.

2018 Oscar Predictions: Best Supporting Actor

Like Best Supporting Actress, the Best Supporting Actor category has, in industry awards, differed from the critics. Willem Dafoe was an overwhelming critic favorite. But Sam Rockwell has swept the precursors like Allison Janney has, winning the Golden Globe, the Indie Spirit award, the Critics’ Choice award, the BAFTA award and the SAG award.

Plenty of people in the industry adore Willem Dafoe, but he needed some kind of bump to hang on here.

The Nominees
Willem Dafoe — The Florida Project
Sam Rockwell — Three Billboards outside Ebbing, Missouri
Richard Jenkins — The Shape of Water
Christopher Plummer — All the Money in the World
Woody Harrelson — Three Billboards outside Ebbing, Missouri

Will win: Sam Rockwell — Three Billboards outside Ebbing, Missouri
Could win: Willem Dafoe — The Florida Project
Should win: Willem Dafoe — The Florida Project
Should’ve been nominated: Jason Mitchell — Mudbound

 

Featured image via Fox Searchlight Pictures.

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