The Best & Worst Of 2017 – Motion Picture Maniac

The Best & Worst Of 2017 – Motion Picture Maniac

A Blog Motion Picture Maniac Year In Review

Remember when the disappointment that was 2016 ended and we all toasted to 2017 hopefully proving to be better? Didn’t exactly meet expectations did it? Last year many of our favourite celebrities passed away, this year many of those left have turned out to be sex offenders – go team. But anyway, just like last year I’ve had to stretch my film lists out from top 10’s to top 20’s, which could be seen as a good thing, an indication that there were enough good films to warrant a longer list but then, you remember, the same goes for the bad list.

What can I say; this year was long and depressing, the year before it was long and depressing and, realistically, the next year will probably be long and depressing also; happy days! So here we go, the best films of the year and… the other list, along with some other fun considerations because why not? Of course there were some well-regarded films I was unable to see like Call Me By Your Name and Brigsby Bear and I do hate that I missed them but hey, what can I do?

 

Best Films Of 2017

  1. Dunkirk – (Film of the year, a perfectly shot single feature length action sequence rife with lethal intensity, brutal sound design and gargantuan production value; all of which transpire to do justice to real life heroes)
  2. Blade Runner 2049
  3. Wind River
  4. A Ghost Story
  5. Wonder Woman
  6. Loving Vincent
  7. Thor: Ragnarok
  8. Song To Song
  9. War For The Planet Of The Apes
  10. Mother
  11. American Made
  12. It Comes At Night
  13. Lego Batman
  14. John Wick Chapter 2
  15. Logan
  16. Battle Of The Sexes
  17. Star Wars: The Last Jedi
  18. It
  19. The Disaster Artist
  20. Atomic Blonde

 

Honourable Mentions

The Beguiled

The Killing of a sacred deer

Detroit

Double date

Only the brave

T2 Trainspotting

Okja

Get Out

Baby driver

Spiderman homecoming

 

Special Sympathy Mention:

Justice League

 

Worst Films Of 2017

  1. The Shack – (Worst film of the year, one of the most morally bankrupt, self satisfied, arrogant and offensive pieces of propaganda garbage I have ever seen in my life, it’s not just bad, it’s hurtful and dangerous)
  2. The Bye-Bye Man
  3. Diary Of A Wimpy Kid: The Long Haul
  4. Unforgettable
  5. Everything, Everything
  6. Girl’s Trip
  7. The Snowman
  8. Flatliners
  9. The Zookeeper’s Wife
  10. The Sense Of An Ending
  11. Hampstead
  12. Unlocked
  13. The Emoji Movie
  14. The House
  15. Daddy’s Home 2
  16. CHiPS
  17. Bitter Harvest
  18. Overdrive
  19. Transformers: The Last Knight
  20. Fifty Shades Darker

 

Dis-Honourable Mentions

Geostorm

The Star

A Bad Mom’s Christmas

The Space Between Us

Wish Upon

Fist Fight

Table 19

The Book Of Henry

Snatched

Rings

 

 

15 Favourite Action Sequences

Pretty much everything in “The Air” – Dunkirk

Silo Hostage Rescue And Subsequent Battle – Justice League

No Man’s Land – Wonder Woman

Bifrost Bridge Battle – Thor: Ragnarok

Stairwell Fight – Atomic Blonde

Helicopter Swatting – Kong: Skull Island

Hocus Pocus – Baby Driver

The Battle Of Crate – Star Wars: The Last Jedi

Drill Sight Massacre – Wind River

Art Gallery Shootout – John Wick Chapter 2

Aero Baby Rescue – Fate Of The Furious

Throne Room Slaughter – Star Wars: The Last Jedi

Steppenwolf In Themyscira – Justice League

K VS Luv – Blade Runner 2049

Opening Sequence – John Wick Chapter 2

 

 

Favourite Villainous Performances

Adam Driver as Kylo Ren – Star Wars: The Last Jedi

Ciaran Hinds as Steppenwolf – Justice League

Jamie Foxx as Bats – Baby Driver

Jeff Goldblum as The Grandmaster – Thor: Ragnarok

Bill Skarsgard as Pennywise The Dancing Clown – It

Sylvia Hoeks as Luv – Blade Runner 2049

Will Poulter as Krauss – Detroit

Woody Harrelson as The Colonel – War For The Planet Of The Apes

Ruby Rose as Ares – John Wick Chapter 2

Robert Carlyle as Francis Begbie – T2 Trainspotting

 

 

Best On-Screen Couples (Romantic, Bromantic Or Otherwise)

David and Walter – Alien: Covenant

Thor and… his Hammer – Thor: Ragnarok

K and Joi – Blade Runner 2049

Hobbs and Deckard – Fate Of The Furious

Billie-Jean and Marilyn – Battle Of The Sexes

Greg and Tommy – The Disaster Artist

Rocket and Baby Groot – Guardians Of The Galaxy Vol. 2

Wolverine and X23 – Logan

Batman and Superman – Justice League

Bryce and Kincaid – The Hitman’s Bodyguard

 

