As We Say Goodbye to 2017, We Look Back At The Good Times – The Best Movies 2017
The Best Movies 2017
If you missed The Idiot‘s list of Worst Hollywood Movies of 2017, read it here.
If you missed The Idiot‘s list of Worst Bollywood Movies of 2017, read it here.
If you missed The Idiot‘s list of Best Bollywood Movies of 2017, read it here.
Picking the best or the worst is always subjective, unless one is watching Sachin Tendulkar or Lionel Messi play. This list will be no different. The only difference is that my list, though subjective, has been carefully analysed to contain entries that have high cinematic value – direction, cinematography, screenplay and content, editing and, of course, acting.
There have been many movies that were universally appreciated, connecting with the audience in a way that only good cinema can. Having already listed the worst movies of 2017, Cinedicted now presents the best movies of 2017 (in no particular order):
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Dunkirk
The People Have Spoken:
–> Just because it’s set in WW2 doesn’t mean it needs to be a war movie with heavy doses of guns blazing and explosions and death etc etc. The film shows another face of war; the one where war means survival. Mr. Zimmer with another piece of brilliant work.
–> Nolan’s time-twisting, heart-pumping movie ‘Dunkirk’ is a visual aura that kept me engaged right till the end! It describes authentic situation combined with mesmerizing visual.
–> Christopher Nolan‘s first history movie is bold, visceral, and powerful, with many moving sequences — though some of his filmmaking choices can be challenging.
–> A spare, propulsive, ever-intensifying combat thriller, Nolan’s history lesson is both a rousing celebration of solidarity and the tensest beach-set film since Jaws.
–> Dunkirk dramatizes the complexity of war—both its horrors and heroism—while admirably not straying beyond the boundaries of a PG-13 rating.
–> Difficult to say it is Nolan’s best movie. However, considering the deliverance for a war movie, Nolan deserves a bow.
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Phantom Thread
The People Have Spoken:
–> We’re not so much watching Woodcock the rarefied designer as Day-Lewis the rarefied actor, his immersion so uncanny that he can illuminate a soul at once titanic and stunted.
–> There’s a similar feeling throughout “Phantom Thread,” albeit with one key difference: You can see the ghost as she haunts you, and you don’t want her to leave.
–> Phantom Thread isn’t going to tell you, or make the journey easy, but it’s a beautiful trip and examination about the joys and dangers of human connection.
–> There is such pure delicious pleasure in this film, in its strangeness, its vehemence, its flourishes of absurdity, carried off with superb elegance.
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Logan
The People Have Spoken:
–> Logan feels like the Wolverine movie Hugh Jackman has been waiting (and training) for 17 years to make. Set free of a PG rating, this wildly kinetic film has plenty of gore, action and violence pumping through its veins. But what makes this one of the finest superhero movies ever produced is the big, messy, somewhat broken heart beating at its core.
–> One of the best cult movies of all time. The comical characterization of Wolverine aka Logan is very naturally portrayed in this movie compared to the other x-men movies. It gave a great send off to Hugh Jackman from the series. A must-watch movie.
–> The best Wolverine movie yet: grown-up, ballsy, character-driven and grounded. It feels right that it should be the last one, but it also feels a bit of a shame.
–> X-Men movie franchise connections aside, Logan is a grisly and sombre character drama that sends off Hugh Jackman’s Wolverine on a high note.
–> It opts for something different, and it largely works, giving Jackman a worthy final chapter to hang his claws on.
The People Have Spoken:
–> The story is an uninteresting thicket of brawls, machinations and coincidences, but the director Taika Waititi has a charmingly human touch and a gift for turning goofiness and gab into personality.
–> The idea of pairing the oft-dull Thor with a series of oddball companions is an inspired, if necessary, move – so much so that it’s baffling it has taken Marvel this long to smarten up.
–> After a steady decline in quality for the Marvel Cinematic Universe, Thor: Ragnarok suggests the company might have found its niche in how it presents certain characters.
–> Filled from start to finish with its own quirky flavour, Thor: Ragnarok is another entry from Marvel you simply cannot miss!
–> This viewer was wowed in fits and starts, but mostly filled with a new, ungrudging respect for Hemsworth.
–> This is the best Thor-centric film in the Marvel universe yet, and hopefully, it’s a sign of more to come.
–> Marvel’s funniest film yet!
