Jordan Peele

Film Bouquets 2017

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All things considered, 2017 was a pretty good year for film – so much so that we’ve decided to award twelve bouquets – and it still means leaving out some excellent movies. Here, in order of release, are our favourite films of 2017.

Manchester By the Sea

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This bleakly brilliant film got the new year off to a great start. Powered by superb central performances by Casey Affleck and (especially) Michelle Williams, it was a stern viewer indeed who didn’t find themselves reduced to floods of tears.

Moonlight

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An affecting coming-of-age movie chronicling the life of a young black man as he gradually came to terms with his own sexuality, this film, of course, beat La La Land to the best movie Oscar in unforgettable style. It absolutely deserved its success.

Get Out

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A ‘social thriller’ that, despite it’s serious message, enjoyed a lightness of touch that made it a joy to watch. There were shades of The Stepford Wives and this witty calling card from director Jordan Peele suggested that cinema had found a hot new talent.

The Handmaiden: Director’s Cut

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Park Chan-wook’s masterpiece, loosely based on Sarah Water’s novel, Fingersmith, took us into the Korea of the 1930s and kept us spellbound for nearly three hours. Lush cinematography, a genuine sense of eroticism and fine performances from an ensemble cast – what’s not to like?

The Red Turtle

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This stunning animation from Michael Dudok de Wit, co-produced by Japan’s Studio Ghibli,  exemplified the best artistic traditions of east and west – a beautiful allegory about life and love and relationships. A delight to watch and a story that we couldn’t stop thinking about.

Baby Driver

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Edgar Wright’s adrenaline-fuelled chase movie ticked all the right boxes – a great soundtrack, breathless pacing and an intriguing central character in Ansel Elgort’s titular hero. It all added up to an unforgettable movie experience.

God’s Own Country

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This extraordinarily accomplished debut by writer/director Francis Lee played like ‘Brokeback Yorkshire’ but had enough brio to be heralded in its own right. Beak and brutal, it told the story of two farm hands slowly coming to terms with their growing love for each other. Magnificent stuff.

Mother!

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Darren Aronfsky’s absurd fantasy alienated as many viewers as it delighted, but we found ourselves well and truly hooked. From Jennifer Lawrence’s great central performance to the film’s bruising finale, this was definitely a film not to be missed – and one of the year’s most discussed films.

Blade Runner 2049

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We waited thirty years for a sequel to Ridley Scott’s infamous film and I’m glad to say it was worth the wait – a superior slice of dystopian cinema that dutifully referenced the original whilst adding some innovative ideas of its own. Denis Villeneauve handled the director’s reins expertly and Hans Zimmer’s score was also memorable.

The Killing of a Sacred Deer

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Another piece of eerie weirdness from director Yorgos Lanthimos, this film also managed to divide audiences, but for us it was a fascinating tale, expertly told and one that kept us hooked to the final, heart-stopping scene. A unique cinematic experience.

Paddington 2

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Yes, really! The sequel to the equally accomplished Paddington was an object lesson in how to effortlessly please every single member of an audience. Charming, funny and – at one key point – heartbreaking, this also featured a scene-stealing turn from Hugh Grant.

The Florida Project

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Think ‘Ken Loach does Disney’ and you’re halfway there. Sean Baker’s delightful film might just have been our favourite of 2017, a moving story about the tragic underbelly of life in contemporary America. Brooklyn Prince’s performance as six-year-old Moonee announced the arrival of a precocious new talent.

Philip Caveney & Susan Singfield

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Get Out

19/03/17

Get Out, written and directed by Jordan Peele, is what he calls a ‘social thriller’ – and it’s a very successful slice of film.

When Chris (Daniel Kaluuya)’s girlfriend, Rose (Allison Williams) invites him to spend the weekend visiting her parents, he’s happy to go along, but cautions, “Have you told them that I’m black?” Rose laughs, insisting that her parents are open-minded and not racists: “Dad would have voted for Obama a third time if he could.” Ouch. And at first, this is what the film appears to be: a social satire, highlighting the awkward ‘them’ and ‘us’ thinking that characterises white liberal ‘tolerance.’ Chris has to grit his teeth and respond politely every time his apparently well-meaning  hosts shoe-horn references to black sports stars and actors into their conversations with him, every time they make assumptions about his interests or his physicality.

And yet, it’s more than that. Who are the mysterious black servants, Walter (Marcus Henderson) and Georgina (Betty Gabriel)? And why are they so creepy? There are shades of The Stepford Wives at play here, though Peele’s story takes the idea in an entirely new direction. When Rose’s mother, Missy (Catherine Keener) hypnotises Chris, ostensibly to help him quit smoking, events take a decidedly sinister turn, and Chris begins to realise that this white, middle-class, lefty suburb is a very dangerous place for a person of colour.

Despite its serious message, Get Out has a real lightness of touch, which makes its revelation of uncomfortable truths both palatable and crystal clear. There’s humour too – real laugh out loud stuff – provided primarily by LilRel Howery as Chris’s best friend, Rod.  It’s a gift of a role and the actor clearly revels in it.

Okay, so if I’m honest I’d have liked a few more jump-scares. But all in all, this is a cracking film with a brutal originality at its heart.

4.6 stars

Susan Singfield