Well folks, the time has finally come to count down this year’s best films, and what a year it’s been. The past 12 months have seen a wide variety of superb films, spanning across all genres, from horror, to romance, and even the odd superhero film, it truly has been a fantastic year for cinema. The following is my pick for the top 20 films of 2017, and I’ll tell you one thing, narrowing them down to just 20 was an extremely difficult process. I should note that the following list is based off Irish release dates, so don’t be expecting to see the likes of Phantom Thread, The Shape of Water, or Lady Bird here as they won’t be released here until next year. Anyway, without further ado, here is my pick for the top 20 films of 2017.
20. Kong: Skull Island (Jordan Vogt-Roberts)
Now I know I’m in a minority here, but I really loved Kong: Skull Island. It may have gained some criticism for its underdeveloped characters, but at the end of the day Kong: Skull Island is a monster movie, and when it comes to monsters it really delivers. Set in 1973, the film follows an expedition to the titular Skull Island, whose party members are unaware of what awaits them there. However, it soon becomes clear that they are not alone on the island when they come face to face with some of the islands prehistoric inhabitants. As I’ve mentioned, Kong: Skull Island takes excellent care when it comes to its monsters. From the Miyazaki-inspired water buffalo, to the spine-tingling bamboo spiders, director Jordan Vogt-Roberts put a great deal of creative detail into these creatures. Then of course, there is the eponymous ape himself, who feels like a true force to be reckoned with this time around, his introductory scene is enough to cement him as one of the most powerful iterations of Kong. The detailed CGI and wonderful motion capture from Toby Kebbell makes Kong feel very realistic, and in some ways very human as well. Along with its 70’s grindhouse aesthetic and a memorable role from John C. Reilly, Kong: Skull Island is an action-packed, modern day B-movie that issues in a new era of movie monsters.
19. Wonder Woman (Patty Jenkins)
After an atrocious start for the DC Extended Universe last year, the franchise came back strong with its first female-centric film, Wonder Woman. Directed by Monster’s Patty Jenkins, the film focused on Princess Diana of the Amazons (Gal Gadot) who sets off into the world of man during WWI in order to defeat Ares, the god of war. In an overstuffed genre full of predominantly male protagonists, Wonder Woman was a welcome entry to the world of superhero cinema. It’s rare to see a superhero film that not only has a female protagonist, but also a predominantly female cast as well, yet Wonder Woman flipped the genre on its head this year, delivering a compelling and action packed solo flick for DC’s leading lady. It was interesting to see how Jenkins flipped the usual tropes of the hero saving the damsel in distress, with Diana as the hero this time around and her love interest Steve Trevor (Chris Pine) as her plucky companion. As well as that, it was refreshing to see her create an inspiring film full of hope, as opposed to DC’s usually morose productions. It not only harked back to the golden age of comics, but it also introduced a strong female protagonist that young girls could now look up to in the same manner that boys would with Batman or Iron Man. Out of all the superhero films in recent years, Wonder Woman is definitely one of the most important, allowing for more female representation and empowerment in the genre. At least DC got one thing right this year.
18. La La Land (Damien Chazelle)
After stunning audiences with his breakout hit Whiplash, Damien Chazelle returned this year with his love letter to the golden age of Hollywood, La La Land. This musical dramedy follows the budding romance between aspiring actress Mia (Emma Stone) and struggling jazz pianist Sebastian (Ryan Gosling), while they work on their own individual aspirations as well. In contrast to the usually sleazy depictions of Hollywood in cinema, La La Land portrays the city as a dreamlike wonderland full of hope and awe, with our two protagonists trying to navigate their way to the top. Chazelle creates this colourful version of Hollywood that’s somewhat out of touch with reality, but more in line with the image of it we would paint in our childhood dreams. That’s essentially what this film is about, chasing one’s dream and doing whatever it takes to achieve it, even if it means compromise. Full of colorful imagery and wonderful musical numbers, La La Land won the hearts of many when it was released at the beginning of the year, before subsequently breaking them by the films end. Stone and Gosling are both extremely charming in their roles, sharing a wonderful chemistry that ultimately raises the emotional stakes. Don’t worry if you’re not into musicals, because La La Land is bound to capture your heart regardless. While it may not be as powerful as Chazelle’s debut, Whiplash, La La Land is nonetheless a wonderful film that has already cemented itself as a future classic.
