Best Films of the Year – Bros Can't Hang

The 2nd Annual Bro-cademy Awards: The 10 Best Films of 2017

Welcome to the 2nd annual Bro-cademy Awards, the 10 best films 2017 had to offer.

There was a plethora of average, poor, or complete garbage films released in 2017, and good movies were seemingly hard to come by. That’s why when audiences were blessed with actual competent and well made films, they went and saw them again and again. While actual Oscar caliber films didn’t get wide releases until January (*hence why some of those critically acclaimed awards season films have been excluded in this list*), it’s time to count down the best films 2017 had to offer by honoring them in the 2nd annual bro-tastic film awards ceremony, the Bro-cademy Awards.

10. Baby Driver

Sure, it’s the hipster incarnation of The Transporter, but Baby Driver is a thrilling new spin on the action genre that features tremendous action, witty and funny dialogue, great performances, and a killer soundtrack.

9. Ingrid Goes West

Ingrid Goes West is one of those “oh you didn’t hear about it?” films that slips under the cracks and goes somewhat unfairly unnoticed. Not here, as Ingrid Goes West‘s dark humor in relation to our society’s obsession with social media and surface level connections in place of personal ones makes it perhaps the most #topical films of 2017.

8. Lady Bird

A quirky coming of age story for young women and a close examination of mother-daughter relationships, Lady Bird is a delight. Its terrific performance from up-and-comer Saoirse Ronan showcases she’s a force to be reckoned with, and is a perfect film in a time of #metoo and Time’s Up.

7. I, Tonya

If you think you know the story of American villain Tonya Harding, I, Tonya begs to differ. Featuring powerhouse performances from Margot Robbie and Allison Janney, I, Tonya uses interviews and fourth wall breaking on its biographical subject matter to do the impossible: making you have sympathy for Harding, the devil herself. If that doesn’t qualify as one of the best films of 2017, then what does?

6. Star Wars: The Last Jedi

While divisive amongst Star Wars “aficionados”, Star Wars: The Last Jedi takes everything you’ve come to know about the series and turns it upside down. While some results fare much better than others, it’s a triumphant new direction for the series and shows it still has life and is rife with new ideas.

5. Get Out

No ones directorial debut should be this creative, masterful, and timely. Jordan Peele’s Get Out is all of those and more, standing alone as one of the most original and thought provoking pieces of cinema 2017 had to offer.

4. Phantom Thread

Adept direction, beautiful scenery, and a powerhouse performance from Daniel Day-Lewis makes Phantom Thread the best film out of those actually nominated for “Best Picture”. Not only is it another winning entry in the underrated Paul Thomas Anderson’s career, but marks a triumphant farewell for Daniel Day-Lewis should it be his swan song performance.

3. Logan

Logan isn’t just a comic book movie, it’s a western with dramatic heft that makes it a game changer for the genre. Not only does it provide the R-rated thrills we’ve craved from a Wolverine film, but also marks a triumphant end for a character Hugh Jackman has made legendary and his own for nearly two decades.

2. Blade Runner 2049

A sequel to a cult classic like Blade Runner seems like a disaster on paper, but Blade Runner 2049 advances its thought provoking sci-fi ideas with ease. It’s not only a rare sequel that improves upon its predecessor, but also proves you can make a thinking man’s movie while still providing action thrills and breathtaking visuals on a blockbuster scale.

1. War For the Planet of the Apes

Perhaps the most overlooked movie of the year, War for the Planet of the Apes is a triumph on multiple levels. Its breathtaking CGI, emotional depth, and blockbuster thrills are unprecedented for a tent pole summer film, and resonates as one of the most powerful films not only in its historic franchise, but also of 2017, making it the best 2017 had to offer in film.

Bro-Reviews: Darkest Hour

Gary Oldman’s finest hour.

Back in September of 2017, buzz began swirling around a film making its rounds in the film festival circuit, which is typically a common occurrence. What made this buzz different for this film, however, was the rumor of it featuring an awards worthy performance from a tremendous actor who has been long overdue for such accolades. That film was the World War II set Darkest Hour, and the actor was Hollywood veteran Gary Oldman. With Oldman racking up the awards for his performance, including the Golden Globe for “Best Actor in a Motion Picture-Drama”, Darkest Hour has finally received a wider release in the hopes of proving Oldman’s performance lives up to the hype.

Darkest Hour begins in May of 1940, where British Parliament has grown uneasy due to the lack of action by Prime Minister Neville Chamberlain (Ronald Pickup). Chamberlain is replaced by General Winston Churchill (Gary Oldman), a seemingly past his prime politician whose reputation as a drunkard and a militant makes him unpopular in the government. Churchill finds himself and his country under fire, as Adolf Hitler and Nazi Germany are imposing their force and taking down Europe country by country. Churchill must overcome his reputation and the seemingly unstoppable Nazis before Great Britain is invaded and is no more.

