2017 came in went in a flash and with it, dozens of films I missed in theaters and on DVD. The last couple weeks of 2017 and the first couple weeks of 2018 were spent playing catch-up with awards hopefuls and the films I knew had a lasting impact this last year. I managed to see maybe 25 before starting my movie binge, encompassing some terrific superhero films, stunning dramas, and a few epics that bend genres and all the rules. I’ve been out of the reviewing game for too long and finding the appropriate length for my thoughts on these ten films was a bit difficult, so I apologize if it just seems like I’m blabbering. The biggest thing I got from this month of movies and getting back into the groove is that I need to get back into writing and I need to be seeing more movies again. I came in at about 60 this year, which is 40 lower than I wish it could’ve been. I haven’t included number rankings in this edit (there will be more to come, believe me) and I’m sure there will be spelling and grammar errors I’ll need to fix. On the eve of Oscar nominations, I just wanted to be sure I got my list out there and got y’all a few more recommendations. At the bottom, I’ll include a broader Top 30 List. Outside of the Top 10, the other rankings are clustered by groups of 5 and will subject to micro-reviews and actual ranking soon. There will also be a post about my top performances and other categories at some point. Again, thank you for your patience and please enjoy my picks! Feel free to share your top films of the year, too!
No movie resonated with me more on an emotional level than Patty Jenkin’s Wonder Woman did. Over one weekend, I went and saw it three different times and got ridiculously emotional in each showing. From the opening of the film, we see a young Diana running off to watch and mimic the Amazonians training for battle. In one shot, they set the tone for the rest of the film and introduce you to a fearless character who wants to fight the evil of this world. The film’s defining moment (and the moment that literally broke me in the theater) comes when Diana refuses to keep moving along with the mission because she knows a town will surely die just a field over. However, it means cutting through no-mans land which every man tells her is impossible and will only bring them death. They tell her it’s the tough part about war, but they can still save the many if they proceed as planned. As everyone goes to keep navigating the trenches, Diana climbs the ladder up out of the trench amid shouts that she’s gonna get herself killed. She stands, triumphantly, and begins to walk. Shots ring out all around her as bullets whiz by her head and body. The first shot that comes close is stopped by her bracelets and ricochets off. More bullets stream towards her as she uses both bracelets to defend and deflect. She draws her shield and begins to take the turret fire and in that moment, Captain Trevor realizes what she really is and orders his men to fall in behind her as she carves a path. The seemingly unpassable and suicidal no mans land is now being overrun and the allies are advancing to save the town. In this scene, Diana truly becomes and embodies Wonder Woman, a hero who sees the world for good and evil and who will do everything in her power to fight for those who need it. In the next scene, she goes on to kick so much ass and save so many lives and it’s also one of the greatest movie scenes of the year. She’s selfless, compassionate, badass, and under Patty Jenkins brilliant direction, the greatest character we got in film this year. Wonder Woman’s impact this year is far beyond what anyone could have imagined, and I truly can’t describe how amazing and in awe I felt when watching her do anything, really. It’s one thing to grow up watching cartoons where she throws people through buildings, but it’s another thing to see it done so gloriously on-screen. Scene after scene I wanted to cry happy tears of “holy sh*t I thought I wouldn’t ever see a superhero fight like this in a film” and they managed to keep bringing it. Gal Gadot is unstoppable as Wonder Woman and the heart and realness that she brings to the role is part of what made this film so special. She and Chris Pine have some of the year’s best chemistry and they are so enjoyable to watch together. I Can’t say enough great things about Wonder Woman and this film, so I’ll stop myself before I start writing pages. Go see the film. Read the comics. Watch the shows. Keep showing every facet of the entertainment world that we need more heroes and stories like this one. Its importance can’t be overstated.
