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by Richard T. Jameson

Contributor

Moments Out of Time 2017

Images, lines, gestures, moods from the year’s films

* Dunkirk: lapping of leaflets as they fall in quiet street of a seaside town…
* Imperceptible bleed of newsreel and movie, Detroit…
* Post-first-kiss, Christine’s (Saoirse Ronan’s) milestone-marking scream in middle of suburban street, Lady Bird…
* Bobby (Willem Dafoe) fires up a cigarette; lights come on all over The Florida Project….
* Super Dark Times
: interior-lit plastic snowman, no snow, rain sheen on blacktop driveway…
* Ben Bradlee’s (Tom Hanks’s) voice changing on the single syllable “Jack” during a recitation of Presidents who have lied—The Post
* Three Billboards Outside Ebbing, Missouri: Chief Willoughby (Woody Harrelson) and Mildred Hayes (Frances McDormand) going at each other hammer and tongs. Suddenly he coughs up a spray of blood and she says, “I know, baby!”…

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Parallax View’s Best of 2017

Welcome 2018 with one last look back at the best releases of 2017, as seen by the Parallax View contributors and friends and a few special invitations. (In reverse alphabetical order, just so you don’t have to see your intrepid managing editor at the top of the list every single year.)

Andrew Wright

1. War for the Planet of the Apes
2. Brawl in Cell Block 99
3. Ex Libris
4. Soul on a String
5. Okja
6. Phantom Thread
7. The Florida Project
8. Lady Bird
9. Star Wars: The Last Jedi
10. The Girl With All the Gifts

Amie Simon

A quick list of my fave 2017 films (in alphabetical order):
Baby Driver
Blade Runner 2049
The Big Sick
Brawl in Cell Block 99
Cult of Chucky
Get Out
It
Jim & Andy
John Wick: Chapter 2
The LEGO Batman Movie
Logan
The Shape of Water
Star Wars: The Last Jedi
War For the Planet of the Apes
Wonder Woman
XX

Bruce Reid

The Florida Project
Detroit
A Quiet Passion
A Ghost Story
Marjorie Prime
Personal Shopper
Nocturama
Wonderstruck
Gerald’s Game
Dunkirk

Kathleen Murphy

1.  Best war films: “Dunkirk” (Christopher Nolan), “Detroit” (Kathryn Bigelow)
2.  Best films about mortality, memory, human connection: “Personal Shopper” (Olivier Assayas), “Marjorie Prime,” elevated by the magnificent Lois Smith (Michael Almereyda), and most especially, “A Ghost Story” (David Lowery)
3. Best Distaff Revenge (and much more) films: “Three Billboards Outside Ebbing, Missouri” (Martin McDonagh) and “In the Fade” (Fatih Akin). Frances McDormand (“Billboards”) and Diane Kruger (“Fade”) kill.
4. Richest evocation of a poet’s place, time, character, art: “A Quiet Passion” (Terence Davies). Cynthia Nixon shines.
5. Best growing-up film: Greta Gerwig’s “Lady Bird,” a Petri dish—place, time, family dynamics—where a passionate misfit and artist-to-be takes form. Saoirse Ronan and Laurie Metcalf rule.
6. Best films about sharing ground with the Other: “Mudbound” (Dee Rees), “The Other Side of Hope” (Aki Kaurismaki)
7. Best Big Movies: Patti Jenkins’s “Wonder Woman” (Gal Gadot!); “War for the Planet of the Apes,” Gotterdammerung demise—well-deserved—of Homo sapiens as master species (Matt Reeves); “Logan,” the genuinely poignant passing of an aging superhero (James Mangold)
8. Best evocation of the eloquent patience of beasts vs. surpassing cruelty of Homo sapiens: “Okja” (Bong Joon-ho)
9. Best down-and-dirty cinematic energy, celebration of genre, Vince Vaughan performance: “Brawl in Cell Block 99” (S. Craig Zahler)
10. Five good, not-great, movies well worth a second viewing: “Split” (M. Night Shyamalan), “Good Time” (Benny and Josh Safdie), “Wind River” (Taylor Sheridan), “The Lost City of Z” (James Gray), “Super Dark Things” (Kevin Phillips)

TV I could not quit, from standouts to guilty pleasures: “Mindhunter,” “Game of Thrones,” “The Handmaid’s Tale,” “Big Little Lies”; “Halt and Catch Fire” and “The Leftovers” (final seasons); “The Deuce,” “I Love Dick,” “Fargo,” “Peaky Blinders,” “Longmire,” “Godless”

Moira Macdonald
(originally published in The Seattle Times)