The biggest compliment I can give the film is all the hype surrounding Oldman’s performance is warranted. Oldman has the reputation of being a great actor despite appearing in critically maligned films from time to time, and has never gotten his due via an Oscar win. His performance in Darkest Hour should change that, as his alcoholic dialogue slurring, cigar smoking, and motivational speaking all highlight an actor at his apex, and is the clear favorite to walk away with Oscar gold this March.

Two other noteworthy performances come from veteran actress Kristen Scott Thomas, who plays Churchill’s wife, Clementine, and Ben Mendelsohn, who plays King George VI. Scott Thomas adds more humanity to the film by representing the balance to Churchill’s life, and it’s a shame her solid performance didn’t garner any awards attention. Ben Mendelsohn also delivers a solid performance as King George VI, and the development of the relationship between George VI and Churchill is one of the more intriguing aspects of the film.

The rest of the film, unfortunately, can’t match the quality of the lead and aforementioned performances. Even at a running time of just over 2 hours, the film poorly paced war film from director Joe Wright plays like a history lecture you’d be tempted to fall asleep during. The grey color palette doesn’t help accentuate the setting either, and the film rarely flashes to battles during World War II to wake the audience up. Young starlet Lily James, who left a huge impression on most with her performance in Baby Driver earlier in 2017, hardly resonates in the film as an assistant of Churchill’s, a waste of a young, talented performer.

Darkest Hour benefits greatly from a surely Oscar worthy performance from its lead actor and a couple of other solid supporting performances. The rest of the film, however, can’t quite match the quality its lead performer has. Gary Oldman deserves to take a bow for his finest hour as an actor and walk away with a little golden man, but Darkest Hour is nowhere near deserving of its “Best Picture” Oscar nomination, making it the weakest of the Academy Award’s “Best Picture” bunch.

Rating: 2/4 stars. Rent it.

Darkest Hour stars Gary Oldman, Kristen Scott Thomas, Lily James, Ronald Pickup, and Ben Mendelsohn. It is in theaters now.

Bro-Reviews: Three Billboards Outside Ebbing, Missouri

Fargo 2.

Every year, the month of January not only bestows upon us mostly awful films studios have no confidence in, but also awards worthy films finally getting an expansion in their releases after weeks of playing in limited theaters. Such an example of awards worthy films finally getting an expansion in their release is Three Billboards Outside Ebbing, Missouri. The film has become a critical darling this awards season, having already won Golden Globes for “Best Motion Picture-Drama” and “Best Performance by an Actress in a Motion Picture- Drama” and has been nominated for seven Academy Awards, including “Best Actress” and “Best Picture.” Considering the hype machine surrounding the film and it’s timely subject matter, the film should be one that not only stands-out as one of the best films of 2017, but one that will stand the tests of time, right?

Three Billboards Outside Ebbing, Missouri sees Mildred Hayes (Frances McDormand) dismayed by the lack of resolution from the town of Ebbing, Missouri’s police department regarding the case of the murder and rape of her daughter. In order to get the police’s and the town’s attention, she rents out three billboards on a road nearby the town that read “RAPED WHILE DYING”, “AND STILL NO ARRESTS”, and “HOW COME, CHIEF WILLOUGHBY?”. Mildred then faces backlash from the town and its police department, particularly from alcoholic racist police officer Dixon (Sam Rockwell), and the pancreatic cancer stricken police chief Willoughby (Woody Harrelson), all in the name of seeking justice for her daughter’s rape and death.

Much of the hype surrounding the film is due to Frances McDormand’s performance as a “Rosie the Riveter” dressed, older white woman not afraid to speak her mind. This of course also includes her cursing up a storm and being unapologetic for who she is and for what she is doing. McDormand has always been a terrific performer, but because she’s not a sex symbol in any way shape or from, she is somewhat forgotten in Hollywood circles. Her performance in Three Billboards serves as a reminder she’s still a force to be reckoned with in the industry, and is definitely worthy of the awards buzz she has received this awards season that she hasn’t received since winning the “Best Actress” Oscar for her role in Fargo.

Frances McDormand and Woody Harrelson in “Three Billboards Outside Ebbing, Missouri.”

