• Are these the best movies of 2017? What are yours?

    2017 was a great for film – the superhero genre pulled its socks up and started putting out new and interesting movies, indie horror came into its own and movie streaming services stepped up to the big boys and delivered some of the best films of the year.

    29th Dec 2017By Matthew Whitehouse

    Here's our pick of some of the best of 2017 – let us know yours in the comments below!

    Get Out
    Sketch comedy star Jordan Peele's blistering feature film directorial debut was both masterful horror and intriguing social commentary.

    Holding up a mirror to white liberal racism, like some kind of horror version of Meet The Fockers, Get Out sparked debate across the world and became the sleeper hit of the year, easily making back it $4.5 million (£3.35) budget, taking $40.34 (£30m) in its first weekend.

    The film focuses on an inter-racial couple, Chris and Rose, as they head out into the country for a weekend at Rose's parents. Chris is concerned his girlfriend hasn't mentioned his race and it might make things awkward. As it turns out, that is the least of his worries.

    Get Out takes influence from films like The Wicker Man and Rosemary's Baby to deliver a brilliant, original and totally bizarre film that should coin a new genre: the “social thriller”.

    This Stephen King adaptation about a group of kids facing their fears was a surprise hit and succeeded in making clowns scary again.

    Taking the original book and splitting it in two, It was another sleeper hit in the horror world, outranking The Exorcist as highest grossing R-Rated horror film of all time.

    The Losers Club – a gang of misfits, bullied by jocks and facing problems at home, must team up when a malevolent, sewer-dwelling clown named Pennywise threatens each of them. Bill Skarsgard is at his creepy best, with a face full of prosthetics and a playful, horrific demeanour, he toys with and terrifies the kids as well as the audience.

    Director Andrés Muschietti brings a wonderful levity to what could easily have been just another bland horror. The cast, too are great, and come together to make It one of the best Stephen King adaptations of recent memory and a surprisingly feel-good coming of age story too.

    Blade Runner 2049
    Blade Runner 2049 is the sequel that so many fans had waited for since the 80s – and thought they'd never get – and, even better, it turned out to be a sumptuous, visual feast that added to the lore of the original.

    Set 30 years after Ridley Scott's dystopian classic, Blade Runner 2049 sees Ryan Gosling's K searching to solve the mystery of a missing boy, while simultaneously falling down an existential spiral as he discovers what it means to be human.

    Director Denis Villeneuve took on the impossible, not only in following up a film engrained in cinema history with a new story but also by matching the visual scale of one of the most recognisable, iconic films of all time.

    The great thing is, he managed to pull it off and give us a story we didn't know we wanted, while keeping the spirit of the original alive.

    What happens when you remove the need to cater to young people from a Wolverine film? You get the best solo Logan movie yet, that's what.

    Taking its lead from Deadpool, Logan finally allowed us to see Wolverine in full effect in this sweary, blood-spattered, adult adaptation. We join our adamantium-clawed hero (played by Hugh Jackman) isolated from the world, working for a limo company and caring for a deteriorating Professor Xavier (Patrick Stewart). When a young girl (Dafne Keen) enters his life with a familiar set of powers, the duo go on a violent journey to get her to safety.

    Logan was the wake-up call the superhero genre needed and proved that they can be taken seriously and say something of worth.

    Along with The Dark Knight, Logan has become one of the most critically-acclaimed superhero films of all time.

    Wonder Woman
    Director Patty Jenkins delivered the goods, rolling out one of the only revered DC films in recent memory.

    In a time where Justice League was plagued by re-shoots, Batman's too violent and Superman's forgotten how to be a hero, leave it to Wonder Woman to switch things up. Heralded as a return to form for DC and offering up one of the first empowering, female superhero-led stories brought to us by a female director, Wonder Woman stirred up Hollywood – and the world – at just the right time.

    A likeable ensemble cast, excellent set pieces and a great lead in Gal Gadot, Wonder Woman was a stand out for the superhero genre in 2017.

    The Disaster Artist
    James Franco's passion project told the behind-the-scenes story of the best worst film ever made – Tommy Wiseau's The Room.

    The Disaster Artist, based on the book of the same name, is a heart-warming bromance – like most of Franco's films - which charts the making of the Citizen Kane of bad movies, from ambitious inception, through catastrophic production, to its very first screening.

    With painstaking attention-to-detail and a career best performance from Franco – who not not only starred as Wiseau directing a fake film, but also directed the real film in character - The Disaster Artist is perhaps the most meta move in film history!

    One of the most affecting films of the year, Raw tracks the journey of Justine (Garance Marillier) who, on arriving at veterinary school, encounters a hazing ritual unlike anything she's ever been through.

    As a strict vegetarian, being forced to eat raw meat is not something the teen is comfortable with. After doing so, she has a particularly physical reaction to it and a new side of her begins to show itself in the form of cannibalism.

    While it's a stark, grisly and nightmarish film it's also funny, clever and darkly witty with an excellent conclusion.

    Bold, darkly funny and visually striking, Prevenge is one of the stand out British films of this year.

    The idea of a pregnant woman talked into killing people by the foetus inside her is a concept so weird it could only be thought up in the brainbox of actress, comedian, director and writer Alice Lowe, who previously starred in and co-wrote the similarly dark and wonderful Ben Wheatley film Sightseers.

    Ingrid Goes West
    Parks and Recs joker Aubrey Plaza stars as Ingrid, a girl who develops an obsession with an Instagram model and decides they should be friends.

    There are few people who can pull off the weird, desperate vibe required to make Ingrid work in equal parts relatable and hate-able, but Aubrey Plaza has it down with a deadpan, cute-as-a-button-but-could-be-a-psycho performance.

    Ingrid Goes West is one of the weirder comedies in recently memory, but also a poignant comment on the perils of social media.

    I Don't Feel at Home in This World Anymore
    If you've ever felt that pang of despair as someone cuts in front of you in a queue or doesn't clean up after their dog, this film will resonate with you.

    Heavenly Creatures actress Melanie Lynskey stars as Ruth, a woman on the edge.

    People are just the worst and she's had enough. But it all comes to a head when her laptop is stolen and the police won't help. She enlists the help of Tony (Elijah Wood) and they track down the laptop.

    All seems well until the film turns into a darkly comic, very strange, nasty but hilarious thriller.


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