One of the best films of 2017 is a beacon of hope for the future of independent film as well as beautiful emotional journey that tests our morals and values, sense of humanity and even our qualifications for happiness.
Much is borrowed and polished in Denis Villeneuve’s highly anticipated “Blade Runner 2049,” which is both homage and departure, and Ryan Gosling’s cop finds most roads lead to Rick Deckard, his predecessor from the original.
“Battle of the Sexes” is more than just an empowerment victory lap for women and others seeking equality; it’s a heartfelt love story or two, and a fantastic time capsule resurrecting the early ’70s with aplomb.
The undeniable charm of Taron Egerton, Mark Strong, Colin Firth and Pedro Pascal, along with the sinister sweetness of Julianne Moore’s baddie or even Channing Tatum dancing in cowboy boots, can’t quite save this ugly and bloated sequel.
Emerging opportunistically around the anniversary of the terrorist attacks of 9/11, this is a fairly-straight ahead action flick that can only hope to attain the technocratic wizardry of Tom Clancy and frenetic energy of Robert Ludlum.
What happens if your online stalker happens to be just a sweet, lovable mess? At the heart of “Ingrid Goes West” is Aubrey Plaza’s titular Ingrid, a sympathetic introvert with a need for attention and an impulsive streak that often goes off the skids.
It’s “Rain Man” meets “Eddie Coyle” in this up-in-your-chest New York City heist flick where there’s no good time to be had by anyone on screen, except maybe in the exaltation of having scored the money – and that lasts a few fleeting seconds as the cops close in.
It’s only been four years, but feels much longer, since director Steven Soderbergh last treated filmgoing audiences to one of his quirky, deconstructive gems. His latest taps into the skin of some of fare such as “Ocean’s Eleven” while farming fresh territory.
What drives “Wind River” isn’t so much the present action but the heavy backstories carried by characters acted by Elizabeth Olsen and Jeremy Renner, which burn with real, raw emotional palpability.
The focus isn’t so much a chronology of a 1967 five-day riot, but a motel siege where three young black men would be dead in the wake of nightmarish kangaroo-court interrogation tactics – and the trial that followed with all-too-predictable results.