The film also boasts strong supporting performances as well, most notably from Woody Harrelson and Sam Rockwell. Harrelson has always been an underappreciated actor in Hollywood, having seamlessly transitioned from his T.V. stardom in Cheers to being a leading man and character actor. Harrelson is able to sink his teeth into his role as an under fire police chief suffering from his own health issues, and churns out a performance worthy of his Oscar nomination for “Best Supporting Actor.” The man who steals the spotlight from him, however, is Sam Rockwell, another character actor who seems to have never gotten his due. His portrayal of a dim-witted, racist cop who eventually finds redemption is one of the best supporting character performances this year, and he is clearly the favorite to walk away with the Academy Award for “Best Supporting Actor” come the night of March 4th.

Despite the tremendous performances from the main actors involved, it feels like there’s something missing from the film. The film feels like it is building towards sending a message throughout, but it ultimately leaves audiences hanging. This lack of pay-off is extremely disappointing, and the ending will leave one with a sour taste in their mouth. In the wake of the “#MeToo” and “Time’s Up” movements currently taking the industry by storm, Three Billboards had the chance to make an impactful statement, but ultimately has nothing to say. Due to the lack of resolution, Three Billboards is easily the weakest film in the career of director Martin McDonagh, whose black comedies In Bruges and Seven Psychopaths are much better watches than this “made for awards season” fluff.

Three Billboards Outside Ebbing, Missouri definitely has its strengths. It’s once again clear Martin McDonagh is an actor’s director, as Frances McDormand, Woody Harrelson, and Sam Rockwell all give very good and awards worthy performances. However, even with its timely subject matter in the wake of all of the controversy surrounding the film industry, the film ultimately doesn’t have a message to convey. Sure, it’s a showcase in acting, but Three Billboards Outside of Ebbing, Missouri had a chance to be more, and ultimately settles for awards season pandering instead of making a statement.

Rating: 2 Stars out of 4. Pay Low Matinée Price.

Three Billboards Outside Ebbing, Missouri stars Frances McDormand, Woody Harrelson, Sam Rockwell, Lucas Hedges, Caleb Landry Jones, Abbie Cornish, Zeljko Ivanek, John Hawkes, Peter Dinklage, and Clarke Peters.

Bro-Reviews: The Shape of Water

A bizarre, touching monster tale.

Director Guillermo del Toro has made a career off of his biggest obsession: monsters. From comic book films such as the Hellboy series and Blade II, to daring fantasy films like Pan’s Labyrinth, all the way down to blockbuster spectacle Pacific Rim, Del Toro has made a career off this once staple of Hollywood and has turned it into his specialty. While Pan’s Labyrinth received critical acclaim an numerous Academy Award nominations, it was shut out of major categories such as “Best Picture”, “Best Director”, and in the acting categories due to its status as a foreign film. Guillermo del Toro decided he wanted another crack at awards contention, and his latest monster flick, The Shape of Water, has been racking up all kinds of awards attention, including a Golden Globe win for “Best Director” for del Toro and 13 Oscar nominations. Does the film live up to it’s monstrous hype?

The Shape of Water sees Elisa Esposito (Sally Hawkins), a woman rendered mute due to an accident experienced during her infancy who communicates through sign language, as a janitor working for a secret government laboratory in Baltimore, Maryland during the Cold War. One day, the facility obtains a fish-like creature (Doug Jones) from a South American river, and it is kept there for observation and torture. Inexplicably, Elisa begins to bond with the creature, and must find a way to help the creature escape captivity with the help from her janitor friend Zelda (Octavia Spencer), her homosexual struggling advertising illustrator neighbor Giles (Richard Jenkins), and Dr. Robert Hoffstetler (Michael Stuhlbarg) before being caught by the power hungry Colonel Richard Strickland (Michael Shannon).

This isn’t your typical romance film as the synopsis above alludes to. If it weren’t for director Guillermo del Toro’s legendary status as a niche filmmmaker, this premise would’ve been laughed out of the building under any other circumstances. It literally features a woman, who communicates only through sign language, falling in love with a creature akin to the Creature from the Black Lagoon. But therein lies the beauty of The Shape of Water, it’s so gleefully bizarre and goes from broke, and somehow manages to communicate a common message in its own unique way. That message being we as a society only look at people at face value, and do not value a person farther than that, and those people (*or creatures for that matter) are largely ignored as it pertains to love. For a film with non-typical characters and an insane central focus, The Shape of Water is unique and succeeds as an anti-quintessential romance film.

Sally Hawkins and Doug Jones in “*The Shape of Water*.”

It helps the film features terrific performances to make it believable. Sally Hawkins is very deserving of her Oscar nomination for “Best Actress”, as she gives one of the most poignant performances of the year despite barely speaking a word. Richard Jenkins and Octavia Spencer have made careers off of character roles such as the ones they have here, and they too deliver and are equally deserving of their “Best Supporting Actor/ Actress” nominations. One questionable omission from the Academy’s nominations list is Michael Shannon, whose performance as a barely human colonel ranks as the best of his career. Combine these performances with the skilled and artistic direction of del Toro, and you’ve got an art-house monster romance film that stands alone in its uniqueness.