17. IT (Andy Muschietti)
The much anticipated adaptation of Stephen King’s epic horror novel IT made its way to the big screen this year, and already it has become something of an icon. This first half of the planned two-part adaptation follows a group of children known collectively as the Losers Club, as they battle a supernatural evil in their small town that feeds on children and takes the shape of a maniacal clown (Bill Skarsgård). Now I’ll admit that IT wasn’t extremely scary, but what director Andy Muschietti does best is capture the essence of Stephen King’s novel, which is something a lot of King adaptations seem to miss. The themes of childhood nostalgia and marginalisation shine through wonderfully here, not since Stand By Me has a film captured King’s themes so perfectly. Bill Skarsgård’s performance as Pennywise is where the true terror lies however, while the jump scares aren’t always effective, Skarsgård has this awfully chilling onscreen presence during all of his scenes, creating this immense sense of dread whenever he makes an appearance. Any doubts surrounding his casting were quickly put to rest after his horrific introduction. The young actors all give equally impressive performances as well, with Finn Wolfhard and Sophia Lillis particularly standing out, each character feels as though they’ve walked straight out of the book. IT made horror history this year by being the highest-grossing horror film of all time, cementing it as a future classic in the genre.
16. Thor: Ragnarok (Taika Waititi)
After a string of successful indie hits such as What We Do in the Shadows and Hunt for the Wilderpeople, New Zealand filmmaker Taika Waititi moved onto his first blockbuster in the hilarious cosmic superhero caper Thor: Ragnarok. Following his arc in Age of Ultron, Thor (Chris Hemsworth) returns to Asgard in order to prevent the impending apocalypse, or ‘ragnarok’. However, after failing to defeat his malevolent sister Hela (Cate Blanchett), goddess of death, Thor finds himself stranded on the edge of the universe where he must band together with some new allies, and some old, to stop Hela once and for all. I’ve criticised Marvel in the past for being too derivative and not taking enough risks, especially in regards to last years Civil War, but it now seems that they have finally decided to grow a pair. Thor: Ragnarok is a prime example of this, with writer/director Taika Waititi given a huge amount of creative freedom, resulting in the most hilarious, and one of the most distinctive films in the MCU thus far. Waititi’s signature sense of humour shines through here, making Thor a much more likeable character and setting the film apart from its rather dull predecessor The Dark World. We meet a variety of interesting new characters as well, such as Tessa Thompsons hard-as-nails Valkyrie, and Jeff Goldblum’s eccentric Grandmaster. Accompanied by colourful visuals and a healthy dose of Led Zeppelin, Thor: Ragnarok is by far one of the most unique Marvel films in recent years, showing signs that the studio is willing to grant their filmmakers more creative freedom in the future. With other recent entries in the MCU such as Guardians of the Galaxy Vol. 2 and Spiderman: Homecoming showing similar signs as well, things are looking up for Marvel.
15. The Death of Stalin (Armando Iannucci)
If you were asked to pitch a comedy film based on real life events, the power struggle following Joseph Stalin’s death would probably be the last thing that springs to mind, unless of course, you’re Armando Iannucci. Based on a French graphic novel of the same name, The Death of Stalin follows the events that unfolded after Joseph Stalin’s (Adrian Mcloughin) death in 1953 and the struggle for power within the Communist party. Iannucci manages to craft a hilariously awkward political comedy in the vein of his previous works such as The Thick of It, portraying these real-life Russian figures as a group of man-children fighting to outdo one another. While all of the characters are supposed to be Russian, the actors all speak in their own accents, so you’ve got Nikita Kruschev talking like Steve Buscemi, and Georgy Zhukov (Jason Isaacs) speaking in a thick Northern accent. Oh, and Stalin is also a cockney who likes cowboy movies. The humour is so perfectly timed and supported by wonderful performances from the ensemble cast including Buscemi and Jeffrey Tambor. There are too many times when you’ll find yourself laughing at the most ridiculous things, some of which you feel you really shouldn’t be. A quick history lesson packed to the brim with humour and memorable performances, The Death of Stalin is one of the most clever comedies in recent years with a fantastic script from Iannucci, David Schneider, Ian Martin, and Peter Fellows. Never has Soviet Russia been so damn funny.