If one trailer really got me pumped for a movie this year, it was the trailer for It. There seemed to be a mythology and deep mystery at the root of the story and I say this as someone who has yet to see all the TV version of Stephen King’s IT. I knew about Pennywise, but I never thought the Tim Curry version was very scary. Cut to this October, and much like Wonder Woman, I saw this film three times in one weekend. What I got on the first night was a brilliant exercise in horror and how we all perceive it. I didn’t know what I would be most afraid of in the movie until young kids began getting terrorized. I was already freaked out by Pennywise and the glazed look in his eyes as he stares at his would-be prey, but watching how he affected the kids was unsettling. My fear for the safety of “the Losers” continued to grow as the film went on and with each passing moment, I found myself growing more attached to this hilarious and weird group of kids. The underlying evil in IT speaks to the individual traumas that we all face on our own and the film forces us to confront what these characters are going through in their lives. SAG missed the boat not nominating this ensemble because these kids are all aces. Maybe we don’t spend enough time with a couple of them, but every character has an impact and their own horror to live through. The story is all about them having to stick together and fight their fears as they grow closer to one another. You have this touching and beautiful side of the film as you watch these characters navigate young life and their feelings, while juxtaposing it with a very eerie and terrifying side involving a killer clown. Bill Skarsgaard is creepily good as our evil entity Pennywise, nailing everything from the voice to the looks he gives. He feeds off the fear and becomes a maniacal force of terror, popping up all over town in big and small instances. Maybe he’ll chase you through the sewers, or maybe he’ll just stand watching you get beat up as he chews on a hand and giggles. Paired with the unnerving film score, director Andy Muschietti has crafted one of the best films of the year. Blending all sorts of film genres and focusing on the characters first, IT truly stands out among the best films of the year and one of the best made horror films I’ve ever seen. Its repeat value is truly endless and I seriously cannot wait for Part 2.
In the last few years, the name Taylor Sheridan has only been attached to a few films. He’s the man who wrote the screenplays for both Dennis Villeneuve’s “Sicario”, as well as David Mackenzie’s “Hell or High Water”. Both films take place out in West Texas with a spotlight on the kinds of lives that most people in this country never even have to think about. Whether it’s in El Paso on the border of Cartel infested Mexico, or in a small town in the middle of nowhere where not too much happens anymore these days. In the case of Wind River, Sheridan wrote the script and tried his hand at directing for the first time and it certainly paid off. In a story following a wildlife service tracker for the Wind River Native American Reservation, the spotlight is again on another way of life that many will never have to experience, nor could they imagine. When Jeremy Renner’s character follows a set of bloody tracks far out into the snow, he discovers the body of a young girl whom he knows and who lives in the area. It sets in motion a story about loss, grief, and the unforgiving nature of the world outside the comfort of our homes. They live in an area with 6 police officers for an area with 24,000+ people and impassable mountain ranges which call for longer drives around. When the FBI gets involved, Elizabeth Olsen’s out-of-her-element agent teams up with Renner to uncover what happened amid these snowy and horrible conditions. Sheridan and his characters really bring you into this reservation and what life out there is really like for most of the people living there. This is a place where people have to fight everything to survive, be it the elements or people. With such a large area of land and so few things to do and see, life on the reservation can get lonely and unbearable for some. The story takes you around the area and is told with such care as new discoveries unravel. As a director, Sheridan did a really great job for his first time. The action and environments go hand-in-hand and we really see this land for the way Sheridan wants us to. The standout aspect of this film is the writing and how well Renner handles it. In many moments, this film gets hard to watch as it forces us to face some grim realities of the world we live in, but those moments are so powerful and have such a profound impact on the story he’s trying to tell. It’s hard to get too into detail with the plot, but this story alone stands out as one of the best screenplays of the year and it leaves a huge impact with you after the film is over. Wind River also has one of the most satisfying endings of a film in some time, so do hurry to watch it!
A huge problem a lot of films have is having too many characters that you never fully get to know and end up not caring too much about in the end. Whether you’re rooting for the good guy, or the bad guy, you want an actual character who feels real in their actions, their convictions, and with their words. Martin McDonagh is both a writer and director who has the impressive and enviable ability to craft such precise and real characters in a setting or story which feels like it could exist today. That this film isn’t based off a true story blew me away and only made me appreciate the films originality even more. A story of loss, grief, anger, and not really knowing how to handle life sometimes, Three Billboards introduces us to a group of characters all intertwined and affected by Frances McDormands mother who recently lost her daughter to an unspeakable tragedy. It’s been a year and no one has been arrested for the murder of her daughter, so Mildred puts up some billboards to get the attention of the town and the local police, led by Woody Allen and his protégé (of sorts) Sam Rockwell. These billboards affect the way a whole town sees McDormand and how they view the efforts of these police officers, who are mostly well-respected in such a small community. This is a town like many of us live in, where it’s hard not to know a ton of people and hear about what goes on. In the South, there are also some towns where you’ve got some people moving on with and changing their beliefs as times change, but you’ve also got some people who are deadest in the way in which they grew up. No one in this film is a perfect character and despite their best and worst attributes, these are all people trying to get to the same goal, one way or another. It’s also thru each other and some of these extreme conditions that force the characters to really look past themselves and live the life of someone they’ve only made assumptions of. McDonagh is known for his dark comedies, as this film is full of hilarious and wild moments, but he injects that humor amid a very real and somewhat sad story. There’s a melancholy to this film that sits with you the whole time and long after the film because you feel like you know these characters and truthfully, we probably all do. This story and these characters and the direction are all top-notch and certainly standout in an already great year for film. This won’t be your average movie going experience, but its most definitely one worthwhile.