In alphabetical order:
The Big Sick
Dunkirk
Lady Bird
Lady Macbeth
Mudbound
Phantom Thread
The Post
The Shape of Water
Step
Their Finest

Richard T. Jameson

(Order of 3-10 in alphabetical order)
MINDHUNTER
TWIN PEAKS: THE RETURN
Detroit
Dunkirk
Get Out
A Ghost Story
Lady Bird
The Meyerowitz Stories (New and Selected)
Mudbound
Three Billboards outside Ebbing, Missouri

Robert Horton
(originally published in Seattle Weekly)

1. Twin Peaks: The Return
2. Phantom Thread
3. Get Out
4. Three Billboards outside Ebbing, Missouri
5. A Quiet Passion
6. The Lovers
7. Detroit
8. The Shape of Water
9. Personal Shopper
10. Logan

John Hartl

Five Came Back
Battle of the Sexes
The Other Side of Hope
Call Me by Your Name
Land of Mine
Lady Bird
Frantz
The Crown
Get Out
The Post

Runners-up: Three Billboards Outside Ebbing, Missouri, I Am Jane Doe, The Killing Fields of Dr. Hang S. Ngor, Feud: Bette and Joan, Whose Streets?, A Journey Through French Cinema, The Farthest, Professor Marston and the Wonder Women, Nuts!

Jim Emerson

BPM (Beats Per Minute) (Robin Campillo)
A Ghost Story (David Lowery)
Get Out (Jordan Peele)
Lady Bird (Greta Gerwig)
Mudbound (Dee Rees)
A Quiet Passion (Terence Davies)
The Shape of Water (Guillermo Del Toro)
Long Strange Trip (Amir Bar-Lev)
Dunkirk (Christopher Nolan)
I, Tonya (Craig Gillespie)

Robert C. Cumbow

I don’t know from “best” and “worst” but here’s a list, in no particular order, of the ten films of 2017 that I most enjoyed watching, thinking about, and discussing with friends. [NOTE: I have not yet seen The Last Jedi or The Shape Of Water.]

The Lost City Of Z
A Ghost Story
Logan Lucky
I, Tonya
3 Billboards Outside Ebbing, Missouri
Dunkirk
Get Out
Lady Bird
Wind River
Atomic Blonde

David Coursen

1. I Am Not Your Negro
2. Get Out
3. Faces Places
4. Neruda
5. The Florida Project
6. Lady Bird
7. Right Now, Wrong Then
8. The Other Side of Hope
9. After the Storm
10. A Quiet Passion

Honorable Mention: Jackie, The Workshop, In the Fade, Paterson

Sean Axmaker

Twin Peaks (David Lynch)
Personal Shopper (Olivier Assayass)
A Ghost Story (David Lowery)
Nocturama (Bertrand Bonello)
BPM (Beats Per Minute) (Robin Campillo)
Graduation (Cristian Mungiu)
The Shape of Water (Guillermo Del Toro)
Wonderstruck (Todd Haynes)
Marjorie Prime (Michael Almereyda)
Blade Runner 2049 (Denis Villenueve)

10 more films (alphabetical): Brawl in Cell Block 99 (S. Craig Zahler), In the Fade (Fatih Akin), Detroit (Kathryn Bigelow), Dunkirk (Christopher Nolan, 2017), Get Out (Jordan Peele), Logan (James Mangold, 2017), Lady Bird (Greta Gerwig), The Lost City of Z (James Gray), The Meyerowitz Stories (New and Selected) (Noah Baumbach), Three Billboards Outside Ebbing, Missouri (Martin McDonagh)

Filmmakers and film programmers

Rick Stevenson (director, Magic in the WaterExpiration DateThe Millennials)

Favorite Ten of 2017 (really favorite 11 since his amp goes to 11), in no particular order:
Wonder
Wonder Woman
Wonderstruck
Call Me by Your Name
Dunkirk
The Shape of Water
Get out
Lady Bird
I Tonya
Coco
The Greatest Showman

Jennifer Roth (executive producer: The Wrestler, Black Swan, Laggies, Mudbound)

1. The Phantom Thread
2. The Square
3. I, Tonya
4. Get Out
5. The Meyerowitz Stories
6. Call Me By Your Name
7. Baby Driver (Because I love a good musical)
8. 3 Billboards Outside of Ebbing Missouri
9. Good Time
10. Mudbound (shameful plug, I know)

Megan Griffiths (director, Eden, Lucky Them, The Night Stalker)

1. Get Out
2. Sami Blood
3. Call Me By Your Name
4. Beach Rats
5. Detroit
6. Wonder Woman
7. The Shape of Water
8. The Florida Project
9. Lane 1974
10. First They Killed My Father

Beth Barrett (Artistic Director, SIFF)
(originally published on IndieWire)

Top 10 in no particular order:
Call Me By Your Name
I, Tonya
Get Out
Lady Macbeth
The Square
Lady Bird
Jane
Faces Places
Beach Rats
The OA

More Seattle lists:

Scarecrow’s Top Ten

1. Get Out
2. Logan
3. Moonlight
4. Twin Peaks: Season 3
5. Dunkirk
6. Shin Godzilla
7. The Handmaiden
8. Wonder Woman
9. Raw
10. Arrival

The Seattle Film Critics Society gave their 2017 awards; you can find them here.

