Directors: Anna Boden & Ryan Fletcher
Starring: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Annette Bening, Lashana Lynch, Clark Gregg, Akira Akbar, Gemma Chan, Rune Temte, Algenis Perez Soto, Djimon Honsou
Since the advent of the Marvel Cinematic Universe well and truly heralded in the era of the superhero movie, Marvel Studios have consistently shown themselves to be a step ahead of the competition. However, with the blockbuster success of Warner Brothers’ Wonder Woman in 2017 we saw, for the first time, Marvel Studios having missed a trick. While the MCU’s heroes had come from a variety of eras and planets and demonstrated a range of different powers and personalities, there was one key way in which they all remained the same: they were all male. While Hope Van Dyne had made it into the title of Ant-Man and the Wasp she remained clear second fiddle in the narrative, and characters like the Black Widow and Gomorah have been integral parts of the MCU without ever getting top billing. So it is with the 21st film in the franchise that Marvel gives us their first female led film, Captain Marvel. Continue reading
Director: Peyton Reed
Starring: Paul Rudd, Evangeline Lilly, Michael Douglas, Abby Ryder Forsten, Michael Pena, Walton Goggins, Tip ’T.I.’ Harris, David Dastmalchian, Hannah John-Kamen, Laurence Fishburne, Michelle Pfeiffer, Randall Park, Judy Greer, Bobby Cannavale
If Marvel Studios are going to release franchise instalments at the frequency they do – twenty superhero movies in ten years, five in the last 18 months – they can’t stick to the traditional blockbuster strategy of trying to outdo themselves with each film, of constantly striving to raise the bar with bigger stories and more extreme spectacles. Such an approach would be unsustainable, not to mention exhausting for fans. Instead, they opt for variety and modulation. Of scale, of tone, of stakes. The Ant-Man series is, fittingly, the smallest scale of the various strands of the Marvel Cinematic Universe, and it is some canny forethought from Kevin Feige’s team to offer up Ant-Man and the Wasp as a modest, low-stakes breather for superhero movie fans after the epic Avengers: Infinity War. Continue reading
Directors: Anthony Russo & Joe Russo
Starring: Robert Downey Jr. Chris Hemsworth, Josh Brolin, Chris Evans, Scarlett Johansson, Mark Ruffalo, Benedict Cumberbatch, Tom Holland, Paul Bettany, Elizabeth Olsen, Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, Vin Diesel, Chadwick Boseman, Danai Gurira, Letitia Wright, Benedict Wong, Karen Gillan, Tom Hiddleston, Anthony Mackie, Sebastian Stan, Peter Dinklage, Idris Elba
With the incredible success of Black Panther, which is the year’s top grossing film by some margin and Marvel’s third highest grossing film ever, 2018 was already a winner for Marvel Studios before they had even played their trump card. Avengers: Infinity Wars is, by most any measure, one of the biggest movies in history. The film that the Marvel Cinematic Universe has been building to for a decade now, it is a crossover epic 18 films in the making, and promises to be the blockbuster movie event of the year.
When Bruce Banner (Mark Ruffalo), who has been missing from Earth since Avengers: Age of Ultron, comes crashing down into Doctor Strange’s (Benedict Cumberbatch) Sanctum Sanctorum he brings with him an ominous warning. The titan Thanos (Josh Brolin) is gathering the infinity stones. These six gems forged in the big bang each control an elemental power and if he gets his hand on all six, and he already has three, he will become all powerful. His ultimate goal? Genocide on an unimaginable scale. Continue reading
Director: Ryan Coogler
Starring: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Angela Bassett, Andy Serkis, Forest Whitaker
The superhero movie has evolved as a genre over the last two decades, embracing more sophisticated narratives and themes. However despite that progression, it has remained almost exclusively the domain of white, male protagonists. The overwhelming response to Wonder Woman last year showed how empowering it was for women to finally see themselves in positions of strength and agency usually reserved for men. Ryan Coogler’s Black Panther offers that same experience to people of African descent, again pointing to the incredible importance of representation in cinema, particularly in popular cinema. Continue reading
10. The Beguiled (Sofia Coppola)
Sofia Coppola won Best Director at the Cannes Film Festival for her adaptation of Thomas P Cullinan’s novel, taking his tale of a man entering a world of women and bringing a distinctively female perspective, making for a different movie to Don Siegel’s 1971 version. A story about an injured Union soldier who takes shelter among the women of a small Virginian seminary during the Civil War, The Beguiled is part melodrama and part psychosexual thriller with just a dash of black comedy. An entrancing film, its tone is constantly shifting as we wonder who is manipulating who and watch a paradise become a prison. Full review.
