Mockingbird In A Blizzard

By Nadia Ranaputri

 2017 is filled with more ups than downs when it comes to films. From franchise finales such as Logan and War of the Planet of the Apes, to the start of something hopeful from Wonder Woman, here are my top 10 films of 2017.


10. Spider-Man: Homecoming

Image source: IMDB

My verdict: Though it’s the very familiar friendly neighborhood Spider-Man, Homecoming feels very new and fresh, and it’s mostly helped by its way of placing familiar colors on a new slate. 

You can read my full review of Spider-Man: Homecoming here.


9. La La Land
Image source: IMDB

My verdict: The film itself is style mixed with substance. Its cinematography is luscious and the coloring made me think of the settings of a classic musical, specifically Hollywood's Golden Age.

 You can read my full review of La La Land here.



8. Wonder Woman

Image source: IMDB
My verdict: Wonder Woman is the triumph that fans and critics alike have been waiting for, and have held their hope to. Despite its weaker aspects, Wonder Woman provides a satisfying release that lets one scream “Finally!” to the screen upon delivering DCEU’s strongest entry to date

You can read my full review of Wonder Woman here.


7. Thor: Ragnarok

Image source: IMDB

My verdict: Thor: Ragnarok pays off, big time. Since it's coming from a director who has his own unique brand of comedic tone, Ragnarok's gamble with tackling humor becomes one of its greatest aspects.

 You can read my full review of Thor: Ragnarok here.

 6. Coco

Image source: IMDB

 My verdict: Not only is it presented as magical and at times, somewhat comical; it is also movingly poetic, traversing itself in a river of a blissful ballad. When Miguel starts to unravel his ancestry, it becomes a coming-of-age journey of self discovery that's both spiritual and poignant.

You can read my full review of Coco here. 

5. Lion

Image source: IMDB

Though this came out earlier in the year, I didn't see it until recently, and I kept wondering why I did not see it sooner. Lion is heartwrenching, but sweet and emotional. Dev Patel and Nicole Kidman are total powerhouses in their performance. 

 4. Get Out

Image source IMDB

Similar to Lion, I did not get the chance to see this film until recently, and there's really only one word to describe it: wow. Jordan Peele's film is absurdly psychological, and like nothing Peele's ever done.

 3. Logan

Image source: IMDB

My verdict: As Stewart leaves his place, it's Jackman that places his legacy firmly like a foot would above his own; ensuring that this is in fact, the character that will always be his.

 You can read my full review of Logan here.

2. Dunkirk


Image source: IMDB
 

My verdict: Dunkirk is truly an immersive experience that kicks us right into the action and keeps us there for the span of its runtime. It’s more realistic than dramatic, and more contained than epic, but that was what truly made Dunkirk an experience.

You can read my full review of Dunkirk here.

 1. Blade Runner 2049

Image source: IMDB

My verdict: Blade Runner 2049 is thought-provoking, both as a visual spectacle and as a story. 2049 can be many things in terms of its approach to story and ideas, but one thing is certain: it is anything but hollow.

 You can read my review of Blade Runner 2049 here.

What are your favorite films of 2017?
By Nadia Ranaputri

Image source: IMDB

Director: Rian Johnson
Cast: Mark Hamill, Daisy Ridley, John Boyega, Oscar Isaac, Carrie Fisher, Adam Driver, Kelly Marie Tran, Laura Dern, Andy Serkis, Domhnall Gleeson, Gwendoline Christie.

 Star Wars: The Force Awakens had some heavy lifting to do when starting the franchise anew, creating new characters from whilst establishing development for the veteran trio (Hamill, Fisher, and Ford) from scratch. It did its job in introducing and re-introducing the story and characters, both the new and the old. From there, it's The Last Jedi's job to build the characters even further from the foundation that The Force Awakens had built. And it did, so spectacularly.

 Star Wars: The Last Jedi picks up right after The Force Awakens, where former scavenger-turned-Jedi-trainee Rey travels to Ahch-To to seek help from Luke Skywalker, a retired Jedi master who has been living in isolation for many years. Meanwhile, the First Order is in pursuit of the Resistance, leaving General Leia and her band of Resistance with limited options for their survival.

