A Ghost Story (2017)

“A Ghost Story” is an extraordinary cinematic tone poem on time, humanity’s relationship with time and how it plays into the human experience, loss, grief, death, transition, memory, nostalgia, and each individual’s personal passage through life. It cloaks itself in the sight gag of the main character, the titular ghost, being garbed as the most…

The Post (2017)

A lesser effort from Spielberg. The cast is strong enough to always keep the film watchable enough (though it’s disappointing to see how much their “characters” feel like ciphers – Hanks was much better served in his last collaboration with Spielberg, “Bridge of Spies”, where his characterisation was anchored with very strong values), but it’s…

Wind River (2017)

A fantastic, tight, atmospheric neo-western thriller of sorts from Taylor Sheridan. The way Sheridan uses his settings, the social climate and political landscape of the United States, as almost characters of their own in his films (or at least “Wind River”, “Hell or High Water”, and “Sicario”) really appeals to me; his scripts are tight,…

Molly’s Game (2017)

A weightless directorial debut from Aaron Sorkin. Sorkin’s collaboration with such heavyweights as David Fincher on “The Social Network”, Rob Reiner on “A Few Good Men”, Danny Boyle on “Steve Jobs”, all resulted in such fantastic films, and so much of that came down to those directors tempering Sorkin’s very strong personal style with their…

Marshall (2017)

A restrained courtroom drama that surprisingly doesn’t go the standard biopic route of trying to pack a whole life into hours, but makes the smart storytelling decision of just focusing on one episode of a person’s life. It doesn’t even feel as much biopic as just a genuinely entertaining courtroom thriller. Perhaps being executed so…

Churchill (2017)

There’s some great photography in “Churchill”, gorgeous great big wide shots, gorgeous locations, some gorgeous filmmaking, but good god, the dialogue is bad, the script is flimsy, and the whole thing feels directionless. It retroactively makes me appreciate the stilted “Darkest Hour” more – at least that had narrative focus, mostly. This is an aimless…

Darkest Hour (2017)

An oddly weightless adaptation of Churchill’s first month or so of wartime prime ministering. Gary Oldman under swarths of makeup and prosthetics is the film’s main selling point, as he’s of course as good as would be expected, adept as always at making a proper performance out of limitations like excessive makeup that would handicap…