14. Logan (James Mangold)
Despite being the most popular member of the X-Men, Wolverine (Hugh Jackman) hasn’t exactly had the best luck with solo films. That was until this year however, when James Mangold brought us one of the most unique and powerful comic book films to date, Logan. Set in a future where mutants are essentially extinct, the film sees an aged Logan as one of the sole survivors, along with Charles Xavier (Patrick Stewart) and Caliban (Stephen Merchant). However after an encounter with a mysterious young mutant named Laura (Dafne Keen), Logan must do everything he can to protect her from the malevolent forces who seek her out. Taking inspiration from Mark Millar’s Old Man Logan comics, as well as Spaghetti Westerns and post-apocalyptic films like Mad Max, James Mangold manages to craft an entirely unique comic book film, with more realism and grit that its contemporaries. It was refreshing to see a film finally do justice to Wolverine, with its R-rating allowing it to take the character to new, more violent levels that fans had only dreamed of seeing onscreen before. It was great to see Jackman finally let loose in the role, but for all its grit, Logan also has an equal amount of heart. It’s a highly compelling film that sees our heroes at the most vulnerable they’ve ever been, by the time it’s over you’ll be struggling to hold back the tears. Jackman gives a fine performance once again, while Stewart and Keen in particular give equally powerful ones as well. It’s safe to say that Logan is by far the best comic book film of the year, breathing new life into a tired genre, and bidding farewell to Jackman’s run as Wolverine.
13. Dunkirk (Christopher Nolan)
After the rather disappointing Interstellar, it was great to see Christopher Nolan back on form with his intense war epic Dunkirk. Taking place in WWII during Operation Dynamo, the film alternates between three perspectives of the events, from the sky, land and sea. Now I’m not usually a massive fan of war films, but Dunkirk was different. Nolan managed to execute this unique narrative style with such precision, leaving us waiting in anticipation every time the perspective changes. As the film progresses, these narratives gradually intertwine and we witness how each character’s actions affects one another. Despite the minimal dialogue, the strong performances from the likes of Mark Rylance and newcomer Fionn Whitehead eliminate the need for any. What Nolan does best with Dunkirk however, is how much he submerges the audience in the action, making this a very experiential film as well. The superb sound design makes every gunshot and explosion feel so real, that if you close your eyes you’d swear you were right there in the middle of it all. Nolan proves yet again that he is capable of getting his unique creative vision across while, at the same time, appealing to a wide range of audiences. It was a pleasure seeing him behind the camera once again.
12. Star Wars: The Last Jedi (Rian Johnson)
Picking up directly after The Force Awakens, the eighth installment in the main Star Wars canon sees Rey (Daisy Ridley) commence her training under reluctant ex-jedi Luke Skywalker (Mark Hamill), while elsewhere, the Resistance find themselves cornered by the First Order. With The Last Jedi, director Rian Johnson delivered the most ambitious film of the franchise yet, delivering a number of significant plot developments while taking things into uncharted territory as well. Instead of following the formulas of previous Star Wars films like The Force Awakens did, The Last Jedi made its own way in the galaxy with its complex story and spectacular visuals. In a film packed full of equally strong performances however, Mark Hamill stands out as the highlight, bringing us an aged and troubled Luke Skywalker. He is more snarky and cynical than the hopeful young farm boy we knew before, but Hamill provides enough emotional nuance to bridge the gap between the old Luke and the new, standing out in his most powerful performance yet. While it is the longest film of the franchise so far, it never felt sluggish and was packed full of thrills from start to finish. Amidst all of the thrills however, was a captivating and complex film as well, bringing new layers to the overall story. Not only was it an excellent entry to the franchise, but The Last Jedi also acted as a fitting farewell to the late Carrie Fisher, I know I was teary-eyed during all of her scenes. Improving upon the flaws of The Force Awakens and setting things up for what’s set to be a spectacular finale, The Last Jedi left fans eager with anticipation, while leaving younger fans asking their parents for Porgs for Christmas.
11. The Killing of a Sacred Deer (Yorgos Lanthimos)
Following up on the success of his first English-language film The Lobster, Greek filmmaker Yorgos Lanthimos teamed up with leading man Colin Farrell once again for an extremely unconventional psychological thriller. Steven (Farrell) is a cardiologist who forms a strange friendship with Martin (Barry Keoghan), the son of a former patient. However, certain events soon occur, putting Steven’s family in danger and Steven himself at the mercy of Martin. Much like Lanthimos’ previous effort, The Killing of a Sacred Deer feels completely otherworldly. While it is definitely much more in touch with our world than The Lobster, there is still something about it that sets it apart from it. From the way in which the characters speak and interact, to the overall sense of dread that looms over Steven and his family, this film feels as though it exists on a completely different plain of reality. It’s hard to pin it to just one genre because of that, however, I’d class it as a darkly-comedic psychological horror, or something along those lines. There is this overarching sense of dread throughout, constantly informing us that something wicked is afoot, and even when it’s not explicit we can tell that something sinister is brewing. It’s a gripping film, full of slow-burning tension and topped off with a chilling performance from Keoghan, you won’t be forgetting The Killing of a Sacred Deer anytime soon.
