Film Review Archives 2017

Best Film of 2017:

The Disaster Artist (d. James Franco USA 2017) – Review

Runners Up

Star Wars Episode VIII: The Last Jedi (d. Rian Johnson USA 2017) – Review

Goodbye Christopher Robin (d. Simon Curtis UK 2017) – Review

Blade Runner 2049 (d. Denis Villeneuve USA/UK/Canada/Hungary 2017) – Review

Whilst watching Star Wars Episode VIII: The Last Jedi, you may notice that a franchise that has continually pushed the limits of Science Fiction, Fantasy, Action, Adventure and the very blockbuster film for 40 years, and is by this definition incredibly nostalgic, also has made an interesting change. The repetition of the Death Star or Star Killer base, or similar, needing to be destroyed has been previously backed by a heroic push to the finish line. A grand cheer and celebration for the mortal blow that has been dealt to our opposition. But with The Last Jedi, not only are the very heroes questioning themselves (Luke Skywalker representing the Jedi), but the rebellion no longer has this sense of dealing that fatal blow and the victory that will be the victory for the good. Instead the rebellion is being forced to their edge, as no matter what they destroy, their enemy continues.

Similarly, we have had in Captain America: Civil War and Batman V Superman: Dawn of Justice just last year a conflict of interest. If this says anything it says that the morals and thoughts of the ‘good guys’ are being questioned and we’re falling into a dispute of what is the right path. No longer are we so sure that destroying that enemy will be the best course of action; perhaps there are different ways to go about this and that we need to seriously rethink our moral stance. Art reflects life, and politically we’ve recently seen some huge questions being raised as to where we should take everything. I do not wish to dwell on world politics too much, as it isn’t the focus of this article, but this conclusion doesn’t feel farfetched.

2017 has been a time for many continuing franchises and a sense of nostalgia. Furthering the political look at the world right now, Dunkirk and Darkest Hour both look at a time where Britain was allowed to feel patriotically good about their country and the small victories we’ve had; whilst also looking at the dark struggles we’ve had to get there. This thread can also be drawn to other films that similarly look to a glorious path and ask dramatic questions about the present and perhaps it isn’t all as good as it may have seemed.

Further to this The Disaster Artist looks at the comical struggle of one of cinema history’s biggest jokes. Jumanji: Welcome to the Jungle focuses on the theme of nostalgia, as does Jigsaw and IT, by reviving previous franchises. Murder on the Orient Express follows a similar tread to Dunkirk and The Darkest Hour, whilst also being about some of histories celebrated films. Early in the year Beauty and the Beast and Kong: Skull Island pay homage to great films of cinema. All feel rapped up in looking to the past and revel in this sense of nostalgia that has been a theme in recent years. Meanwhile Thor: Ragnarok feels like The Last Jedi in beginning a new path for the heroes to tread and breaking the tradition of the earlier films.

We are firmly feeling a sense of nostalgia as we look to the past for what was so wonderful. If this isn’t direct in the recreation of a film like Beauty and the Beast, it is implied by looking to other mediums like books, in Murder on the Orient Express, video games, in Jumanji: Welcome to the Jungle (perhaps a tribute to the video gamers in the 90s as they are now todays adults), and history, in Dunkirk and The Darkest Hour. Franchises are still important as it helps ensure ‘bums on seats’, but the sense of our confused morality seems to be dominating the minds of the present.