25 Reasons to Love the Movies in 2017 – Rolling Stone
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25 Reasons to Love the Movies in 2017

From amazing directorial debuts to ‘Dunkirk,’ offbeat docs to Daniel Day-Lewis – the films, performances and moments that made the year in movies

25 things we loved about the movies

25 reasons to love the movies in 2017 – Rolling Stone's picks for best performances, blockbusters, directorial debuts and movie moments of the year.

Illustration by Sean McCabe

There were a lot of reasons to hate the movie industry in 2017, from the way it kept foisting reheated-leftover franchises on us to finally finding out just how much enabling it’s given to sexual predators and power-abusing monsters for decades. 

There were, however, a lot of reasons to love the movies over the last 12 months, even if this was an art form that gave us both a parody of dark, bloated Batman blockbusters and an actual dark, bloated caped-crusader adventure in a single year. We will remember 2017 as the Reckoning era and the age of the Female Gaze, but also the year of Get Out and Greta Gerwig, of existential ghosts and extraordinary docs, of saying hello to Timothée Chalamet and Tiffany Haddish and goodbye to Daniel Day-Lewis. 

There was, in fact, a lot that was worth shouting out about the films of 2017 that went beyond just a mere top 10 list (though I’ve included one below just for posterity’s sake). Here are 25 things we loved about the movies this year – from great works to standout moments, career-high performances to big-picture revolutions and small touches. Keep watching.

My Top 10 list:
1. Faces Places
2. Dunkirk
3. Raw
4. Three Billboards Outside Ebbing, Missouri
5. B.P.M. (Beats Per Minute)
6. Lady Bird
Phantom Thread
8. Lady Macbeth
9. Columbus
10. A Quiet Passion

Honorable mentions: All These Sleepless Nights, Call Me By Your Name, A Fantastic Woman, The Florida Project, Foxtrot, Get Out, Logan, Molly’s Game, Rat Film, The Work.

25 things we loved about the movies

Robert Pattinson Got Dirty, James Franco Got ‘Disaster’-ous

Two immersive performances, two career highs. Robert Pattinson had already continued his trajectory into in-house arthouse kook this year with The Lost City of Z, sporting impressive facial hair and sweatiness as an old-time jungle explorer. Then came Good Time, and you suddenly felt like directors Josh and Benny Safdie had discovered a whole other actor behind that pretty face. You can practically smell the desperation emanating off his greasy outer-borough criminal determined to spring his hospitalized brother or die tryin’ – it’s the best thing the star has ever done, and we say this as big Cosmopolis fans. 

As for Franco, his chronicle of how one man crafted the worst movie ever made – The Disaster Artist – would be notable enough for the discipline the story brought to his directorial skills. But when you factor in his demented performance as The Room auteur Tommy Wiseau, complete with “All-American guy” accent and lounge-lizard loucheness, and you can see a whole other level of the modern-day renaissance man’s talent open up. The commitment these two former matinee idols show in these films could not be more admirable, or make us more anxious to see how they try to top it.

25 things we loved about the movies


Girl, you’ll be a man-eating woman soon. No horror film – not even Get Out, which continues to get better with every viewing – floored us more this year than the French shocker about a college student (Garance Marillier) who develops a taste for human flesh. It’s tough to watch, tougher to look away and toughest of all to believe that this is director Julia Ducournau’s first feature, given how assured and controlled it is. Best of all, it takes the coming-of-age movie into some odd, unexpected places – call it the bloody flip side to Lady Bird. 