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Wonder Woman
The People Have Spoken:
–> As befitting the genre, Wonder Woman is heroic and spirited. The fighting sequences are spectacular, and the story is engrossing, uplifting and fun. There’s even a bit of romance and humour amid all the action.
–> Befitting its World War I setting, Wonder Woman has a certain throwback charm, with Gadot and Pine playing off one another as good-naturedly as partners in a 1930s screwball comedy.
–> ‘Wonder Woman’ is a blend of an uplifting & humorous outlook with strong female characters, that does justice to the iconic female superhero.
–> An indifferent box office promises to get a lift from a genuinely novel protagonist as enigmatic as she is compelling.
–> The moviegoing world deserves the best that Hollywood can deliver, and this time we’ve pretty much got it.
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Spider-Man Homecoming
The People Have Spoken:
–> This movie’s ultimate achievement is remembering what a great Spider-Man movie should always be in the end: fun, heartfelt, and exciting without ever losing sight of what makes the character so beloved and iconic.
–> The characters and scenarios are familiar, but this is a loose, cool, funny remix that makes them feel fresh again. Plus, it’s mercifully short on life lessons from Aunt May.
–> If “Spider-Man: Homecoming” is to be judged solely on its ability to unite a diverse audience behind a fun motion picture, it seems to have succeeded wildly.
–> What makes this homecoming fun is [Tom] Holland, who seems as excited about Spider-Man as his classmates even though he is Spider-Man.
–> We’ve never seen a character as mythical as Spider-Man portrayed in such a user-friendly, sanded-down, After School Special way.
–> Clever, funny, and true to the Spider-Man spirit, this take on everyone’s favourite web-slinger is thoroughly entertaining.
–> Homecoming gets so many things right that it’s almost difficult to catalogue them.
The People Have Spoken:
–> Watching Ford and Gosling onscreen together suggests an evolution of masculinity within the films, one that exists along a continuum of noir leading men, from those failing to hide their tenderhearted nature to the solemn figures who make stoicism an art.
–> Coming 35 years after the iconic original, Denis Villeneuve’s sequel is a little heavier on spellbinding visuals than emotions or profound themes, but it still provides worthy food for thought.
–> Daring in its own right, this broodingly sumptuous saga explores the primacy of feelings, the nature of memories and the essence of being human.
–> From the opening aerial shots, we know we are in the presence of a masterly visual tactician and a shrewd storyteller in the director, Denis Villeneuve.
–> Blade Runner 2049, on the other hand, manages to be prettier but far more prosaic.
–> Villeneuve sets a bar for sci-fi sequels.
The People Have Spoken:
–> Rian Johnson’s middle chapter in the current Star Wars trilogy is the epic you’ve been looking for. Capped by Mark Hamill in the performance of his career, it points the way ahead to a next generation of Skywalkers – and, thrillingly, to a new hope.
–> The Last Jedi probably does the best job of any Star Wars film of capturing the allure of the Dark Side and the spiritual turmoil that would lead to-and also result from its embrace.
–> Star Wars: The Last Jedi builds upon Star Wars history for a more expansive, high-stakes adventure with plenty of fresh – and classic – elements.
–> Rian Johnson’s Star Wars: The Last Jedi is a satisfying, at times transporting entertainment with visual wit and a distinctly human touch.
–> This Rian Johnson’s version of Star Wars; George Lucas and JJ Abrams would’ve been a proud predecessor today.
–> In a world bursting with flashy popcorn movies, there’s still nothing quite like a “Star Wars” flick.
–> The Sith hits the fan as Kylo Ren and the First Order have the Resistance on the run.
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Guardians of the Galaxy: Vol. 2
The People Have Spoken:
–> [Yondu’s] presence kicks the idling movie into gear, and into a final third act for which all of the previous meanderings can be forgiven – and the talk of family finally accrues the weight the film has been trying to put on it.
–> James Gunn has written and directed the two best films in the entire MCU thus far; his work continues to contain superb irreverent humour, boast visually and emotionally captivating spectacles, and embraces being different.
–> In Marvel lingo, Guardians 2 feels like a great six-issue arc, the kind of storytelling that used to be the backbone of superhero comics.
–> Guardians Of The Galaxy 2 has the peculiar Marvel feature of having the audience hooked onto the casual dialogue of the film.
–> Perhaps not quite as fresh or fun as the original, but still very much a triumph of the Quill.