9. Spider-Man: Homecoming (John Watts)
The superhero movie continues to be the blockbuster form of the moment and 2017 offered up three good ones: Spider-Man: Homecoming, Logan and Wonder Woman. Logan was the most audacious, Wonder Woman was the most important, but for mine Spider-Man: Homecoming was the best blockbuster of the year. Part superhero movie, part John Hughes high school drama, it is energetic, funny and exuberant, and unlike Thor: Ragnarok (which I was not as high on as many others), did not sacrifice genuine emotion to get its laughs. It even has a good villain, long the achilles heel of the Marvel movies. After finally striking a deal with Sony Pictures, Marvel Studios didn’t waste the opportunity once they got their hands back on their number one commodity. Full review.
8. Baby Driver (Edgar Wright)
Edgar Wright’s stylistically ambitious action/heist/music video Baby Driver is the coolest film of 2017. More than just a film with a killer soundtrack, Wright used the music as a key structural element of his movie. Allowing songs to play out in their entirety, he choreographed the action to the soundtrack. While such meticulous planning could have made the film feel mechanical, it doesn’t. Rather the whole thing feels like a dance. While somewhat lacking at a human, character level, it is an exhilarating film experience. In light of recent revelations, though, it will be interesting to see if the presence of Kevin Spacey in the cast has any impact on Baby Driver’s replay value. Full review.
7. Moonlight (Barry Jenkins)
This year’s Academy Award winner for Best Picture was an intimate, nuanced coming-of-age film which marked a massive step forward for the presence of LGBTQI cinema in the mainstream. A complex exploration of African-American masculinity and adolescent homosexuality, Moonlight tells the story of its lead character at three specific points in his young life, using a different actor to portray each stage with each actor bringing something distinct to their manifestation of the character. With a visual beauty that is not common for social realist drama and some very strong performances (most notably Mahershala Ali’s Oscar winning turn as drug dealer and mentor Juan), Barry Jenkins has taken a queer, black story, which you would assume to be niche, and made it universal. Full review.
6. mother! (Darren Aronofsky)
This is probably my most controversial selection because a lot of people hated this film, and I mean properly hated it. However, I don’t think I thought about a film this year as much as I thought about mother!. Darren Aronofsky’s allegory for the relationship between humanity, nature and the creator is a challenging and confronting piece of art that is intended to elicit a strong reaction. The very definition of a film that is ‘not for everyone,’ mother! will frustrate and disgust you, making you equal parts uncomfortable and angry. But whether you love it or hate it, you will think about it and you will want to talk about it. Full review.
5. The Big Sick (Michael Showalter)
First-time screenwriters and married couple Kumail Nanjiani and Emily V. Gordon drew on the true story of their own unconventional courtship to create the year’s best romantic comedy. Nanjiani, a stand-up comedian best known for his role in Silicon Valley, plays himself, reliving the experience of his new girlfriend (with Zoe Kazan portaying Gordon) being placed in an induced coma while his traditional Pakistani family were unaware he was seeing a white girl. With its unique scenario and examination of the migrant experience, The Big Sick takes a genre that is often derided for being a bit formulaic and makes it insightful and personal while still being incredibly entertaining. There are also some very good supporting performances from Holly Hunter and Ray Romano as Emily’s parents. Full review.
4. Silence (Martin Scorsese)
While films like The Departed, Shutter Island and The Wolf of Wall Street have seen Martin Scorsese enjoying the most commercially successful period of his celebrated career, Silence is his most unashamedly uncommercial film in decades. Based on the novel by Shusaku Endo about Jesuit missionaries in imperial Japan (which Scorsese first read back in 1989), it is a long, slow and challenging meditation on questions of faith and doubt. Scorsese’s Catholic upbringing has always been one of the primary influences on his filmmaking, and Silence is a good companion piece to his earlier wrestles with faith in The Last Temptation of Christ and Kundun. Thanks to Rodrigo Prieto’s cinematography and Dante Ferretti’s production design, it is also one of the most beautiful looking films of the year. Full review.