Denis Villeneuve has burst into the world of film over the last half-decade with film after film which challenge genre norms and tell brutal, yet mesmerizing stories. If you’ve seen Enemy, Prisoners, Sicario, or Arrival, the mans talents and scope speak for themselves. Paired with renowned cinematographer Roger Deakins and composers Hans Zimmer and Benjamin Wallfisch, Villeneuve creates a futuristic take on Los Angeles that captivates and even overwhelms at times. Ryan Gosling is a master of saying little with his words and more with his eyes and emotions and he does so masterfully throughout the films mysteries and explorations of the life of someone designed to be human in every way, despite being a replicant. The fact that he chooses companionship in the form of a virtual lover is fascinating and his interactions with Ana De Armas are beautiful. At nearly three-hours long, there’s a lot of time that could have spent with exposition about what happened in this world, but we follow Gosling through some of the most awe-inspiring sets and scenarios, accompanied by a blasting score which really helps you take in all the wonder. The first time I saw the film was in IMAX and it felt like my experience viewing Interstellar for the first time. I was simply floored by what I saw and everything I heard, as both films completely consumed my attention and occupied my thoughts for weeks to come. Both are films I rushed to download the soundtracks for and blast in my car as I drove around, looking to be transported back into that world. As I thought about the story, my first viewing somewhat confused me and I made it a point to talk it out with friends and explore what others made of it. For months, I waited for an opportunity to see it again and when it released on digital, I bit at the chance to put on in 1080p. My volume and brightness were turned to the max and knowing the story going in made for an amazing second viewing. There is so much time and care given to this world and these few characters which tell you all you need to know about the world they all inhabit. Understanding and following Gosling on his replicant journey of discovery is fascinating to observe and it’s even more interesting to observe how people talk to him. While there are many long takes and for as slow burning as the film is, the action bits of the film are in-your-face intense and don’t hold back with how violent they can get. The set pieces for the film and visual effects are startlingly good, as I had myself rewinding and wondering how they could create such detailed structures or effects. There are moments of interaction between Gosling’s Replicant Blade Runner and his holographic A.I. companion where they seem to be touching each other’s skin, but her hologram is adjusting to his movements and touches. Ana De Armas whole existence as a holographic A.I. reminded me a lot of Samantha in Her, but with less self-awareness and a more singular focus on Gosling. Their shared moments throughout the film add layers of beauty and complexity to this already profound film, which will absolutely be looked back on in years to come as a masterpiece of the 21st century.