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The LEGO Batman Movie
The People Have Spoken:
–> Overall, The Lego Batman Movie offers enough action and silliness to enthral children while providing sufficient pop culture and Batman-through-the-years references to keep adults entertained.
–> Like a miniature universe made of millions of tiny plastic bricks, “The Lego Batman Movie” looks and feels like it could only have been put together by a roomful of mad geniuses.
–> Basically, it’s a standard-issue Batman narrative – arguably better than 50 percent of history’s other Batman films – that just happens to take place in a Lego-fied world.
–> Many films open on a high and drop off, but you’ll rarely see a plunge as vertiginous as the one in The Lego Batman Movie. The first 20 minutes kill.
–> As gateway drugs go, The Lego Batman Movie is pretty irresistible. It’s silly without being truly strange or crossing over into absurdity.
–> It’s the Bat-spoof we didn’t know we needed and it gives Batman a chance to loosen up.
–> Everything is awesome-er in this Batman-themed spin-off to The Lego Movie.
–> It’s audacious, brilliant and definitely a super-powered comedy.
The People Have Spoken:
–> By doubling down on its idiosyncrasies, Chapter 2 justifies the existence of more Wick without overstaying its welcome. It’s a lesson most Hollywood sequels could stand to learn.
–> Compared to the massive scales of CGI’d blockbusters, John Wick and its sequel offer more cohesive doses of ferocious thrills.
–> It might not do much to your brain, but it’ll certainly set your heart racing. If you’re in the mood for blood, Wick is your pick.
–> John Wick: Chapter 2 obliterates its predecessor and is one of the greatest American action films of the decade.
–> John Wick: Chapter 2 is the apotheosis of a 3 a.m. cable wallow. And loving it doesn’t corrupt you.
–> John Wick 2 verges on perfection thanks to the choreography orchestrated by the filmmaker.
–> This is “more of the same” but, at least in this case, that’s a good thing.
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Okja
The People Have Spoken:
–> The power of Bong’s film is that it never lets go of Mija’s purity of spirit, holding it up as a lesson many of us (particularly the meat-eaters) could stand to re-learn.
–> Pitch-black satire, heartwarming devotion, over-the-top performance, and subtle drama are engineered into something decidedly (if improbably) delicious.
–> A pot-bellied fable unlike anything else you’ll see this year. Not since Babe has an adorable porker inspired such peculiar joy or unexpected heartache.
–> The human performers are all brilliant, but the movie belongs to its title character and her digitally conjured, genetically modified ilk.
–> Forget this film’s quart-size protagonist and her whimsical pet pig. Okja is a jarring, unsettling and often difficult-to-watch story.
–> It’s a sublime tale of the value of humanity, and the horrors we often have to suffer through to hold on to that.
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Three Billboards Outside Ebbing, Missouri
The People Have Spoken:
–> But while that is a rage that’s exhilarating to witness, it’s a rage that’s not available to everyone. Just as not everyone in Ebbing can claim the protection of being considered “good,” we still don’t live in a world where everyone gets to be angry.
–> So sharply written that it cuts, the third movie from award-winning playwright Martin McDonagh is a dramedy that starts with cleverness and wit, then opens up into something truthfully human.
–> The movie is one of the angriest films in recent memory. Yet it has moments of unlikely (yet hilarious) comedy and sincere tenderness, along with acts of nearly unwatchable violence.
–> Martin McDonagh has freighted Three Billboards with a tragedy that allows the performers — primarily Frances McDormand — to play to their range.
–> The film is as dark as they come, a pitch-black, often laceratingly funny look at human nature at its most nasty, brutish and dimwitted.
–> As we watch this wonderful movie we’re able to see who Mildred and all the others really are, and, better still, who they may become.
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Baby Driver
The People Have Spoken:
–> Will resonate most with audiences that skew young, hip, and, like its helmer and its hero (the latter played by baby-faced “The Fault in Our Stars” star Ansel Elgort), more than a little obsessive.
–> Baby Driver aestheticizes gun violence much in the same way it lifts up the now-kitschy, now-cool songs on its soundtrack: as playful, self-impressed pastiche.
–> This is not a philosophy of criminology, or a new pathology of antisocial behaviour, but it makes for a terrific night at the movies.
–> Put in your metaphorical earbuds, turn the key in the ignition, and enjoy the cinematic highlight of the summer so far.
–> Edgar Wright’s Baby Driver is one of the most entertaining thrill rides of this year, this decade.