3. La La Land (Damien Chazelle)
While thanks to Faye Dunaway, Warren Beatty and the team from Price Waterhouse Coopers La La Land is destined to be immortalised in trivia competitions as the only film to be incorrectly awarded Best Picture as the Oscars, that should not detract from how wonderful a film it is in its own right. After its haul of 14 Oscar nominations it is easy to forget how risky a proposition this film was. There hadn’t been an original musical of any significance come out of Hollywood since Newsies in 1992. Emma Stone and Ryan Gosling may not be the world’s most polished singers and dancers but they share great onscreen chemistry, and with Damien Chazelle’s flair for directing with music and Justin Hurwitz’s fantastic score, La La Land was a joyous piece of uplifting, escapist entertainment. Full review.
2. Get Out (Jordan Peele)
Get Out was the film which came out of nowhere to become the cinematic talking point of early 2017 and remains the best reviewed film of the year. On the fiftieth anniversary of Stanley Kramer’s Guess Who’s Coming to Dinner, Get Out borrows that central premise – a white girl bringing her black boyfriend home to meet her unknowing family – but takes it in an entirely different, and far creepier, direction. Written and directed by Jordan Peele, best known as one half of the sketch comedy duo Key & Peele, Get Out functions simultaneously as a top-shelf piece of horror cinema and a sharp, zeitgeisty piece of social commentary. Full review.
1. I Am Not Your Negro (Raoul Peck)
A surprise pick for number one as I doubt it is featuring on many such lists, but I saw this documentary at the Sydney Film Festival this year and it blew me away. I Am Not Your Negro brings to life author, intellectual and activist James Baldwin’s unrealised book ‘Remember this House,’ a personal account of his experience of the murders of his three friends Medgar Evers, Malcolm X and Martin Luther King Jr. Using archival footage of Baldwin, plus excerpts from the treatment for the unpublished work unrecognisably performed by Samuel L. Jackson, Raoul Peck tells the whole story in Baldwin’s distinctive voice. A great thinker, Baldwin was speaking hard truths in the 1960s which remain hard truths today. If you can find it, see it. Full review.
The Next Best (alphabetical): Blade Runner 2049 (Denis Villeneuve), Dunkirk (Christopher Nolan), Happy End (Michael Haneke), Hidden Figures (Theodore Melfi), Logan (James Mangold), Manchester by the Sea (Kenneth Lonergan), Star Wars: The Last Jedi (Rian Johnson), The Teacher (Jan Hrebejk), War for the Planet of the Apes (Matt Reeves), Wonder Woman (Patty Jenkins)
The Worst Movie of the Year:
Rough Night (Lucia Aniello)
Oh, how I wanted this to be good. We are in somewhat of a golden period of screen comediennes, and while dude-bros might kick up a stink about which is the appropriate gender for busting ghosts, there have been some really good female driven comedies in recent years. But Rough Night set its gender-flipping sights on a sub-genre – the massive party/night out that goes horribly wrong – which largely produces terrible films so, true to form, it is too. It even caused a small controversy, outraging the sex industry for its characters’ flippant reaction to the death of a stripper. As fate would have it, the similarly themed Girls Trip came out shortly after and received much better reviews.
By Duncan McLean
Director: Taika Waititi
Starring: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Tessa Thompson, Mark Ruffalo, Karl Urban, Idris Elba, Jeff Goldblum, Taika Waititi, Anthony Hopkins
After nine years, sixteen films, and over US$12.5 billion in box office takings, the Marvel Cinematic Universe is undoubtedly one of the most successful blockbuster franchises in history. However, despite this popular and critical success, the Thor films have remained a clear weak point of the MCU. While Chris Hemsworth is relatively charismatic in the titular role, and the series has produced the MCU’s best villain in Tom Hiddleston’s Loki, it is fair to say that neither of the Norse god of thunder’s two solo outings have hit the nail on the head. With Thor: Ragnarok, Marvel Studios have thrown caution to the wind, attempting to remedy this situation with a bold change in direction by handing the reins to celebrated Kiwi director, and 2017 New Zealander of the Year, Taika Waititi. Continue reading