John H. Foote
5. Call Me By Your Name
A sun kissed loved story about a young man’s sexual awakening, the realization he is gay, the older man he falls for and his wise father who understands far more than the boy realizes. In a star making performance as Elio, Timothee Chamalet is marvellous as the son of a professor who vacations on the coast of Italy every summer, hiring a student to help him with his work. This summer the student is a towering, near sculpted young man portrayed beautifully by Armie Hammer, who Elio falls in love with. Michael Stuhlberg is superb as the boy’s father who has a remarkable monologue at the end of the film, celebrating love. Adapted by the great James Ivory.
4. Three Billboards Outside Ebbing Missouri
Brilliant performances dominate this tale of redemption in the South which begins when Mildred (Frances McDormand) rents three Billboards and accuses the local police and sheriff of doing nothing about her daughters rape and murder. Mildred is a force of nature, furious at the police but also mired in grief and guilt over the last exchange she and her daughter had. Woody Harrelson is the conscience of the film as the doomed Sheriff, dying of cancer, but the film belongs to Sam Rockwell as a happily racist deputy who undergoes a radical change after receiving a letter from the only person he admires. Superb performances throughout the film give it such a boost of energy, you just cannot look away. The last talk between McDormand and Rockwell is breathtaking and displays how complete and deep his forgiveness goes. Oscar bound for all concerned.
3. Lady Bird
Actress-writer Greta Gerwig directs this deeply moving study of a young girl struggling to find herself, though angst is in the way, her own ego her greatest foe. Based on Gerwig’s life growing up in California, Irish actress Saorise Ronan is perfect as Lady Bird, the name she gave herself as she hates her given name. Desperately wanting out of the town where she lives, her hope is to go East to study at an arts college but her family cannot afford it. Not listening, she and her mother quietly, sometimes not so quietly go to war over Lady Bird wanting to leave the town. All this is happening as this teen with no apparent censor tries to discover who she is and what she wants out of life. Ronan is mesmerizing as Lady Bird, with Laurie Metcalf equally superb as her fierce though loving mother. Both are Oscar bound, with likely nods for Gerwig for her direction and script.
2. The Post
Perhaps the most timely film of the year, easily the film that speaks to the issues happening in the Trump White House. His efforts to squash news reporting calling any criticism against him as fake news. It is very familiar to what took place in 1971 when the Washington Post came into possession of the Pentagon Papers, detailed documents which explored how American Presidents and government had been lying to the people about involvement in Viet Nam. Nixon tried to block the publication of the papers, leaving Post owner Katherine Graham (Meryl Streep) with a potentially life altering decision, publish the truth or bury it as the government wants. Tom Hanks gives a solid performance as editor Ben Bradlee but the film belongs to Streep as a woman in a man’s world, every decision being watched, criticized and discussed, with her staff wondering, can she do it? Streep is brilliant as Graham, giving one of her finest performances which will undoubtedly see her nominated for another Oscar. Directed with confidence and intelligence by Steven Spielberg, it was a tough call listing this as number two because it could easily have been number one.
1. The Shape of Water
This magnificent fairy tale for grown ups is the reason movies were invented. Del Toro sweeps us into the past, the Cold War sixties where an aquatic creature has been brought to a top secret lab by the government. Assigned with cleaning the lab, Eliza (Sally Hawkins) befriends the strange creature, gradually falling in love with him. She watches as he is tortured, but when plans are made to dissect him, she decides to break him out and help him escape. Hawkins is utterly luminous as the mute woman who does not see a monster but a fellow living thing with feelings and emotions. The audience is challenged to take a leap of faith with the actors and director, and if they do they will be rewarded with one of the boldest, most original love stories in years. Sally Hawkins lights up the screen in a performance that sees her near floating, with strong work from Richard Jenkins and Octavia Spencer. An absolute stunner, the sort of film that reaches in and gently strokes your very soul. The year’s best film.