–> Compared to Fate of the Furious, Baby Driver deserves an Oscar.
–> It’s actually a drive-in movie made with art-house élan.
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The Shape of Water
The People Have Spoken:
–> In The Shape of Water, del Toro and co-screenwriter Vanessa Taylor make it appear easy to do something that is really quite difficult-grounding the film from start to finish in a fictional world that has its own inner logic.
–> It’s a testament to the storyteller’s skill that he manages to cram [so much] into his narrative with nary a lump and still keep his characters dancing with only one or two minor missteps.
–> The visual stylist spins an adult fairy tale that takes elements from “Beauty and the Beast” and recasts them in an alternative universe that’s a wonderfully rendered twist on our own.
–> Guillermo del Toro’s The Shape of Water elegantly blends whimsical fairy tale with a fresh spin on classic monster movies for a delightful experience.
–> An enchanting re-imagining of “Beauty and the Beast,” it is an unforgettably romantic, utterly sublime, dazzling phantasmagoria.
–> You never know where “The Shape of Water” is going. But, like water, you let it engulf you and sweep you away.
–> The Shape of Water is one of the best films of the year.
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The Killing of a Sacred Deer
The People Have Spoken:
–> An amazingly weird assemblage of notions from Greek mythology and concepts from pessimistic geniuses like Stanley Kubrick, Roman Polanski and Michael Haneke, the film creates something akin to a dreadful dream.
–> This is an art film, after all, and though Lanthimos is within his rights to challenge and provoke, his seemingly cold-hearted approach to an impossible conundrum makes for an undeniably tough sit.
–> Performances are solid all round, but the standout is Irish actor Keoghan. Shy and lonely one moment, utterly blood-chilling the next, he’s a mesmerizing presence on this screen of menace.
–> Working as a profound meditation on karma, predestination and guilt and a proper scary movie, this is near career-best work from all involved. Be warned: this is tough stuff.
–> Lanthimos has made a tense, heart-wrenching tale with an admirably askance view of humanity that’s a worthy successor to his prior works.
–> The Killing of a Sacred Deer feels like a dark, opaque bit of folklore transplanted into an off-kilter modern setting.
–> The Killing of a Sacred Deer is haunting and singular and strange, but it’s also icy, remote, and too enigmatic.
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Call Me by Your Name
The People Have Spoken:
–> Even as he beguiles us with mystery, Guadagnino recreates Elio’s life-changing summer with such intensity that we might as well be experiencing it first-hand.
–> A film that’s at once light, joyful and emotionally devastating, with deeply affecting central performances. A full-hearted romantic masterpiece.
–> Each element is carefully calibrated, but deployed with consummate grace—this is a film to rush to, and to then savour every minute of.
–> There are three stars in Luca Guadignino’s beautiful new film: Armie Hammer, Timothee Chalamet and the northern Italian city of Crema.
–> A complicated movie, erotic yet never graphic, heartfelt yet highly stylized. Chalamet delivers one of the year’s best performances.
–> A spellbinding, almost ecstatically beautiful movie that gains even more heft and meaning in its final transcendent moments.
–> One of the year’s most romantic movies, and also one of the best.
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The Big Sick
The People Have Spoken:
–> It’s a joy to watch two “real people” (albeit unusually witty, clever and attractive “real people”) fall in and out and back in love. And, it’s particularly satisfying that their mothers have so much to do with it.
–> Director Michael Showalter’s engaging, thoughtful film is most easily billed as a romantic comedy, but it has far more depth and dimension than your standard rom-com.
–> Mostly, the movie works for the reason that all the best rom-coms do: you fall in love, a little bit, with Kumail and Emily, and want them to stay together.
–> The Big Sick has a big heart and shows there are still corners left to explore in romantic comedies; it just takes someone willing to find them.
–> Even if The Big Sick risks being too long, or too gently lovable, it’s certainly welcome counter-programming for a clobbering summer.
–> Edgy and hilarious, Nanjiani and Gordon’s true story of cross-cultural love is a Trump-baiting marvel that’s worth the hype.
–> Watching The Big Sick is like fondly reconnecting with an old friend you didn’t know you missed.
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The Florida Project
The People Have Spoken:
–> The Florida Project, Sean Baker’s risky and revelatory new film, avoids the traps of condescension and prurience that ensnare too many well-meaning movies about poverty in America.