While Lady Bird may certainly bring more to the table for a mother, or daughter, as the son of a mother this film still resonates and soars on every level. At no point was it difficult to understand what Lady Bird is feeling and going through as she approaches the end of high school and the possibility of leaving San Francisco for her dream home of New York. Enrolled in a Catholic school but far from the thought of being religious, Lady Bird manages to rebel in her own ways here and there, be it exploring her sexuality or partaking in party activities the Lord may not be so keen on. Regardless, she’s almost an adult and through her friends at school, she manages to find a balance to her loving, but sometimes overbearing mother. Soairse Ronan and Laurie Metcalf, as Lady Bird and her mother respectively, work magically together, both perfectly exemplifying the sometimes tenuous, but caring relationship a mother has with her daughter. Time and understanding continually led myself (and many others I’m sure) to reevaluate moments in my life where I ever felt frustrated or misunderstood with my parents, and most of it can be chalked up to angst and not being able to fully understand where my parents were coming from. There are moments where parents must put their foot down and they can’t be friendly in a teachable moment. In some of those moments, ranging from small to large situations, it’s very easy to get caught up in the emotion of it all. Families and people are emotional and sometimes things can feel very personal when you’re younger. Lady Bird feels like her mother loves her, but maybe doesn’t like her. She knows she has a home and a family and food and water, but she’s not sure if her mother wants to be her friend. Ronan and Metcalf work brilliantly together, moving from confrontation and arguing, to quickly finding something they both love and instantly dropping the heated discussion as if it were nothing. I’d be really saddened if Laurie Metcalf loses the Oscar this year, because she really does a tremendous job playing one of the most honest and caring mothers I have ever seen on-screen. There is so much complexity in a relationship with your parents/children and while some moments may feel unbelievably rough or unfair, there are innumerable moments of love and nurturing that you may not realize at the time. Director and writer Greta Gerwig has proved her acting and writing abilities in recent years with works including Mistress America, Frances Ha, and Greenberg, but she’s truly outdone herself with Lady Bird. This is an early-2000’s story straight from the heart of Gerwig and she really affords all her characters the opportunity to be seen in all lights, allowing the audience to see real, actual people. We all have strengths and faults and sometimes life is hard to navigate, and you won’t always say or do the right thing, but it’s how you come back from that which matters most and Gerwig really does an outstanding job shining the spotlight on two of the best female characters we’ve had in years. Lady Bird is a touching and wonderful film that everyone in and out of high school should try to watch.
Kathryn Bigelow and Mark Boal together have brought us The Hurt Locker and Zero Dark Thirty, films which tackle present day Iraq War and the how hard life coming back home can be for soldiers, and the decade-long hunt to track and kill Osama Bin Laden. With Detroit, the two a horrific and violent time in our country’s history, The Detroit Riots. More specifically, the film focuses heavily on what happened at the Algiers Motel on the night of July 25, 1967. With Detroit, the two recreate a shocking and unbelievable true story very timely for the world we live in today. The tension between police and citizens is growing and there have been many filmed instances of police misconduct, wrongful deaths, and exonerated officers. For a long period of time there seemed to be footage after footage each week, with another case of clear brutality resulting in the death of most often, an African-American man. Many people have a lot of opinions about the police and about criminals or anyone who may be trying to resist arrest. In some cases, the man did reach for the officer’s gun, or moved to attack. In some cases, a young man runs because he sees police and has seen what’s about to happen to him, happen to so many others. In some cases, these men are killed and they’re not even the ones the officers are responding to alerts about. Detroit clocks in at 143 minutes, which while sometimes feeling a tad bit long, effectively and engagingly tells a brutally necessary story. With a group of twelve civilians inside the motel and a handful of police officers and members of the national guard, an interrogation as to the whereabouts of a shooter and weapon from the building they were in would lead to the deaths of three black men and the outrageous beating of the other black men and two white women (which perplexed and enraged the officers to see, thinking that they must be pimped out). The acting is almost uncomfortably real, with Will Poulter leading the police officers he’s assembled with him to beat and barrage the people with any item they could get their hands on and any phrase or thing they could say to dehumanize and demean. Sick games are played to try to entice someone to come out with the location of the gun, but everyone holds true that there was no gun and there was no shooter. Anthony Mackie’s Vietnam war veteran has his credentials dismissed immediately, with the officers calling into question if he’s faking as a military man. The subject of looting is handled really well in the film, with many acknowledging it does no good and will get you in trouble. As looters ran from police, even though they are stealing and fleeing from the officers, they were fired upon and in the film, we see one who dies from his multiple gunshot wounds. It’s a sequence done incredibly well and handled well in the aftermath. I watched this film stunned and with a horrible feeling in my gut. I immediately went to learn more about this incident and others in the riots and so much of it is chalked up to negligence and the belief that no one is watching, so the narrative can shift in so many ways. Four-year-old Tanya Blanding lost her life when a tank rolling through Detroit spotted a lighter flicker in an upstairs window of an apartment and fired upon it after “sniper” was yelled out. Damages by her family were sought, but the Sergeant who fired was exonerated. This movie is an essential and important film which absolutely deserves your immediate attention.