 

Special Awards

Best Opening Credit Sequence: Guardians Of The Galaxy Vol. 2

Best Use Of Music In Correlation To The Visuals: Blade Runner 2049 – “Sea Wall”

Pottymouth Of The Year: Robert Carlyle – T2 Trainspotting

Most Interesting Style: TIE – Loving Vincent/A Ghost Story

Best SFX: War For The Planet Of The Apes

Most Immersive Camera Movements: Justice League

Funniest Line (Intentional): “I’m gonna knock your teeth so far down your throat you’re gonna stick a toothbrush right up your ass to brush em” – Fate Of The Furious

Funniest Line (Unintentional): “Blow into the hole gently, I’ll do the fingering” – Alien: Covenant

Captain Obvious Award: Josh Duhamel, Transformers: The Last Knight – “Look, it’s a big alien ship”

Guilty Pleasure Of The Year: TIE – xXx: Return Of Xander Cage/Resident Evil: The Final Chapter

Notable Face-Palm Of The Year: Fakest Sneeze Of All Time – The Bye-Bye Man

Done and dusted, recalling and sifting through the stuff I liked about the year was great fun, doing the same for what I didn’t like bloody hurt. Oh I wonder what the next year will hold, not just regarding the movies but the politics, the sociology, the very backbone of public opinion… who am I kidding, it’s gonna suck, it’ll all suck and we should probably all just save time by taking turns gleefully leaping into a giant deadly shit hole to boil and desolve to death.

 

Happy New Year.

Motion Picture Maniac 

The Sense Of An Ending – Motion Picture Maniac

The Sense Of An Ending – Motion Picture Maniac

A Blog Motion Picture Maniac

I really wish I could explain why this film is called The Sense Of An Ending, but alas, I cannot, after seeing the film in its entirety and getting no where on what the hell it’s supposed to mean I can only assume it’s one of those “slot machine” titles, the kind that don’t really appear to have anything to do with the film but maybe the writer thought jamming random words together to make something slightly sorrowful sounding would sound poignant to more elderly movie goers.

The film follows Jim Broadbent playing some divorced old misery guts with a pregnant single daughter who finds out, and this is where things get a little complicated, that the mother of an old flame has died and left him the diary of a friend of his from years ago in her will but the her daughter (the old flame) won’t let him have it, and so the rest of the film pretty much chronicles him telling his ex wife about his younger years and possibly the reason the old flame wont hand over the diary and blah, blah, blah.

This is a very boring and dull piece of work, poor old Jim does his best in a serious role but everything else around him feels thematically hostile and unpleasant, aside from the completely unoriginal narrative that jumps back and forth between the younger past and elderly present as it slowly crawls closer to some kind of grand reveal it feels like it plans to release towards the end, boring cinematography and excruciating schmaltz, it does things, little things, that just annoyed the living crap out of me.

You know how it’s advisable for a film to present a reason to care about the narrative fairly early on, well The Sense Of An Ending that doesn’t come soon enough feels like it spends its entire runtime dangling the reason you should care mere centimetres from your face without letting you have it. The plot is just Broadbent telling his ex wife about a pretty dull sounding relationship he had when he was at university and how this girl then left him for his friend and trying to understand why she won’t hand over the friend’s diary and this and that and the other and oh my God!

The film is very vague on certain details so it’s pretty clear there’s going to be a revelation at some point and when you finally get to said point you realise it’s really nothing to get excited about, some details you see coming from a mile away and others make you just want to throw things at the screen with disbelief at such lunacy, I can’t reveal the details here but they’re so unbelievably sappy and unrealistic I wanted to scream. It isn’t hiding these points because they’re clever or shocking or appropriate only for the latter part of the film, they’re hidden until the end because it seems that was the only way the filmmakers knew how to make it interesting, or at least try because the only reason I was interested as little as I was is because of how much the unveiling of these details was being dangled in my face which is cheating.

The other characters surrounding Broadbent all have this weird sarcastic and meanness to their dialogue that makes hem sound like they wish to psychologically torture him, I may be looking too deeply into it but that’s the vibe I get, Charlotte Rampling has this sadistic look on her face made worse by dialogue that sounds so smug you just want to slap her right across the face. We’re expected to find it heart breaking when a character commits suicide because he got his girlfriend’s mother pregnant and he got a nasty letter from the friend he stole the girl from, and this girl also has this sharp arrogance to her character that is supposed to come across as cool and inspiring but instead just feels mean and unpleasant, the narrative is dull, the pacing is lethal, I absolutely hated the script, he music was cheesy, there are clichés scattered about like powered shit in a pepper dispenser and I did not like this movie one bit.

Broadbent tries but it’s just not enough.