Unfortunately for the film, it does suffer from narratives that don’t quite mesh together. While the Cold War setting allows for unique locations such as the lab, the city of Baltimore, and a movie theater playing classic films such a Cleopatra (*that allows for del Toro to showcase his adoration for old movies), del Toro doesn’t quite implement the setting to its fullest potential. As a matter of fact, it’s sometimes clunky. A plot involving Russians wanting information regarding the South American river creature could’ve been left on the cutting room floor entirely, and the film wouldn’t have missed a beat. Also, while its admirable del Toro wanted to incorporate themes of racism and homosexuality, those themes add nearly nothing to the film, and come across as forced rather than seamlessly implemented as aspects indicative of the film’s setting.

Overall, The Shape of Water is a welcome breath of fresh air to the awards season circuit. While it’s setting isn’t necessarily taken full advantage of, it makes up for this shortcoming with its terrific performances, artful direction, and heartwarming main narrative. The Shape of Water ranks as one of the better films to have been released in 2017, and its daring nature to stand on its own as an unorthodox love story is nothing short of admirable and inventive of the monster film genre.

Rating 3/4 Stars. Pay Full Price.

The Shape of Water stars Sally Hawkins, Doug Jones, Richard Jenkins, Michael Shannon, Octavia Spencer, and Michael Stuhlbarg. It is in theaters now.

Bro-Reviews: Academy Award Nominations and Snubs

While you were sleeping, the Academy of Motion Picture Arts and Sciences released the nominees for the best in film 2017. The most notable awards: Best Picture, Best Director, Best Supporting Actor, Best Supporting Actress, Best Actress, and Best Actor, are always hotly debated every year. This discussion only gets more heated once we learn those who were snubbed from the list of nominations. The nominees, along with the snubs, are:

Best Picture:

“Call Me by Your Name”

“Darkest Hour”

“Dunkirk”

“Get Out”

“Lady Bird”

“Phantom Thread”

“The Post”

“The Shape of Water”

“Three Billboards Outside Ebbing, Missouri”

Snubs: “Wonder Woman”, “I, Tonya”

For the most part, the academy got the nominations here right. All of the films listed above opened to rave reviews, and have had relatively healthy box office longevity. It is curious, however, in the wake of the #MeeToo and Time’s Up movements that Wonder Woman, the 3rd highest grossing film of the year, wasn’t nominated. Maybe it’s more proof the Academy isn’t ready to acknowledge super-hero movies as the best films (*see The Dark Knight and The Avengers), but considering the current times, acknowledging Wonder Woman as one of the best films of 2017 should’ve been a no-brainer. On top of that, I, Tonya has received critical acclaim due to its performances, yet didn’t crack the “Best Picture” list.

Best Actress:

Frances McDormand in “*Three Billboards Outside Ebbing, Missouri.*“

Sally Hawkins, “The Shape of Water”

Frances McDormand, “Three Billboards Outside Ebbing, Missouri”

Margot Robbie, “I, Tonya”

Saoirse Ronan, “Lady Bird”

Meryl Streep, “The Post”

Snubs: Michelle Williams, “All the Money in the World”, Jessica Chastain, “Molly’s Game”

All of the nominees are deserving of a nomination here, and maybe there just weren’t enough slots to go around. Michelle Williams has been a force throughout the years during awards season, but her exclusion from this category is questionable considering her great performance in All the Money in the World. Jessica Chastain has also received accolades for her powerhouse performance in Molly’s Game, but also got left off the list due to the number of great performances this year.

Best Actor:

Timothée Chalamet, “Call Me by Your Name”

Daniel Day-Lewis, “Phantom Thread”

Daniel Kaluuya, “Get Out”

Gary Oldman, “Darkest Hour”

Denzel Washington, “Roman J. Israel Esquire”

Snubs: Tom Hanks, “The Post”, James Franco, “The Disaster Artist”

James Franco in “*The Disaster Artist*.”

The biggest surprise here is Washington’s nomination for a so-so movie. He’s the best thing in it, but it’s the only nomination Roman J. Israel Esquire received. Maybe it was a toss-up between Washington and Hanks, who while doesn’t give a memorable performance, has now not been nominated since 2000’s Cast Away. More egregious was the snubbing of James Franco, who won the Golden Globe for his role as Tommy Wiseau in The Disaster Artist. Maybe his recent sexual assault allegations had something to do with it, but Franco was most certainly overlooked for some reason.

Best Director:

Guillermo del Toro, director of “*The Shape of Water*.”