After a large clash with a human colony near a damn, Caesar was betrayed by his right-hand Koba, an ape who led others to side and fight with the humans who used to torture them. It’s been years since that battle and now Caesar and his family live high up in the trees and mountains in massive groups. Unbeknownst to Caesar and his apes, a small militia from an abandoned military base have been tracking Caesar’s patrol and lead a small assault on their village. Caesar and his apes take some casualties, but he spares the lives of a human and gorilla whom fight for Woody Harrelson’s commander. As a sign of peace and with a message of peace, Caesar sends them back to Harrelson hoping the humans will move on. Unfortunately, Harrelson brings the cavalry and makes thing personal, slaughtering many of Caesar’s family. Following the attack, Caesar sends the community onward to get them far away from danger. He stays behind with a small group of Apes on a mission to discover where this military base is and to find Harrelson in order to end the war. These Planet of the Apes films are masterful in ways beyond what I ever thought they could be. At no point in these films has Caesar ever been the instigator in violence towards humans, or in spreading a disease that humans created. He continues to try to educate the apes and show them a better life, far from the reaches of the humans who kept them in zoos or in labs. The complexity of Caesar and everything he stands for and has to do, despite having every reason to eradicate the rest of the humans, makes him one of film’s best characters of the 21st century. Andy Serkis already deserves and Oscar for his Dawn of the Planet of the Apes performance, but he really stunned me in this film. The emotion he’s able to convey in subtle glances, or wildly emotional outbursts is stunning to watch and at no point in any of these films does it seem weird that you’re watching an Ape talk and act like a human. In many ways, Caesar is more human than most of the humans he encounters, as he’s moved past fear and is simply just trying to let his people exist. Harrelson’s character is overwhelmed with fear and power as the number of humans continues to dwindle worldwide. As one of the last and able militia groups maybe anywhere, his mind is on survival and eliminating the enemy. There’s no government to come and save them or bring them whatever supplies they may need. In this lawless land, anything goes, and no tactic is too maniacal in a fight with “beasts” who poisoned the planet. This third and final film in the trilogy is brutal and beautiful in how it captures the apes struggles to lead a life on their own somewhere. Matthew Reeves as a director and as a writer has crafted a world not too unlike our own which feels beyond real as you’re watching it go on around you. I said it with the last film, but these characters and this world are so interesting that I’d watch an entire film with only the apes as characters with some human story we’ve heard before and it would probably be better than most films with actual humans in them. This effects team at Weta Digital in New Zealand should have every award created under the sun because these films look, sound, and feel as real as our world. The attention to detail in the facial expressions of the apes, or the sadness in their eyes stays with you and this film tells a terrific story which leaves the trilogy in the best possible place it could. Kudos all around to these Apes films and if you haven’t seen them, you’ve got some catching up to do.
One of the first films I went to in 2017 was an 11 PM IMAX screening of Logan which both shocked and floored me. I knew I would love an R-Rated Wolverine movie, because I’ve been saying for years that you can’t have an authentic Wolverine movie without a lot of blood and violence. The nature of his character is that he’s indestructible, has indestructible claws which come out between his fingers, and he’s got a lot of rage and pain in his life which leads him to kill everything in sight. Well, that’s’ what he once was long ago during the time of his youth and his time with the X-Men. In the near future, Logan (Hugh Jackman) works as a driver down in Texas to make enough to support a sick and dying Professor Charles Xavier (Patrick Stewart). The X-Men and mutants are long gone and the memories of the ones they lost are far out of Logan’s mind, until he comes upon a young girl bred in captivity with the use of his genetics. Laura is young and reckless with her adamantium claws and skeletal structure, but Charles Xavier is using his last bit of focus and powers to help bring some peace to this girl. With government agents tracking Laura to bring her back, Logan finds himself having to fight once again, while also opening himself back up to emotions and feeling he thought were long gone. Setting this film in the South near the Mexican border, the film adopts a western feel almost immediately, as we spend most of our time in the deserts, the mountains, or the plains. Writer/Director James Mangold brings a heavy amount of emotion with the story he’s telling, and you completely forget that this is a comic book/superhero film immediately. Hugh Jackman turns in one of the year’s greatest and most emotional performances in what continues to be an incredible legacy for him as Wolverine. We’ve seen his character endure so much hardship, on top of the fact the he cannot die and must watch his loved ones pass around him. He’s always had a soft spot for Xavier, who can understand his pain and helps him deal with it, but their relationship continues to evolve as Xavier’s condition devolves. There are many freaky scenes where Xavier is suffering from seizures and is unable to control his powers and their output levels. He’s clearly scared and horrified that he’s potentially killing people and Wolverine and Laura must help him through the episodes. There’s certainly a grandfather/grandchild relationship going on between Laura and Wolverine, who despite exchanging many words and thinking themselves of vastly different things, they share more in common than they like to admit. They face all sorts of struggles along their journey to get Laura to safety outside of the US, while also learning there are other younger experimental mutants who are trying to make the journey as well. Wolverine has never really had a family and when he has, the X-Men were certainly an unconventional one. I’m sure he never thought he’d have to look after a young child and show them that there is still love and a way of life for her that’s free from anger, but life and the people around us have a funny way of reminding us to care and that there is still good in this world. It’s hard to imagine anyone else ever taking up the mantle of Wolverine after all the blood, sweat, and tears that Jackman has put into the role across eight films, but the X-Men may have a new member in Laura, or X-24 as she’s referred to. Having the “daughter” of Wolverine lead the next iteration of X-Men would be a wonderful sight to behold and it only feels right with how this film ends and the direction it takes the characters. Logan is the kind of movie you didn’t know you needed, especially from a superhero genre which so often trades in seriousness for entertainment value. Logan proves you don’t have to sacrifice one for the other and easily cements itself as one of the greatest comic book adaptations, as well as one of the year’s best films.
