C O N S I D E R - Favorites of 2017, 1st Qtr
Saturday, April 1, 2017 at 6:37PM WELCOME TO APRIL! We're too impatient to wait for the "halfway" mark for year in review listicles. So why not do it each quarter to encourage more moviegoing? Unlike many critics orgs and the Oscars, The Film Experience believes that moviegoing is a 12 month long activity and each month can hold worthy efforts. Here are 3 (or 4 if we're torn) highlights of what we've seen thus far this year per Oscar category in alpha order. How will they measure up to what's still to come? (We'll hit favorite performances on Sunday or Monday)
Key films I missed in the first quarter that I might try and catch up with later: Cure for Wellness, The Great Wall, Staying Vertical, T2 Trainspotting, United Kingdom, and Wilson
PICTURE / DIRECTOR / SCREENPLAY
FRANTZ (François Ozon, written by Philippe Piazzo & François Ozon)
FUTURE PERFECT (Nele Wohlatz, written by Pío Longo & Nele Wohlatz)
GET OUT (Jordan Peele)
PERSONAL SHOPPER (Olivier Assayas)
The Future Perfect doesn't have distribution yet but you'd be crazy to miss the other three which were the most all-around well realized of 2017's releases thus far, from concept to execution on all levels. MUCH MORE AFTER THE JUMP...
CINEMATOGRAPHY
THE BAD BATCH (Lyle Vincent)
FRANTZ (Pascal Marti)
LIFE (Seamus McGarvey)
PERSONAL SHOPPER (Yorick Le Saux)
I wish Life were better. It is actually very well made but if you're concept and script are too derivative it's hard to transcend that.
COSTUME DESIGN
BEAUTY & THE BEAST (Jacqueline Durran)
GHOST IN THE SHELL (Kurt & Bart)
THE ZOOKEEPER'S WIFE (Bina Daigeler)
Those floral prints on Chastain are heaven. She's like a paragon of old fashioned hope, dainty but resilient. Daigeler previously costumed Volver and Only Lovers Left Alive so she knows about keying in to the specific character and maximizing the appeal of female leads
PRODUCTION DESIGN
THE COMMUNE (Niels Sejer)
GHOST IN THE SHELL (Jan Roelfs)
SPLIT (Mara LePere-Schloop)
THE ZOOKEEPER'S WIFE (Suzie Davies)
We've never really discussed Split, have we? I got to it after the conversation on it had already died but I think the production design was its strongest tech element. Straightforward creepy but also clever in its details like that "window" in Hedwig's room and the claustrophobic feeling of that kitchen (every room feels like another cage)
VISUAL EFFECTS
GHOST IN THE SHELL
KONG: SKULL ISLAND
LIFE
Whatever one might say about Ghost in the Shell -- and there's a lot to say -- the visual fx are stunning. The movie was ridiculously expensive but at least it shows!
MAKEUP AND HAIR
THE BAD BATCH (Lisa Layman & Lori Guidroz)
KONG SKULL ISLAND (Bill Corso & Miia Kovero)
LOGAN (Joel Harlow & Gloria Pasqua Casny)
POWER RANGERS (Monica Huppert & Toby Lindala)
SOUND
GET OUT
GHOST IN THE SHELL
PERSONAL SHOPPER
Teacups are never going to sound the same again after Get Out, are they?
EDITING
GET OUT (Gregory Plotkin)
LAND OF MINE (Per Sandholt & Molly Marlene Stensgaard)
LOGAN (Michael McCusker & Dirk Westervelt)
ORIGINAL SCORE
FRANTZ (Philippe Rombi)
GHOST IN THE SHELL (Lorne Balfe & Clint Mansell)
THE ZOOKEEPER'S WIFE (Harry Gregson-Williams)
Do you have any favorite visuals or film music of 2017 thus far? Do you think any of your early favorites this year will make your top ten at year's end?
Reader Comments (11)
I haven't seen it yet, but everyone here can watch The Future Perfect legally and for free online via FestivalScope until October 4th.
Recommendation for catchup: Son of Joseph.
Still longing to see Frantz.
Split is probably the strongest thing I've seen this year, although I really liked the first half and the dinos running around in power rangers.
(And now that I've seen it I can comment on the non-existance of PR's "gay character": I found it irritating that she was by far the least developed character and the actress provided the least compelling performance. So there was room to actually flesh her out more and they didn't take it. It was as if in editing they said: she is our weak link so we may have trouble selling merchandise, how do we make her more compelling to audiences?)
Ugh and I forgot Get Out--yes to everything you said especially TEACUPS but also creepy New England estates.
Shout-out to Kaluuya's perfect/iconic-feeling paralyzed terror face and Henderson and Gabriel's chilling performances. (Although I'm guessing that you'll do a separate performance post)
Definitely Personal Shopper for me, followed by Get Out and then The Sense of an Ending.
Catfight
Frantz
Get Out
Personal Shopper
The Student
That'd be for non-documentaries.
Particularly note-worthy techs:
Director: Olivier Assayas for PERSONAL SHOPPER
Screenplay: Jordan Peele for GET OUT
Score: KIKI
Editing: OKLAHOMA CITY
Make Up/Hair: KONG: SKULL ISLAND
Sound: Get Out, Land of Mine
I'm a big fan of STAYING VERTICAL though it's release was "blink and you miss it"
Hope McAvoy and even Anya Taylor Joy show up when/if you do one of these for performances.
I'm crazy and think Split was better than Get Out. More emotionally satisfying.
So much looking forward to viewing Personal Shopper later this month, and hoping it's as effective a film as Frantz. Assayas and Ozon seem to be leading a charge of critically acclaimed auteur-driven French films as of late. And the production design, score and cinematography of Frantz certainly is awards-worthy.
Before we concentrate on 2017, please, please, please Nathaniel... complete the Film Bitch Awards' missing categories!
Did you catch After the Storm? It's lovely, with a great performance from Kirin Kiki.
No Personal Shopper in Costume? There were so many interesting, important choices made there that the story depended on, sort of the way the visual effects fit into Ex-Machina. It simply couldn't have worked without those choices being as good as they were.