Ridley's performance here is marvelous, perhaps an even more spectacular performance here than in Episode VII, as Rey is stuck in a conflict between what to believe and what to not believe. She's seen both the dark and the light, but here, she's faced with a greyer area in which she can't differentiate which is the truth and which is the lie. It's an interesting development, where a character so innocent and warm-hearted is thrown into a pit of emotional conflict. The returning Mark Hamill provides a more dry-humored, yet nuanced performance in Luke Skywalker, and elements of deep emotional crisis that was subtly touched on in Return of the Jedi, and is explored more here. There's also a sense of conflict in Kylo Ren, one of the most interesting and exciting elements of the film, as he tries to push himself further to the Dark side whilst the Light is trying to pull him back fervently, and Adam Driver nails that conflicted side in Kylo. 

Image source: IMDB

This is probably the most action heavy Star Wars film, containing more than one big action sequences that become vital to the plot. It's got more bite during the finale, as if it skips the artillery routine of fire and no questions asked and goes straight to the bombs, each action sequence dropping the biggest bombs they have. Just when you think that the first and second acts were tormentingly slow (I had no problem with this, however), the third act eventually makes it up by fully loaded action sequences. Yes, they are brilliant as hell. The fluidity of each action sequence is like a symphony, a work of art on its own. It's immensely satisfying and so Star Wars. It is also the most duel-battle-heavy action since Revenge of the Sith.

 The franchise's new faces, introduced in The Force Awakens, are instantly thrown into various arcs. As soon as it begins, it would have expected you to have caught up with the events of Episode VII. The Last Jedi chimes in at around 2 hours and a half, making it the longest Star Wars film to date. It contains three main arcs: Rey and Luke on Ahch-To, Finn and Rose on Canto Bight, and Poe on the Resistance ship. It's a bit like Dunkirk, if you put that into perspective, given how these arcs had their own pacing, except unlike Dunkirk that explained the span of each arc (like how The Mole arc was explained to have the span of a week while the sea in a day and the air in an hour); The Last Jedi doesn't quite give much specifics on how many days or hours each arc took. Each of these arcs have distinct approaches from one another, with some having a much lighter tone than the others. 

 However, you'd think that in 2 and a half hours, they'd cover the story ground fair and wide. It does for the most part, particularly when giving more depth to these characters that are tested on different levels and learning from some of their failures to overcome their obstacles. Unfortunately, some developments on one arc is sacrificed for another, which is the main problem that I had with The Last Jedi: its inability to fully grasp the most interesting arc in favor of a weaker arc that didn't really need to be there in the first place. (Mild spoiler: the weak arc that I was talking about here was the arc with Finn and Rose on Canto Bight).
 
Image source: IMDB

It is unexpectedly, the most humorous Star Wars film. Star Wars' humor in the past few films had been fairly limited to a few quips, and most of them came from Han Solo. Here in The Last Jedi, the fresh faces of the franchise get their fair share of humorous moments, too, particularly (and unexpectedly) from hotshot pilot Poe Dameron (there's a very funny scene where he continuously refers to General Hux as General Hugs). There's also some dry humor here in Mark Hamill's Luke Skywalker, which was understandable, given that he's now an old hermit living in isolation. Carrie Fisher (Rest in Piece, Princess) has her own feisty quips as well, with one scene having her scold at Isaac's Poe ("Get your head out of your cockpit," she snaps out to him), which was a delight to see.

The passing of the torch from the JJ Abrams directed Episode VII to the Rian Johnson directed Episode VIII had never felt so distinct from one another, but all the more welcome. The Last Jedi is one of Star Wars' most visually gorgeous films since Rogue One, pouring its poetic soul into incredible shots that make the film ever the more beautiful to witness. Beyond that, it offers the best sense of excitement and wonder, even more so than The Force Awakens. The strongest element that kept The Last Jedi from stumbling is that they really went all out for it. Plot twists, space battles, and levels of crisis are all handled in a completely fresh direction from director Rian Johnson. It clearly shows that he wasn't holding back when it comes to adding new elements that we never thought we'd see in a Star Wars film, one of them being how it uses the Force.