Perhaps the most bittersweet and funniest film came from the true story of a complicated relationship between comedian Kumail (Kumail Nanjiani) and a grad student Emily (Zoe Kazan) whose time together leads to a moment in which she grows sick and is placed in a medically induced coma. At the moment of her sickness, their relationship seemed to be more of a break, if not at a standstill for the moment. Their cultural differences and the nature of Kumail’s family makes things more difficult for him, as he feels like he’s a huge disappointment to his family if he doesn’t honor their customs. However, he’s also a comedian who isn’t religious and is just trying to find his footing in this crazy world. His issues in being unable to bring certain things up with Emily leads to a fight right before her coma, which makes calling her parents to let them know what’s happened even more awkward. When her parents Beth (Holly Hunter) and Terry (Ray Ramano) arrive, they’re both scared and confused. Scared because they’re unsure of what’s happening to their daughter and confused as to why her ex-boyfriend is still here waiting for her to wake up. While there’s some initial tension, eventually the two start to converse with Kumail and they all start to realize just how frightened and out of their element they really are. As days turn to weeks, Kumail and her parents stay by Emily’s side while Kumail attempts to keep them occupied and hopeful. Through many moments of one-on-one interactions, Kumail spends time with both Terry and Beth and we learn so much about them and how they became they people they are today. Beth and Terry have many questions about Kumail’s upbringing and his own family and through the time spent with them, Kumail begins to think somewhat differently about his own family and how he views them. In the background of this all, Kumail is a standup comedian who uses the comedy as somewhat of an outlet for his frustrations with not being honest with emily and fearing that his family will disown him if they learn he was with a white girl. Written by the real-life couple and acted by Kumail, he and Emily tell a poignant and timely tale of love and dating in the 21st century and about family and how we navigate our relationships. Ray Ramano really deserves more awards attention than he’s getting because the parent he plays is both concerned and understanding of the real world. He isn’t always a man of many words, but his anecdotes and observations he imparts on Kumail during their discussions point to the fact that he’s a smart man just trying to make it as best he can in this world. He’s not always made the best choices, much like Kumail, but he knows that we aren’t always defined by our actions. There’s a clear love and admiration that Emily’s parents and Kumail grow to have, which makes things even more complicated and interesting after Emily finally wakes up and the last thing she remembers is leaving Kumail. Director by Michael Showalter and produced by Judd Apatow, the combined comedic and human beats that the two of them bring to their films really help this story have a maximum impact. The Big Sick is full of an overwhelming amount of heart and so many big and little laughs that will leave you grinning the whole way through. I waited way to long to see this film and almost immediately after watching wanted to put it on again. There’s so much authenticity in the honesty of these characters and the trials they endured and it’s a beautiful thing to see it all come together so nicely. The Big Sick should be played in every home and watched by couples, mothers, fathers, sons, daughters, and anyone who’s’ ever cared for someone in a time of need. These are the stories I hope we see more of and I can’t wait until anyone involved in this project does something next.
Call Me By Your Name
Battle of the Sexes
The Disaster Artist
The Killing of a Sacred Deer
The Shape of Water
Last Flag Flying
It Comes At Night
Only The Brave