Christopher Nolan, “Dunkirk”

Jordan Peele, “Get Out”

Greta Gerwig, “Lady Bird”

Paul Thomas Anderson, “Phantom Thread”

Guillermo del Toro, “The Shape of Water”

Snub: Steven Spielberg, “The Post”

Merly Streep, director Steven Spielberg, and Tom Hanks on the set of “*The Post*.”

Once again, not many surprises in this category. The biggest omission, however, is Steven Spielberg. Spielberg is a stalwart in Hollywood, and his film about the importance of the news media is quite topical. Personally, I didn’t find The Post to be extraordinary, but there had to have been some way to include him in this list.

Best Supporting Actor

Sam Rockwell in “*Three Billboards Outside Ebbing, Missouri*.”

Willem Dafoe, “The Florida Project”

Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”

Richard Jenkins, “The Shape of Water”

Christopher Plummer, “All the Money in the World”

Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Snub: Armie Hammer, “Call Me by Your Name”

Armie Hammer in “*Call Me by Your Name*.”

The biggest surprise in this list is the inclusion of Woody Harrelson. His Three Billboards co-star, Sam Rockwell, is considered the favorite, and it’s a curious decision as to why both men were included in the list of nominees. This led to the exclusion of Armie Hammer, who received universal acclaim for his role as an older, same-sex lover in Call Me by Your Name. Maybe he’s still paying for the sins of The Lone Ranger, but leaving Hammer off this list seems like an error.

Best Supporting Actress:

Mary J. Blige, “Mudbound”

Allison Janney, “I, Tonya”

Lesley Manville, “Phantom Thread”

Laurie Metcalf, “Lady Bird”

Octavia Spencer, “The Shape of Water”

Snubs: Holly Hunter, “The Big Sick”, Tiffany Haddish, “Girls Trip”

Most of the nominees here were expected, but you’d have to believe the nomination of Lesley Manville, who hadn’t received much attention until now, cost Holly Hunter a nomination for her career renaissance role in indie darling The Big Sick. And while she was a presenter of the nominees and comedies typically don’t get love from the Academy, one could make an argument for Tiffany Haddish in Girls Trip. In a year in which diversity is at the forefront, why not recognize one of the funniest performances from a predominantly African-American film?

Bro-Reviews: I, Tonya

Sympathy for the devil.

Tanya Harding at one point was known as the greatest figure skater in the world. She was the first person to ever attempt and complete one of the most complicated moves in her sport, the triple axel, and even made it to the Olympics. Unfortunately, she was the most hated person in the world as well due to her supposed involvement in the injuring of her USA Figure Skating teammate and rival, Nancy Kerrigan. We all know Harding eventually faded into obscurity after embarrassing herself by attempting to cling onto whatever celebrity status she had left, but Harding herself feels her side of the story has never been properly conveyed. Perhaps Harding can rest easy now, with relative newcomer and sex-symbol Margot Robbie staring in and producing the story of Tonya’s life, I, Tonya.

I, Tonya follows the life of world famous figure skater Tonya Harding (Margot Robbie), a red-neck born and raised in Portland, Oregon. She is forced into figure skating by her abusive mother, LaVonna Golden (Allison Janney), who also pulls Tonya out of school to focus solely on a career in the sport. Along the way, Harding meets Jeff Gillooly (Sebastian Stan), her first love and husband, who also abuses her. The film follows Tonya’s chaotic life and her connection to the attack on her arch rival, Nancy Kerrigan.

For most of her career, Margot Robbie has been relegated to being a sex-object. Nobody recognized her talent in The Wolf of Wall Street, they only noticed the amount of times she took her clothes off. The same can be said of her roles in Focus and Suicide Squad, but I, Tonya proves Robbie is more than a sex symbol. Robbie is electric as Harding, captivating us by illuminating her struggles as a talented but unwanted commodity by her family and the figure skating community. Robbie is able to make us feel sorry for Harding, who to this day retains much of her villainous status due to her involvement in the attack of Kerrigan. Her Golden Globe nomination for “Best Actress in a Motion Picture- Musical or Comedy” is well deserved, and she most definitely will be up for “Best Actress” at the Academy Awards later this awards season.

Margot Robbie as Tonya Harding in *“I, Tonya*.”

Not to be outdone, however, is Allison Janney as Tonya’s vicious and crass mother. Janney won the Golden Globe for “Best Supporting Actress in a Motion Picture”, and for good reason. She delivers the performance of her career in the film, and should be up for a “Best Supporting Actress” Oscar. Sebastian Stan is also marvelous as Harding’s husband, and proves there’s life after the Marvel Cinematic Universe for him. One of the more underrated performers who hasn’t gotten any awards love is Paul Walter Hauser, who plays Shawn Eckhardt, Tonya Harding’s “bodyguard.” Hauser is a riot, and while the unknown actor isn’t up for “Best Supporting Actor” consideration, hopefully he’ll get more work in Hollywood sooner rather than later.

