We have finally reached the end of summer movie season and,
all things considered, it was pretty good. Granted we saw a number of
unspeakable lows but we were also treated to some truly fantastic high points.
Gone is the sheer, seemingly endless mediocrity of 2016 and instead we get the brilliance
of ‘Wonder Woman’, ‘Baby Driver’, ‘The Big Sick’ and ‘Dunkirk’. Even the
entries of the summer which I would regard as being good rather than great have
been distantly refreshing in one way or another like ‘Spider-Man: Homecoming’
and ‘Atomic Blonde’.
Despite some worries that it would end with more of a whimper
than a bang, August was no different, maintaining a good level of quality that
saw some excellent releases. Granted it is disappointing that Kathryn Bigelow’s
‘Detroit’ didn’t quite reach the levels of greatness I was hoping it would, the
fact that a film that impressive didn’t make the top three is a testament to
the high quality. Even the worst movie of this month was more frustratingly
bland and uninspired in comparison to the source material rather than outright
awful (but for the record, still pretty bad). But for now, here are the best.
3: Ingrid Goes
West
In this bitingly sharp commentary on social media as well as
our entire celebrity culture, we see a story that is as darkly humorous as it
is broadly relevant. It completely immerses the viewer within its landscape and
can make them feel equally as involved within its narrative whether they know
what Instagram is or not. But as well as tackling the broader themes of our
society, ‘Ingrid Goes West’ does so by being a fascinating character study of
its titular figure by depicting an obsessed person who falls into the trap of
using her obsessions ton escape from a harsh reality, who is brilliantly
brought to life by a fascinating lead performance from Aubrey Plaza. It never
gets caught up in its broader themes to a point where it forgets to be a movie
and instead focusses on the interesting character dynamics as well as its ever intriguing
plot.
2: Logan Lucky
Steven Soderbergh’s triumphant return to filmmaking may look
like familiar territory upon first glance (a heist movie from the guy who is
most famous for directing a heist movie, how remarkable). But beyond the genre,
everything about ‘Logan Lucky’ from its central themes to its characters and
whole stylistic approach feels fresh and innovative. Soderbergh creates
empathetic characters that make the viewer feel instantly invested in their
intricately laid plan, and then never resorts to mocking them for a cheap laugh
but instead draws catharsis from their small victories. It boasts a fantastic
cast who are all whole distinct in their roles to a point where every part
feels like it could never be played by anyone else with Daniel Craig being the
major standout. It’s energetic, highly entertaining and serves as a welcome
reminder of why Soderbergh has been missed during his five year absence (it
actually wasn’t that long of a retirement when you think about it was it?).
1: Dunkirk
I feel like, of all of Christopher Nolan’s films, ‘Dunkirk’
is the one most likely to be widely embraced as a classic. It has proven to be
more divisive than one would think among audiences due to its complex structure
and unconventional plotting, but it’s such a magnificent feat of intricate storytelling
that the effect is unforgettable. Nolan brings forth some of the most
terrifying and acutely tense set pieces in recent cinema history. He fully
immerses the viewer within not only the immediate terror of war but also the
deeper existential dread of having to confront death on a regular basis. As a
filmmaker Nolan is in such command of his craft, pin pointing every solitary
detail of his vision with such precision that it almost defies belief. ‘Dunkirk’
refuses to veer into contrived melodrama or artificial sentiment, it doesn’t need
it. What it captures instead is a broader sense of emotion that fully captures
the visceral nature of war, on a truly stunning level.
And the worst…
Death Note
I like Adam Wingard, he has a good knack for subverting
conventional horror tropes and bringing them to life in a refreshing manner. It’s
for that reason that I can’t accuse him of not trying when it came to Netflix’s
live action American adaptation of the hugely popular anime of the same name.
But his creative decisions simply do not work here. He fails to create any
sense of atmosphere, any inkling of empathy for his characters as well as a
complete lack of cohesive development or motivation. It is simply an adaptation
that completely bypasses anything that made the original interesting. It’s not
as bad as ‘Dragonball: Evolution’ or ‘The Last Airbender’ (excuse me while I
vomit for a second) but for fans of the anime it must feel just as painful.
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