10. War for the Planet of the Apes (Matt Reeves)
The third installment in the rebooted Planet of the Apes series sees Caesar (Andy Serkis) face off against a brutal military leader (Woody Harrelson) in order to save his fellow apes. The title makes this film sound like a straight up war film full of extensive battle sequences and whatnot, but actually it’s something a lot more subtler than that. While the film undoubtedly has its fair share of action, it tends to focus more on the real horrors of war and the persecution of these apes instead of a full on conflict. This makes War a much more subversive film, and more than just your average summer blockbuster. Throughout the film we watch as the apes are ambushed and subsequently imprisoned, while Caesar and his cohorts attempt to liberate them from the tyrannical Colonel. It’s cold, it’s brutal, but it’s equally captivating, and will have you hooked from scene to scene, and while it may not be the action-packed epic you might expect, it’s so much more than that, it’s a film about loss, oppression and subsequent liberation. Andy Serkis once again proves that he is the master of motion capture, giving a truly sincere performance and continuing to add more layers of depth to the character of Caesar. Never in my life did I think a film about CGI apes would make me feel so many emotions, but War for the Planet of the Apes proved otherwise, and acts as one of the sharper summer blockbusters of recent years.
9. Call Me by Your Name (Luca Guadagino)
Based on André Aciman’s book of the same name, Call Me by Your Name chronicles the burgeoning romance between seventeen year old Elio (Timothée Chalamet) and an associate of his father’s, Oliver (Armie Hammer), when the latter visits their Italian villa during the summer of 1983. Call Me by Your Name gives an honest representation of themes such as first-love and exploring one’s sexuality, delivering such raw emotion in an incredibly natural manner. It disregards the usual Hollywood tropes and tendencies to exaggerate, to create a more realistic story that succeeds in conveying these feelings to the audience. Chalamet and Hammer share an incredible onscreen chemistry, which combines with the soundtrack itself to create this profound sense of emotional nuance. Guadagino does not skimp on the complexity of it all either, with the film culminating in an almost overwhelming sense of melancholy that carries on as the credits roll. Along with all of its emotional complexities however, the film also includes one of the most memorable scenes ever involving a peach, you’ll never look at that fruit the same way again. It’s a heartfelt film, even for those not too keen on romance, and marks another important film in terms of representation this year.
8. The Disaster Artist (James Franco)
Based on the non-fiction book of the same name that was co-written by actor Greg Sestero, The Disaster Artist tells the story behind one of the best worst films ever made, The Room, and its enigmatic creator Tommy Wiseau (James Franco). Beginning with Wiseau and Sestero (Dave Franco) striking up a friendship at acting class, the film chronicles their journey from San Francisco to LA and ultimately, the making of The Room. The film plays out like a modern day Ed Wood, focusing on this strange, eccentric character in the process of creating one of the worst films ever made. As expected, it’s full of hilarious, often cringe-worthy moments that one could only expect from a film like The Room. However, amidst all of the humour and farce, there is a genuine heart at the centre of The Disaster Artist that feels strangely poignant considering the subject matter. While Wiseau is presented as unpredictable and often childish, we also see another side of him that contrasts this, the tortured artist who just wants to be remembered, much like Ed Wood himself. Franco really nails this performance, going beyond Wiseau’s humorous exterior to present a multi-layered character who’s as complicated as the production of The Room itself. This is by far Franco’s best performance yet, proving that he can go beyond playing charming stoners and such. By far the greatest comedy of the year, The Disaster Artist is a celebration of the phenomenon that is The Room and is sure to introduce it to a brand new generation of fans.
7. Moonlight (Barry Jenkins)
It might not be at the top spot, but Moonlight is without a doubt one of the most important films of the year. Adapted from an unpublished play by Tarell Alvin McCraney, based partially on his own life, the film chronicles the life of Chiron (Alex Hibbert/Ashton Sanders/Trevante Rhodes) in three stages, his childhood, teenage life, and adulthood. Throughout the film, he must deal with several serious issues in his life, as well as internal conflicts surrounding masculinity and his sexual identity. Director and screenwriter Barry Jenkins manages to craft a simple, yet powerful film, that follows an African-American boys journey from childhood to manhood. In all three acts, the respective actors who portray Chiron make him an extremely likeable character who is easy to get behind. While at first the film may seem like something that has been done before, the outsider with an abusive background, it soon becomes apparent that there is a lot more to Moonlight than meets the eye. Not only does the film allow more representation for black actors, but its positive message about coming to terms with one’s sexuality is extremely powerful, especially considering the context. It was a refreshing take on a familiar formula that made history when it took home the best picture Oscar earlier this year. Moonlight is an important step for cinema, and its inspiring success this year is sure to spark a number of similarly progressive films in the future.