Polls / Lists

Village Voice (annual film poll comes out later this week)
Time Out London
Slant
Sight and Sound / BFI
Roger Ebert.com (compilation list and individual lists)
Indiewire (critics list and filmmakers list)
Film Comment

Other lists

2017 additions to the Library of Congress National Film Registry
Kristin Thompson and David Bordwell’s Ten Best Films of … 1927
David Hudson Remembers Those We Lost in 2017
Here’s the Parallax View list for 2016

Review: Steelyard Blues

[Originally published in Movietone News 22, April 1973]

Steelyard Blues has occasioned the most dramatic instance of critical backlash in recent memory. Reviewers of contrary political persuasions (to the extent that political bent can be determined from film reviews) have proved to be up to here with the agitprop antics of Jane Fonda and, perhaps, her FTA compatriot Donald Sutherland. At any rate, Steelyard Blues has been pelted with the sort of abusive notice all those pointyhead libberulls once visited on The Green Berets. To one who took a look at the film anyway, the phenomenon is more than a little appalling. For, if Steelyard Blues is indeed, as Molly Haskell observed, so cinematically inept that one feels compelled to pick it up and take care of it, it’s nevertheless a thoroughly likeable, enjoyable, goodnatured event of a highly positive nature.

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Review: Sounder

[Originally published in Movietone News 22, April 1973]

Nice. Safe. Inoffensive. These words adequately characterize Sounder and confirm the precise, if surely unintentional, irony of its pitch: “If you are the sort of person who sees only one movie each year, Sounder is the movie you should see this year.” Sounder has little to do with movies except in relation to those patronizing, sociologically oriented terms dear to the hearts of the Judith Crists and Richard Meyers of the world. There are strength, dignity, and a wealth of cinematic possibility in this carefully respectful and humane story about a black man who goes to jail in 1933 Louisiana for stealing food with which to feed his family, about the family that stays behind on their sharecropper spread and lives on and loves him, and about the eldest son (around 14) who becomes the focus of all their hopes, the one who may manage to do better than to survive by the received terms of life’s contract for their kind of folks in that time and place. Unfortunately, Martin Ritt’s realization of those possibilities is inadequate save in the painlessly assimilable mode of Playhouse 90 on the big screen.

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Review: Save the Tiger

[Originally published in Movietone News 22, April 1973]

Save the Tiger is the sort of film that can give a well-intentioned film teacher nightmares. It’s so easy to imagine an equally well-intentioned, beginning student turning in a scene-by-scene breakdown of the narrative that faultlessly demonstrates as serious a thematic—indeed, didactic—purpose and as constant and consistent a stylistic application as one could ask to discover—all without realizing that the film itself remains dead, dead-ended, its conclusion foregone from the first. Producer Steve Shagan’s screenplay themes the viewer right into the ground with its highly unspontaneous collection of invocations of what we have lost as a nation: baseball played on real instead of plastic turf, oriental-dream movie palaces featuring The Best Years of Our Lives instead of skin flicks with selfrighteous, socially redeeming narration, garments cut by a master craftsman, Cole Porter, a sense of what World War II was all about (or even a memory that it was fought)….

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Review: The Train Robbers

[Originally published in Movietone News 22, April 1973]

Burt Kennedy is one of those fitfully interesting but dreadfully unreliable minor talents whose films are saved—when they are saved—by (frequently unassimilated) quirks in his style and treatment. Hannie Caulder, that bizarre European-based western of last year, included a wealth of outrageousness that seemed to presage a return to grace and a renewal of promise for Kennedy the director: Raquel Welch strutting around the desert naked under a poncho, Robert Culp prancing auspiciously out of the wilderness in El Topo hat and granny glasses to teach her how to shoot; brothers Ernest Borgnine, Strother Martin, and Jack Elam forming a manically inept criminal trio who nevertheless managed to be lethal for two of Hannie’s menfolk; Christopher Lee as a gaunt and happy gunsmith and family man living on the seashore; and a never-identified stranger in elegant black who materialized wordlessly now and again to collaborate in Hannie’s adventures.