25 things we loved about the movies

The Frances and Sam Blues Explosion: ‘Three Billboards Outside Ebbing, Missouri’

She’s a take-no-shit mom trying to shame local law-enforcement into investigating her daughter’s murder; he’s a dim-witted racist deputy with mom issues. She isn’t afraid to kick a teenage girl in the crotch; he will throw a man out a two-story window in a fit of enraged mourning. Both of them are in need of serious redemption, and what Frances McDormand and Sam Rockwell do with these two Martin McDonagh characters feels nothing short of miraculous. The Fargo actress tears into her vengeful-matriarch part with fangs, turning this woman into an avenging angle capable of tenderness (that doctor’s office scene with Woody Harrelson) and a Biblical fury. As for Rockwell, it takes a certain actor to guide you along the arc of such a flawed, violent, unsympathetic man and make you feel he’s earned the small, it’s-a-start victories he gets along the way. And both of them know exactly how to make this playwright-turned-filmmaker’s lines sing.

25 things we loved about the movies


How do you solve a problem like Christopher Nolan, an man who can turn cerebral puzzles into blockbusters but still makes you feel like you’re watching cinema directed by a brain in a jar? Answer: Give him a massive WWII set piece to recreate. The filmmaker somehow turned his massive spectacle about a turning point in Britain’s battle against the Nazis (the old ones, not the shitty modern-day ones we’re dealing with now) into something with urgency, humanity, a pulse, a soul. You could actually hear a heartbeat beneath all of his usual bells and whistles, which only made the cross-cutting between three chronologically mixed stories feel that much more of an achievement. We always knew he was a technically proficient and someone who could intellectualize pop. Dunkirk proves, once and for all, that he’s also an artist, full stop. 

25 things we loved about the movies

‘Rat Film,’ ‘Dawson City’ and 2017’s Offbeat-Doc Renaissance

It’s not that hard to cobble together a 10-best documentary list every year if you watch a decent amount of nonfiction flicks – and thanks to HBO, Netflix and a number of distributors still willing to get them out to a moviegoing public, you’ve arguably never had a better chance to see them en masse. But 2017 was the year we had serious trouble limiting a documentary list to just 10 – from Faces Places to Ex Libris, The Challenge to The Work, there was a bounty of cinema vérité ready, willing and able to blow your mind.

But for us, this was the year that experimental, offbeat, WTF docs really hit their stride. Films like Dawson City: Frozen Time, Bill Morrison’s tale of lost silent movies found in a remote Canadian mining town that doubles as a case history of bootstrap capitalism and a gorgeous display of decaying imagery. Or Theo Anthony’s incredible Rat Film, which appears to be a look at amateur vermin exterminators in Baltimore before diving into urban planning, institutional racism and cosmic head-trip detours. Or Machines, a narration-less tour of an Indian factory that forces you to rethink not just third-world labor but first-world cine-activism. These were micro-to-macro looks at our past, present and future that reflected the world around us in creative, soul-searching ways. See them by any means necessary.

25 things we loved about the movies

‘Lady Macbeth’

In which a British theater director adapts a Russian novella for the screen and reminds you that revenge should be served ice-cold. William Oldroyd delivers what feels like a Masterpiece Theater period piece with blood drying on its fangs, complete with an oppressed lady-of-the-house heroine that finds liberation in taking a lover and satisfaction in taking down the patriarchy down brick by rancid brick. He already feels like a major filmmaker from the get-go, and his young actress is a major find; if people could start casting Florence Pugh in every third movie, we’d be very grateful.

25 things we loved about the movies

The Fact That Tracey Letts Exists

Few men can play middle-aged white-male anger with more gusto than the Pulitzer-winning playwright and actor, but never mind the rage; 2017 was the year we saw the range. His turn as the gentle, slightly overwhelmed father in Lady Bird has already earned him deserved praise (he and Laurie Metcalf make a great double act), and his small but significant part in Steven Spielberg’s The Post, playing counsel to Katharine Graham, is proof that he’s a top-notch, you-can-see-him-thinking screen listener. It’s his third role of the year, however, that seals the deal: A husband who starts cheating not on his wife but with her (long story) in the criminally underseen movie The Lovers. There is a symphony of reticence, defeat, confusion, exasperation and, at one point, unbridled joy that plays across his face – and that’s not even cou