6. mother! (Darren Aronofsky)
By far the most divisive film of the year, mother! follows a young woman (Jennifer Lawrence) whose life is thrown into chaos when two strangers (Ed Harris and Michelle Pfeiffer) arrive at the home of her and her poet husband (Javier Bardem). This film split critics right down the middle, with many praising Aronofsky’s unique approach while an equal amount of others deemed it too excessive and messy. Personally, I loved it. With mother! Aronofsky crafts a truly unique cinematic experience. Through careful direction he manages to essentially put the viewer in our protagonist’s shoes, making us feel everything she does. It plays out like some sort of chaotic nightmare that builds into a cathartic finale of blood and anarchy. It’s a film that practically implores you to hate it, everything about it is frustrating, yet it’s so effective at getting under your skin that you can’t help but become captivated. Lawrence is superb in the lead role, while the supporting cast are all equally excellent at making you despise them, also, the film boasts one of the most bizarre cameos ever that’s literally impossible to miss. Never in my life has a film made me feel as distressed as mother! did. Whether you love it or hate it, you can’t help but acknowledge Aronofsky’s sheer talent for his craft, and mother! is a fine example.
5. Raw (Julia Ducournau)
This French-Belgian take on the cannibal subgenre sees veterinary student Justine (Garance Marillier) acquire a taste for meat during her first year at University, one that develops into something much more deadly. Ducournau borrows tropes from earlier cannibal films and applies them to a coming of age drama to create one of the most bizarre cross-genre pieces of the year, but one that works all too well. At heart it’s a story about the growing bond between two sisters, who just so happen to be cannibals. Marillier and her co-star Ella Rumpf, who plays her sister Alex, share a very strong, sisterly chemistry together, making this strange tale a lot more convincing. Further cementing this realism however are the incredibly detailed gore effects that, while not frequent, are incredibly effective in making the stomach turn. From Justine’s Cronenbergian rash, to the infamous finger scene, you’d be forgiven for thinking that Raw was a snuff film at times. Ducournau’s directorial skills along with Ruben Impens’ cinematography add a sleek sense of style to the substance, and give the film a very sophisticated look which is juxtaposed with the graphic violence. A female-centric horror film in the same vein as Ginger Snaps and Suspiria, Raw marked an impressive debut for Julia Ducournau, leaving viewers (and I hate to make this joke again) hungry for more.
4. Baby Driver (Edgar Wright)
You know when you’re listening to a song and you think ‘damn, this would work great in a film’? That’s basically what went through director Edgar Wright’s mind when he made Baby Driver. Ansel Elgort stars as Baby, a getaway driver with a hearing impairment that he treats by listening to music in order to block out the pain. After falling for a young waitress named Debbie (Lily James), Baby seeks to leave his life of crime, only to discover that it’s not so simple. This was clearly a true passion project for Wright and it translates clearly onscreen. The wonderfully choreographed chase scenes, the clever dialogue, the music so perfectly synchronised with the action, it’s evident that Wright poured so much detail into Baby Driver. Yes, it is an action film and has some incredible thrills, but at no point does Wright sacrifice his integrity for the sake of it, it’s still got his signature snappy editing and sense of humour, as well as some clever easter eggs for film fans to spot. The cast is superb all around, with Elgort oozing charm while being backed up by some A-list talent including Jon Hamm and Jamie Foxx. Wright manages to find the perfect balance between style and substance, the result being one of the most unique and endearing action flicks of the century. If Scott Pilgrim or his Cornetto trilogy haven’t already gained Edgar Wright worldwide recognition as a true auteur, then Baby Driver most definitely has.