Much credit must be given to the style of the film, as it goes back and forth between interviews in mockumentary-style set in the modern day and flashbacks with fourth wall breaking. This allows the characters to be unfiltered and exposed, which lets us as an audience formulate our own opinions on these real life figures and the true story circumstances they experienced. Director Craig Gillespie and writer Steven Rogers execute this style almost perfectly, and captivates audiences even though most of us know how the story ends. The film does overstay its welcome towards the end, but one can hardly fault the film for trying to cram in every element of Harding’s tumultuous life.

I, Tonya is an unforgettable bio-pic. It takes a fascinating subject matter whom most of us have already formulated an opinion of and thought we would maintain that same opinion for the rest of time, and accomplishes the impossible task of changing our minds. With tremendous performances from Robbie and Janney that should result in more awards love come time for the Academy Awards, I, Tonya is one of the best films of 2017, and leaves us having sympathy for the devil.

Rating: 3.5 out of 4 Stars. Pay Full Price.

I, Tonya stars Margot Robbie, Allison Janney, Sebastian Stan, Paul Walter Hauser, Julianne Nicholson, and Bobby Canavale. It is in theaters now.

Bro-Reviews: Phantom Thread

A spellbinding love story.

Daniel Day-Lewis is somewhat the antithesis of Hollywood. Despite his handsome looks and impeccable acting ability, the man has been very private about his personal life and is very selective as it pertains to the movies he stars in. Most of the time, however, the roles he chooses result in an Academy Award win, as 2 of his last 3 films have resulted in “Best Actor” wins at the Oscars. With the news of his retirement looming, people have wondered if he has saved his best for last in the mysterious new drama, Phantom Thread.

Daniel Day-Lewis stars as Reynolds Woodcock, a renowned dress maker in 1950s London at the top of his game working alongside his sister, Cyril (Lesley Manville), at the House of Woodcock. Reynolds is a bachelor, having never been married and women coming and going throughout his life. One day, he comes across Alma (Vicky Krieps), a strong-willed waitress who becomes his muse and his love, but their relationship causes disruption in Woodcock’s seemingly well threaded life.

Should this be the final performance in the illustrious career of Daniel Day-Lewis, he goes out with a bang. Lewis has perhaps his greatest role in his career as Woodcock, a calculating, creative maniac whose routine cannot be disrupted, or his life is thrown into disorder. Lewis brings so much nuance to his performance. It’s not just his delivery of the dialogue, it’s his movement, his reactions, his facial expressions, that bring life to this character. Some scenes we as an audience sympathize with this tortured artist, but the next we object to his treatment of others due to his fussiness. Lewis has worked with writer/ director Paul Thomas Anderson before in There Will Be Blood, where he won his second “Best Actor” Oscar, and Phantom Thread is yet another example of an actor and director working seamlessly together. There’s no doubt he should be the front-runner for “Best Actor” at the Academy Awards, and should close out his career with his fourth win and forever be known as one of the greatest actors to ever perform.

Daniel Day-Lewis and Vicky Krieps in “Phantom Thread.”

That’s not to say the other performers don’t match the prowess of Lewis, however. While there hasn’t been much love for either of them in regards to awards attention, Lesley Manville and Vicky Krieps are magnetic as Cyril Woodcock and Alma respectively. Manville brings a calming influence to his brother, but also isn’t afraid to stand up to him either, making her one of the most intriguing characters in the film. Vick Krieps also makes a splash as Alma, the surprisingly resolute next woman in Woodcock’s life. She too comes across as both sympathetic and as an instigator, and the audience understands her plight. It’s a shame neither woman has received much accolades for their performances, as the two very easily provide some of the best work actresses had to offer in 2017.

One must mention the skilled direction and engrossing writing of writer and director Paul Thomas Anderson. Anderson has become one of the most sought after directors in Hollywood, and his writing abilities also remain top notch. Anderson is able to write characters that are fascinating and mysterious, alluring and guarded. His work captivates audiences, and leaves them begging for more even after the two hour and ten minute run time. It’s difficult to elaborate without giving away the entirety of the film, but know one is in for a fascinating experience.

Phantom Thread is one of the best films of 2017, hands down. Not only does it feature a director at the top of his game, it features fantastic performances from all supporting actors involved. Most importantly, its lead delivers a tour de force performance of a lifetime that could very well be his last. One must treasure this film if it is indeed the final performance of Daniel Day-Lewis’s career, as it is a spellbinding love story and a cautionary tale of what happens to talented artists when their craft is disrupted by a force of nature.