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Review: The Ruling Class

[Originally published in Movietone News 22, April 1973]

Any movie that runs two-and-one-half-hours-plus yet doesn’t have one glancing at his watch has to have something going for it. And The Ruling Class does, as long as deep thoughts about the medium don’t enter into it. The medium gets kicked about as freely as most other conventions: theatrical. social, familial, and the resulting film has the exuberance one might associate with a first-rate college revue. The collegians involved include some of the most reliable mainstays of the British stage and screen, and the genre is that mainstayingest of them all, the what-fun-it-is-to-roast-the-upper-classes genre that has made the fame and fortune of many a literary radical. The difference is that The Ruling Class shows itself to be aware of the implicit, frequently unacknowledged corollary: and-whom-could-we-pick-on-if-they-weren’t-around? The answer turns out to be: just about anybody.

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Review: Paris, Texas

[Originally published in The Weekly, December 19, 1984]

In John Ford’s Young Mr. Lincoln, a film employed to throw a cultural frame around Wim Wenders’s Alice in the Cities, a character says to Abe, “Never saw a man look at a river the way you do.” No filmmaker has ever looked at a road the way Wim Wenders does. He sees it in all its purity and directness of line, its beauty as a brave and silent sign of man’s efforts to impose coherence and continuity on the awful indifference of landscape; sees above all, perhaps, the beauty of its effective invisibility. We don’t really look at roads, even as we rely upon them absolutely as the arterials of modern life, the reminders that, as sedentary beings who live out most of our lives in place, we never entirely shake free of the atavistic allure of being a nomadic race.

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Review: The Life and Times of Judge Roy Bean

[Originally published in Movietone News 22, April 1973]

Curious that both films built around the legendary Judge Roy Bean, self-styled purveyor of Law West of the Pecos, should suffer so grossly from mode trouble. The Westerner, directed by William Wyler in 1940, featured one of the all-time great performances on screen in the presence of Walter Brennan (nominally a “supporting actor,” in which category he copped a richly merited third Oscar); Brennan’s irrepressible craziness as the lethal scoundrel with an unreasoning devotion to the beauty of Lily Langtry and an ill-advised sentimental tolerance of drifter Gary Cooper, who ended up killing him, almost saved this confused western that vacillated without conviction between freakishly comical behavioralism and socioeconomic sanctimoniousness about farmers in cattle country, and, visually, between the near-stereoscopic crispness of Gregg Toland’s realistic cinematography and some jarringly pointless and punk process work. John Huston’s new Roy Bean film has no problems as gross as that, but neither has it anything as potently good as Brennan’s characterization to recommend it. Paul Newman can’t resist waving his professional integrity like a flag, and this generally works for the worst (e.g., the hysterical and monolithically conceived WUSA); here integrity takes the form of flamboyantly trying on an unglamorous character part and, moreover, playing it in a single comic key. As George Roy Hill remarked in his documentary about the making of Butch Cassidy and the Sundance Kid, Newman can play comedy successfully only when he doesn’t remember to tell himself he’s playing comedy. (There is, incidentally, an unforgivable Son of Butch Cassidy number involving Newman, Victoria Principal, a bear, and a song about the marmalade, molasses, and honey that keep falling on my head.)

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Review: The Thief Who Came to Dinner

[Originally published in Movietone News 23, May-June 1973]

The spectre of Blake Edwards hangs over The Thief Who Came to Dinner because two of his frequent collaborators worked on it and because Edwards himself might have made the film go, which Bud Yorkin hasn’t managed to do. Thief cries out for Edwards’s special knack of imparting a combined sense of cool, elegant modernity, subdued emotionality, and unpolemical bitterness that implies a previous history for the characters and a meaningful present-tense context for the generic games being played on screen. Yorkin and his screenwriter Walter Hill (who also worked on Hickey and Boggs and The Getaway) can’t decide whether to go for suspense, comedy, or romance (Edwards could have had all three with delirious simultaneity) and end by providing little of each.

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Review: Close Encounters of the Third Kind

[Originally published in The Weekly (Seattle), December 14, 1977]

It’s getting harder and harder for a movie to just happen anymore. I’m not talking about the ways movies get made (although, to be sure, that’s become an extremely messy business), but the ways movies and audiences get together. In the absence of a vast public that simply “goes to the movies,” film-selling has become a matter of creating Events—Events that may or may not live up to the induced expectations but which in any, er, event have an uphill fight to stay alive and spontaneous. Close Encounters of the Third Kind is having a harder time than most. It’s a $20 million film that a lot of people are anxious to recover their money on. It’s a film in a genre, sci-fi, variously blessed and burdened with an enthusiastic/rabid following whose specialized requirements for satisfaction do not necessarily have much to do with a film’s being good as a film. It’s a film in a genre, moreover, that has recently given the cinema its Number One Box-Office Champ, Star Wars, and hence become newly embattled among critics and commentators who deplore the preeminence of “mindless,” two-dimensional, feel-good flicks on the top-grossing charts.