The Last Jedi plays with all sorts of different elements, and if some had complained about how The Force Awakens was too reliant on nostalgia and playing it safe, The Last Jedi retaliates from this and creates an entirely new element that in the future, bridges between the escalating challenge that Episode IX will have to deliver in order to create that same intriguing otherworldly feel of Episode VIII, and hopeful expectations from fans on what comes next.

Stars: 4/5

Trailer

By Nadia Ranaputri

Image source: IMDB

 Director: Kenneth Branagh
Cast: Kenneth Branagh, Michelle Pfeiffer, Daisy Ridley, Josh Gad, Willem Dafoe, Judi Dench, Penélope Cruz, Johnny Depp, Derek Jacobi, Leslie Odom Jr.

 A train ride, eccentric characters, and a murder mystery. The latest adaption of Agatha Christie's novel unravels its classic mystery to newer audiences, and it is one heck of a train ride.

 Murder on the Orient Express is set on a lavish train ride with passengers set for different destinations and different purposes for their travels. What starts out as a lavish train ride turns to a crime scene when one of the passengers had been murdered. As a result, Detective Hercule Poirot, probably the world's greatest detective in the world, is assigned to solve the case and interrogate all the passengers aboard to find the unknown killer.

 The cast has some part to play in lifting what could have been a completely dull trip on the Orient Express. Kenneth Branagh acts as both the lead and the director, and he's done some superb magic here. As we're introduced to his Hercule Poirot, he's seen measuring two eggs to see if they are both equally the same size. Branagh's Hercule Poirot is an eccentric detective who longs for a holiday, begs for a holiday even; from his cases, yet could never find himself to get it. He's all in for the cases, but unlike Sir Arthur Conan Doyle's Sherlock Holmes, Poirot actually longs to take a break. Branagh's performance is a particularly great one, showing that he's able to capture Poirot's peculiarity and struggle in trying to solve a difficult murder case.
Image source: Entertainment Weekly

The characters range from the most calm to the most eccentric one of all. Every so often you'd see Judi Dench sulking and ordering her servant to do things for her, but it's not everyday that you will see Kenneth Branagh sleeping with a mustache mask or constantly laugh at a Charles Dickens novel, but Murder on the Orient Express brings out the eccentricity in everyone, or rather the absurdity of some. There's pinches of quirkiness in Branagh's Poirot, and there are some in how Willem Dafoe's character pronounces Turin. You can say that it is in some way, a very old-fashioned type of quirkiness, one you'd find in a Sherlock Holmes story, or in this case, an Agatha Christie story, fitting for a story set in that period. But it's the performances from Gad, Ridley, and Pfeiffer, that become the standout performers of the film.

The storytelling is definitely not a very straightforward one, though some twists can be seen from a mile away. It has Agatha Christie's stamp on it, if you were ever familiar in her story, but put it this way: it's quite similar to that of Sir Arthur Conan Doyle's Sherlock Holmes, just with more flair and style. It's a gorgeous film filled with great production that could garner an Oscar nomination for Production Design. The Orient Express is lavishly made, and shown as luxurious yet cozy. The Orient Express could even be a character of its own. It's a big umbrella to an extension of characters. When the camera glides from the outside of the train with Branagh's Poirot being pursued by Pfeiffer's Hubbard as he enters the train, it feels very classy and an effective introduction to the rest of the characters.

There is something thrilling, yet a little absurd in how the story is told, but it's a good kind of absurd. Period-style mysteries aren't always appreciated by how absurd or over stylistic they could get, but for some who do appreciate the genre, it is actually fun to play along. That's what Murder on the Orient Express did for me. It's part campy and partly absurd, yet it's all part of the glamorous experience of the story, and boisterous pieces to play with. Branagh clearly has taken cues from Christie with additional touches of his own. The thing about Christie's stories is that they can be considered outdated, convoluted even; and bringing it to a newer audience might not garner the same reaction as it would with devoted period-mystery fans or those familiar with Agatha Christie's stories. As absurd or as convoluted as they can get, it is still thrillingly good. Even the cinematography is luscious, such can be seen from scenes like the high angle shot where Poirot enters from one cabin to another, only to discover that there was a murder.
Image source: IMDB

 There's a downside to this, however. As stylish as it is on both visuals and story, it does get rather dull at times, and even to the point where it's full of itself. The pacing get can get rather fast, too; hence why it isn't much of a no-brainer. It's just that it expects the audience to have caught up with what happened as it quickly moves to another plot point. It clearly wants its audience to be fully on board with everything that's going on, and to participate in some way to solve the case. But in some parts of its quick pacing, some of its most interesting arcs are quickly dismissed for another less interesting arc (one of those being an interrogation scene with spectacular acting from Josh Gad).