Rating: 3.5 out of 4 Stars. Pay Full Price.

Phantom Thread stars Daniel Day-Lewis, Lesley Manville, Vicky Krieps, and Brian Gleeson. It is in theaters now.

Bro-Reviews: The Post

Donald Trump’s least favorite movie of 2017.

There’s no doubt the rising political tensions in America point towards one direction: Donald Trump. Whether you voted for him or not, one must admit his presidency has been a nothing short of a circus. He somehow finds himself in the headlines seemingly every week for all the wrong reasons, and constantly lambasts the media while being so paranoid to the point he labels it “Fake News.” The only President who comes to mind in regards to Trump’s insecure behavior is Mr. Watergate himself, Richard Nixon. After countless films of eviscerating him, Steven Spielberg decided it was time for him to once again put his history teacher’s hat on and give us a lecture on the Washington Post’s rise to prominence by exposing Nixon’s hubris of continuing the Vietnam War in The Post.

The Post sees newspaper heiress Katharine Graham (Meryl Streep) attempting to balance her politically connected social life with the responsibility of being the publisher of Washington D.C.’s local newspaper, “The Washington Post”. Meanwhile, the paper’s editor in chief, Ben Bradlee (Tom Hanks), and his staff chase after a source who advised President Lyndon Johnson and former Secretary of Defense Robert McNamara (Bruce Greenwood) that the U.S.’s efforts in the Vietnam War were fruitless. When the source delivers them over 20 years worth of secret government documents highlighting the U.S.’s knowledge of their hopeless war but continued to send soldiers there to die anyway, the newspaper is at a crossroads: either publish the documents to expose the government’s conniving deception of the public, or risk federal prosecution at the hands of the government and go to prison.

The Post is undoubtedly a timely subject matter due to the spotlight currently on the Trump administration’s weekly battle with the news media. It makes sense that in times like these Hollywood rallies together in some way to teach us a lesson on past transgressions and highlighting how the American public continues to make the same mistake over and over again while also giving them a glimmer of hope that we can improve in the future. Spielberg has become a master of taking audiences to school and re-enacting important moments in U.S. history, including in films such as Saving Private Ryan, Lincoln, and Bridge of Spies. The Post is another one of these films, and Spielberg continues his legendary career by showing his mastery of history and transporting audiences to the past with his taut and skilled direction in the film.

Tom Hanks and Meryl Streep in “The Post.”

The performances in the film are great, as is expected when casting lead actors Meryl Streep and Tom Hanks. As a person who typically cannot stand Streep and believes she is the most overrated actress of all-time, Streep is a fantastic as Ms. Graham. Her ability to show Katharine’s vulnerability and insecurities is breathtaking, and her transformation into a woman of influence by the film’s climax is one of the more compelling character arcs in some time. Tom Hanks is in classic Tom Hanks form as Mr. Bradlee, and he and Spielberg have worked together so well for so long one has to wonder if they’re a package deal at this point. The rest of the ensemble cast also meshes well together, particularly Bruce Greenwood’s turn as former Secretary of Defense Robert McNamara, as he gives a performance that warrants consideration for “Best Supporting Actor.”

Unfortunately for the film, Spielberg wastes the first hour of it with uncompelling drama that includes board meetings, phone calls via a pay phone, and parties you wouldn’t bother RSVP’ing to. It takes too long to get to the most thrilling aspect of the film, the piecing together of the government documents and the decision of whether or not to publish. While the latter half rescues the film and makes up for a lackluster first act, there had to have been a way to keep audiences invested for the entirety of the film, but Spielberg didn’t piece it together well enough. Also, it’s important to note a scene towards the end of the film where Meryl Streep is walking in a crowd of women who are in awe of her. Somewhere, Rose McGowan is pissed. On top of that, we know how this story ends, and for the film to seemingly tease The Post 2: WATERGATE at the very end comes across as a Marvel after-credits stinger, not exactly what one would expect from an awards season contender.

With all of the controversy surrounding the Trump Presidency (*good god uttering those words still doesn’t feel right*) and its similarities to the Nixon administration, The Post couldn’t have been released at a more compelling time in America. While it takes awhile for the film to get going, The Post can be chalked up as another victory for the historian Spielberg due to its gripping final hour and terrific performances. While The Post doesn’t quite reach awards worthy territory, one thing is for certain: it’s Donald Trump’s least favorite movie of 2017.

Rating: 3 out of 4 stars. Pay Matinee Price.

The Post stars Meryl Streep, Tom Hanks, Bruce Greenwood, Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, Bruce Greenwood, Matthew Rhys, Alsion Brie, Carrie Coon, Jesse Plemons, and David Cross.