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Review: Slither

[Originally published in Movietone News 24, July-August 1973]

Slither ends up being one of the major disappointments of the season because, for about half its length, it promises to be one memorable movie, and once it starts falling apart we experience a very painful sense of the diminution of large possibilities. James Caan plays a former high-school football star and unsuccessful car thief who, freshly out of prison, reluctantly pauses to have a beer with a fellow parolee and finds himself cast in a giddy American nightmare. Unseen assassins shoot up a sealed house in a golden-sunlit, bee-buzzy corner of the South while a golfing commentary drones on TV; a dying man passes on a name and an address ostensibly worth a fortune, then blows himself to smithereens; a farmer gives a hitchhiker a lift, then drops him off in the middle of nowhere because he doesn’t share the farmer’s economic burdens; a barefoot iconoclast with her whole world in the back of her station wagon picks up the hero, beds him at a motel after making sure he doesn’t have VD, then scares him by trying to hold up an all-night diner…. It goes like that, eccentric but not quite senseless, charged with intuitions of a rampant American madness that fairly emanates from train depots, dusty roads, potato cellars, trailer parks, noontime offices. A comically sinister potentiality pervades everything and everybody while—this is the best part—never giving the feeling that it’s all some sort of Message for us.

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Video: Framing Pictures for August 2017

Film critics and Seattle film mavens Robert Horton, Richard T. Jameson, Kathleen Murphy and Bruce Reid dive into two new films: Christopher Nolan’s Dunkirk and Kathryn Bigelow’s Detroit. Then, Jeanne Moreau’s recent passing sparks a conversation about the love of film, the love of talking about film, and why cinema captivates us.

You can also watch it on the Seattle Channel website.

Keep up with the discussion at the Framing Pictures Facebook page.

Review: Scorpio

[Originally published in Movietone News 23, May-June 1973]

Michael Winner was once identified with middle-aged impersonations of youth pictures (The System aka The Girl Getters, You Must Be Joking, The Jokers). What was so striking about most of those pictures was that nobody, least of all the swinging youths, had much fun. In the past couple of years Winner and a supporting company including writer Gerald Wilson, cameraman Robert Paynter, and Peckinpah’s favorite scorer Jerry Fielding have dubiously gifted us with a series of films so grim-lipped, so relentlessly machined, so barren of hope for the dramatis personae or the audience that simply to name them is to experience the chill of premature extinction: Lawman, The Nightcomers, Chato’s Land, and—latest till now—The Mechanic. What has kept moments of these films alive—as distinct from twitching galvanically in helpless response to Winner’s gratuitous zooming, craning, and this’ll-getcha cutting—is the incidental pathos of aging stars floundering in delicately superannuated genres being mercilessly perpetuated by an unsympathetic and sometimes downright ugly sensibility; I recall especially Burt Lancaster and Sheree North in Lawman (though the highly contemporary Robert Duvall also distinguished himself therein by taking to chaps and saddle with the same unimpeachable naturalness with which he became a coldblooded consigliere) and Marlon Brando as an old/young Quint in The Nightcomers, that ill-advised supposition of what happened before The Turn of the Screw. In all of these films (middle-)age has been threatened by sterile youth already on the verge of anachronism, and the course of events has more often than not been an irreversible and deadly predictable process of mutual annihilation.

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Review: Live and Let Die

[Originally published in Movietone News 24, July-August 1973]

Sean Connery knew when to get out. The new James Bond film is a poor-kid’s followup to the modest achievements of the preceding seven Fleming adaptations (I’m not counting the multi-director fiasco Casino Royale, backed by a different producer). The double-entendres fairly double over with arthritis, the girls and the bad guys are a dreary lot, and the big set-piece, a motorboat pursuit through twisty inland waterways, is a protracted steal from The Mechanic. Sex was real—i.e., had something to do with emotions—only in On Her Majesty’s Secret Service (and why hasn’t Peter Hunt directed anything since?), but even the Playmate-style romps of the other Bond flicks had some verve and wit about them; here either the couplings are all but accidental or the implicit logic behind them threatens to plunge the film into a neurotic introspection that the writer, the director, and the star are unprepared to risk.

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