3. The Handmaiden (Chan-wook Park)
Korean director Chan-wook Park returned to our screens this year, with one of his cleverest films since Oldboy. Loosely adapted from Sarah Waters’ novel Fingersmith, The Handmaiden follows a young pickpocket (Tae-ri Kim) who is recruited as part of a plot to rob a Japanese heiress (Min-hee Kim) of her fortune, only to fall in love with her. With The Handmaiden, Chan-wook Park crafts a truly labyrinthine film, full of twists and turns that even those familiar with the book won’t see coming. The clever narrative style, incorporating flashbacks and alternating perspectives, allows Park to really toy with the audience and catch them off guard whenever possible. As always, he brings his articulate sense of style to the table with help from cinematographer Chung Chung-hoon, pouring explicit detail into every frame in order to bring to life these visuals that are just as absorbing as the plot itself. Both leads are superb in their respective roles, with Min-hee Kim particularly highlighting the numerous layers to her character, while supporting actor Ha Jung-woo stands out as the scene-stealing Fujiwara. It’s smart, it’s erotic, and it’s visually astounding, once again Chan-wook Park proves that he’s one of South Korea’s finest filmmakers with The Handmaiden.
2. Blade Runner 2049 (Denis Villeneuve)
35 years after Ridley Scott’s original sci-fi classic, we finally returned to the universe of Blade Runner in a stunning follow up from director Denis Villeneuve. Set 30 years after the original, Blade Runner 2049 follows a new blade runner named K (Ryan Gosling), who makes a strange discovery during a case with mysterious connections to former blade runner Rick Deckard (Harrison Ford). Sequels are always dangerous territory, especially after such a long time gap and with such an iconic film like Blade Runner to live up to. Low and behold however, Villeneuve managed to craft a spectacular follow up to Scott’s original, with screenwriters Michael Green and Hampton Fancher both expanding the universe, and adding more depth to the story. Things are a lot more complex this time around in terms of story, with plot twists and red herrings awaiting its audience throughout. However, the underlying themes of existence and meaning feel much more solid in 2049, making for a much more thought-provoking film than anticipated. Ryan Gosling’s performance as K is partially responsible for this, bringing to life a compelling protagonist who even manages to outshine Deckard himself. It was a pleasure to see so much thought and care put into the script, and even more precision put into the visuals. With Villeneuve teaming up with cinematographer Roger Deakins yet again, naturally 2049 was visually stunning. From the neon streets of LA to the rustic ruins of Las Vegas, the world of 2049 was brought to life immaculately, if Deakins doesn’t get his Oscar this time around then there truly is no justice in the world. Blade Runner 2049 is a clever and captivating sci-fi flick that is truly on par with its iconic predecessor.
1. Get Out (Jordan Peele)
The best film of the year, and arguably one of the most important, Get Out is a chilling insight to the real racial fears faced by black people in modern America. Daniel Kaluuya plays Chris, a black photographer who accompanies his white girlfriend Rose (Allison Williams) to her parents estate in the country. While initially they seem like friendly people, Chris however soon discovers that they harbour a dark secret that puts his whole life at risk. Comedian Jordan Peele’s first foray into the horror genre is extremely important for two reasons. The first is that Get Out is a fine example of a first-time director getting his full creative vision across with little studio interference, ultimately going on to become one of the highest grossing American films by a black director. Secondly however, the film is highly relevant to the racial paranoia faced by African-American’s every day. Peele dismisses the usual tropes of racist rednecks and neo-nazi’s, pitting white, middle-class liberals as the antagonists instead. In doing so, Peele paints a much more realistic picture of these racial fears as opposed to an exaggerated stereotype that have been done countless times already. Needless to say Get Out is an incredibly effective horror film, with a consistent atmosphere of isolation and paranoia throughout that really helps put the audience in Chris’ shoes. Daniel Kaluuya’s powerful performance adds further empathy to the character as well, it was wonderful seeing him getting a chance to fully flex his acting chops. While it is a horror at heart, it also has its fair share of laughs, but don’t be fooled, Get Out is no comedy. As Peele himself firmly put it in a recent tweet of his: ‘Get Out’ is a documentary. Smart, subversive, and utterly terrifying, Get Out is a much needed social horror that sets up a promising career for Peele in the future.
It’s clear that we’ve had a wide variety of vastly different but equally marvellous film throughout the past year. 2017 has certainly been an important year for representation in cinema as well, in terms of race, gender, and sexuality. From Moonlight’s historical Oscar win, to Wonder Woman’s female-empowering superhero romp. From Get Out highlighting the racial fears of African-Americans, to the acclaimed LGBTQ+ romance Call Me by Your Name, 2017 has been an incredible year for cinematic diversity. It’s excellent to see such progressive films being made and getting both the critical and commercial attention they deserve, one can only hope that this progression will continue into the new year. I hope you’ve all enjoyed the films that 2017 had to offer, and I wish you all a happy New Year, until next year folks!