 Murder on the Orient Express is one of those films where you could either get seeped in to the mystery and the plot twists, or be bored out of your mind. It has its ups and downs, and it's not entirely great, but it is admittedly a fun murder mystery that's showered with style and flair that you'd find in classic murder mysteries. For anyone familiar with Agatha Christie's novel or the previous adaptations, a couple of its plot twists shouldn't come as a surprise, as it is essentially the same story, but slightly tinkered with and enhanced for newer audiences who wish to know the world of Agatha Christie. It's boisterous for those who have taken a liking of the genre and the time period that it is set in, but possibly dull for those who aren't

 Star: 3.5/5

Trailer
By Nadia Ranaputri
Image source: Movie Pilot

Director: Lee Unkrich
Cast: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach, Renée Victor, Ana Ofelia Murguía, Edward James Olmos.

The funny thing about Coco is that I have never seen the trailer for it prior to seeing the film until a week before it was released. I did look forward to it, but I never saw more than the poster and the plot. However, it wasn't until a few weeks ago that I saw the trailer in the theatre during Justice League; and I was utterly sold.

Coco tells the story of aspiring musician Miguel, who has to hide his passion for music from his strictly-no-music-allowed family. During the celebration of Dia de Muertos aka the Day of the Dead, Miguel finds himself transported to the land of the dead himself, meeting his fellow ancestors along the way, as well as a spiralling journey with a trickster through the land of the dead.
Image source: Variety

Coco is like a colorful spiralling slide. It's all kinds of fun and all kinds of colorful. Opening the film on the streets of Santa Cecilia, Coco wastes no time in commencing its visual introduction that in a way, is similar to how Moana opens. We're introduced to a brief introduction to Miguel's ancestors before it leads us to present day with Miguel and his eccentric music-hating family who happen to be one of many generations to continue the legacy of their ancestor's shoemaking business. There's a great little sequence where Miguel's grandmother scolds him and anyone who plays music near them. "We're probably the only family in Mexico that hates music," Miguel explains. We're eventually told that Miguel is nothing like his family. He does not want to continue the family's legacy of shoemaking as he plays his guitar in secret to the tunes of his musician idol, Ernesto de la Cruz.

When you think about it, Coco has quite a simple straightforward plot, but what elevates that plot are the moments and the journey that Miguel goes through. It especially hits the high note when it comes to approaching the subject of Death and what comes after. Death and the afterlife can be a daunting thought, especially when it becomes an important aspect for a film. Coco takes that aspect of death that some would find fearful and turns it into something whimsical. The land of the dead is as colorful as the vast land in Inside Out, but brighter and more festive. It's basically a canvas full of skeletons and spirit guides that roam around streaks of bright neon paint and colorful lights.

Image source: Deadline

Coco is filled with extraordinary morals, some great humor, and all the magic and wonder you'd expect from a Pixar film. What makes this particularly special is the aspect of death itself, and how it correlates with family. Coco is rich in digging into the bonds of a family and how important they are in your journey, whether it is in life or death. Not only is it presented as magical and at times, somewhat comical; it is also movingly poetic, traversing itself in a river of a blissful ballad. When Miguel starts to unravel his ancestry, it becomes a coming-of-age journey of self discovery that's both spiritual and poignant.

Coco captures the essence of the Day of the Dead celebration and why it's important to honor our ancestors, which in their way; means remembering them and cherishing them by offerings of what they loved in life, placing them in one of the film's most important plot device: the ofrenda. The Day of the Dead becomes an accessible feature for not only Mexicans themselves, but also for everyone else. Coco presents this very special day in such a colorful way that it shows us what makes this celebration so uniquely special in Mexican tradition rather than a dark reminder or something that's only reserved for those who celebrate it. It is without a doubt, another whimsically heartfelt Pixar entry that can be just as cherished by the people who celebrate it as it is by others who do not.

 Stars: 4.2/5

 Trailer
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