Bro-Reviews: Lady Bird

A timeless tale of angst.

Coming of age stories can be hit or miss in Hollywood. Sometimes they can turn out to be raunchy, hilarious sex comedies like American Pie. Other times they can be senseless fluff like Cocktail. But as of late, coming of age stories have been bold and thought provoking, including last year’s Oscars “Best Picture” winner, Moonlight. A film hoping to capitalize on this wave of goodwill is Lady Bird, the latest entry in the coming of age genre. Only the second film to be written and directed by indie darling Greta Gerwig, does it manage to keep the streak alive that Moonlight started? Or does it fall victim to clichés that have riddled the genre unbearable at times?

Lady Bird tells the story of high-school senior Christine “Lady Bird” McPherson (Saoirse Ronan), a quirky, awkward teen living in Sacramento, California. “Lady Bird” is disillusioned by the prospect of going to college nearby her hometown, and wishes to attend school out east in New York City. Her headstrong and tough-loving mother, Marion (Laurie Metcalf), is against the idea, as she and her family are struggling financially and cannot afford her tuition. The two struggle to get along, as Marion wants “Lady Bird” to be the best version of herself, while “Lady Bird” wants to do so in a fashion that goes against her mother’s wishes.

For a long while I had my eye on the lookout for Lady Bird playing in a theater nearby, and that time didn’t come until fairly recently. Most of my fascination with seeing the film was due not only to it’s teenage angst subject matter, but also the fact that it features one of the biggest rising stars in the industry, Irish actress Saoirse Ronan. Ronan has been a scene-stealer since her supporting role days in 2007’s Atonement, which earned her a “Best Supporting Actress” Oscar nomination. She has continued to develop as one of the most versatile actress working today, displaying her acting chops in films such as The Lovely Bones, Hana, and The Grand Budapest Hotel. She earned another Oscar nomination back in 2016 for “Best Actress” for her role in Brooklyn, a highly underrated film that showcased her talents.

Saoirse Ronan and Laurie Metcalf in “Lady Bird.”

Lady Bird is Saoirse’s latest tour de force as a performer, as her portrayal of a too-young, too-snippy for her own good young adult is one of the best performances of 2017. Typically in the making of coming of age films, there’s a point where characters can become unlikable, and the filmmakers fail to recapture why we liked those characters in the first place. There are plenty of points in Lady Bird where the title character acts immaturely and even selfishly, but at no point do we dislike her. Much of that credit must go to Saoirse Ronan, whose ability to portray “Lady Bird” as an angsty but misunderstood teen requires the abilities of a seasoned actress, and Ronan delivers. She recently walked away with a Golden Globe for “Best performance by an actress in a motion picture, musical or comedy”, and is undoubtedly a favorite to win the Oscar for “Best Actress.”

Matching her blow for blow is Laurie Metcalf, who also delivers a powerhouse performance as “Lady Bird’s” mother. She comes across as negative, doubting mother, but Metcalf is able able to highlight the character’s softer side, and acts the way she does towards her daughter only because she wants what’s best for her. The rest of the ensemble cast also delivers sneaky good performances, including Beanie Feldstein as “Lady Bird’s” best friend Julie, and Tracy Letts as “Lady Bird’s” kind father.

Much credit must be given to the writer and director of the film, Greta Gerwig. Although there are striking resemblances to her upbringing despite the fact she denies the film is parallel to her life, Gerwig’s writing and directing talents are on full display throughout the film. Her sharp, witty dialogue makes the film one of the funniest of the year, and her ability to highlight the awkwardness of going to a Catholic high-school gave me memories of my times in Catholic middle school while living in Pittsburgh, Pennsylvania. She is also able to make an “America’s heartland” film despite the fact it’s set in a state many associate with glitz and glamor. However, Gerwig manages to capture Sacramento in a fashion that makes it seem like the town is it’s own little planet, despite the fact it’s only 2 or so hours away from the bustling streets of San Francisco. Despite an ending that feels somewhat anti-climatic, Greta Gerwig is able to put her stamp on the film, and proves she’s a director to be reckoned with.

Lady Bird is a triumph. It’s learning how to adult and teenage angst themes may have been explored countless times before, but its remarkable performances from Saoirse Ronan and Laurie Metcalf and masterful direction from Greta Gerwig makes it an awards season favorite. In time, Lady Bird will be known as a timeless coming of age tale, but for now, it’ll have to settle for one of the best films 2017.

Rating: 3.5/4 Stars. Pay Full Price.

Lady Bird stars Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Stephen McKinley Henderson, Jordan Rodrigues, and Odeya Rush.