My 20 Favorite Films of 2017

When it came to movies, 2017 was more wide than deep.  There were a ton of good films, and what was refreshing is that the type of good films we got was so varied.  There were multiple big budget blockbuster films that were good, a ruminative sci-fi epic, outside-the-box horror films, Classic Hollywood films that don't get made anymore, a gritty exploitation piece, and charming indies.  But there weren't as many outright excellent films.  I'm proud of my top 20, but I'd say that only that two of these films are five star achievements, whereas last year had more than twice that.

Of course, it could be that I just haven't seen the masterpieces yet.  As always, I must issue the caveat that since I'm not a big fancy critic, I don't get access to the movies that are released at the very end of the year for extremely limited screenings, in order to qualify for the Oscars.  That includes major contenders like Phantom Thread and The Post, but also foreign films like Thelma that weren't easily accessible during the year.

Still, even with those caveats, it was a good year to be a cinephile.  Here's to another year of movies!

The rules: As long as a film got an official release in 2017, it was eligible for placement on this list.  This is an important thing to remember, since some of the films that appear in my top 20 premiered at film festivals in 2016, but didn't get released in theaters until this year.  And in the case where a film got no theatrical release, then a VOD debut in 2017 will make it eligible.

Logan Lucky is one of the most entertaining films of the year

It has become so hacky to review a work of art and tie it to today's political climate.  Every publication is littered with takes about how a piece of pop culture speaks to what's going on in the world, and everyone's getting a little sick of it.  But sometimes those connections just call out and beg you to write that take nobody wants to hear.  That's the feeling garnered from Logan Lucky, Steven Soderbergh's latest film about a pair of brothers who formulate a plan to rob the Charlotte Motor Speedway during one of the biggest NASCAR races of the season.  The driving force behind this decision is when Jimmy Logan (Channing Tatum), a blue collar construction worker at the speedway, gets laid off for concealing an injury that deems him a risk on the job.  He quickly enlists his brother Clyde (Adam Driver), a veteran-turned-bartender who lost his hand during the Iraq War, into the plan.  It's hard not to think about post-election America with that setup, where these likely Trump voters are driven to desperation after getting screwed over by Republican ideals.  (The term "pre-existing condition" is even used as a reason for Jimmy's firing.)

It's an especially easy connection to make in a Soderbergh film, given that he's stretched his political filmmaking muscles before, in films that were secretly about the recession (Magic Mike) and not-so-secretly about the recession (The Girlfriend Experience).  And just because he has his eye turned to the opposition this time around doesn't mean he's gazing downward.  He's much too sly to resort to simple hick-gawking.  Throughout Logan Lucky, Deep South traditions like NASCAR races, child beauty pageants, county fairs, and John Denver songs are treated lovingly.  There is humor drawn from the character's bucolic idiosyncrasies, sure, but it's all done with a gentle, laconic vibe.  One could draw comparisons to the work of the Coen brothers, but Soderbergh's offbeat comedic style is one that's all his own.

If there's one thing to draw from Logan Lucky, it's Steven Soderbergh's singularity.  At all times, it feels like a film that only he could pull off successfully.  Watching this caper that's simultaneously peculiar and crowd-pleasing is a reminder that Soderbergh is one of the true master filmmakers.  His visual style doesn't just trade in beautiful images -- though this is one of the most gorgeous films of the year -- his choices always tell you more about the story, these characters and how they relate to one another.  Take the introduction of explosives expert Joe Bang (Daniel Craig), where his "thing of legend" status is emphasized through the decision to shoot him from behind for as long as possible.

The script is able to keep pace with the film's stylistic bravura too.  There's some question about whether first-time screenwriter Rebecca Blunt is an actual person or just one of Soderbergh's many pseudonyms, but whoever is responsible has crafted a classic caper.  The actual heist is constructed with Swiss watch precision, full of twists, obstacles, and a last-minute rug pull.  Yet it still finds space for quiet, odd little detours.  This willingness to stretch in all directions makes for some of the most memorable scenes of the year.  That ambling nature also almost becomes its undoing eventually, but the film is smart enough to end at the right time.

This is Steven Soderbergh's first film since his "retirement" a few years ago.  Nobody ever believed it was real or permanent, so it can hardly be considered a comeback.  Regardless of what we call it, it's still nice have him making films again, especially ones as entertaining and sneakily incisive as this one is.  With Logan Lucky, he's made the red state Ocean's Eleven that we didn't know we wanted or needed.