–> It doesn’t just show what its characters go through, it observes, it notices. It studies. This is a film that pays attention to the little details that communicate huge feelings.
–> Thanks to a handful of mesmerizing performances and Baker’s deft directing, The Florida Project is a must-see work—and one of the year’s best films.
–> It’s one of the most effective, honest portraits of childhood you’ll ever see, and a touching, poignant snapshot of American life in 2017.
–> This is a near-perfect film, and a heightening in every way of everything that was great about Baker’s last movie.
–> [Director Sean Baker’s] frantic depiction of Moonee’s final fantasy verges on both brilliance and heartbreak.
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Lady Bird
The People Have Spoken:
–> Lady Bird is a brilliant little movie that deals with ideas both big and small. But, most powerful is the relationship between Lady Bird and Marion. It is harsh and funny and sometimes hard to watch. But it is undeniably and eternally there.
–> Gerwig finds a warmer part of herself when, unencumbered by any lab partner, she returns to her hometown with Lady Bird. One can only hope that, this time, she stays.
–> Lady Bird wouldn’t work if the teenager at its centre weren’t utterly lovable, and Ronan really is, making Christine’s flaws as endearing as her warmth and vulnerability.
–> Anyone who’s lived within the emotional cyclone known as adolescence will recognize the vertiginous highs and lows of “Lady Bird.”
–> A heartfelt coming-of-age story that perfectly captures the bittersweet transition from adolescence to dawning adulthood.
–> Everything comes together for Greta Gerwig in her marvellous solo directorial debut, Lady Bird.
–> The kind of modest, miraculous low-budget gem that takes on a life of its own.
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I, Tonya
The People Have Spoken:
–> This remarkable movie-factual and funny, always surprising and unconventionally written, directed and acted-sets the record straight with an adrenalin rush that overwhelms the senses.
–> Tonya’s been a punching bag for everyone, including the public. And yes, the film implicates us in that. But her defiance grows with every heckle, including her mother’s.
–> Robbie anchors the film with her wholehearted, emotional performances, making it an entertaining portrait of one of sports’ most notorious figures.
–> Destroyed yet defiant, Robbie walks the emotional tightrope of the most fabulously, tragically American film of the year.
–> This blackly comic chronicle of an event we all thought we knew will be remembered long after the end credits roll.
–> It’s about time we had a world-class feminine lowlife to root for, and this, at long last, is that movie.
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Get Out
The People Have Spoken:
–> Peele succeeds where sometimes even more experienced filmmakers fail: He’s made an agile entertainment whose social and cultural observations are woven so tightly into the fabric that you’re laughing even as you’re thinking, and vice-versa.
–> Jordan Peele’s Get Out is the satirical horror movie we’ve been waiting for, a mash-up of Guess Who’s Coming to Dinner? and The Stepford Wives that’s more fun than either and more illuminating, too.
–> More than just a standard-issue thriller, this brutal, smart movie is impeccably made, as well as surprising, shocking, and funny, while also offering a compassionate, thoughtful look at race.
–> Blending race-savvy satire with horror to especially potent effect, this bombshell social critique from first-time director Jordan Peele proves positively fearless.
–> By focusing the storyline on a particular form of racism — the kind that’s often disguised as peculiar envy — Get Out reveals something more insidious.
–> Kudos to Peele for tackling a painful subject in such a massively entertaining and thoroughly memorable fashion.
–> Get Out is not a comedy but a psychological thriller that–if anything–delves into satirical territory.
–> An exhilaratingly smart and scary freak out about a black man in a white nightmare.
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Atomic Blonde
The People Have Spoken:
–> You don’t go to operas for dancing or ballets for singing, and you don’t see Atomic Blonde for anything but a badass female protagonist crunching bones and pulping faces in gratifyingly long takes or remarkable simulations thereof.
–> Can a woman step into James Bond’s shoes? Duh, says Charlize Theron as she performs the cold-as-ice secret agent shtick backwards, and in red patent-leather stilettos, in the engaging spy-vs-spy thriller Atomic Blonde.
–> Adapting Sam Hart and Antony Johnston’s graphic novel The Coldest City, Kurt Johnstad has written a smart exploitation thriller.
–> While it’s not a perfect female-centric spy thriller (let’s keep trying), Atomic Blonde winks to the future with exciting possibilities.
–> It’s a calorie-free serving of simple pleasures, and sometimes that’s exactly what you need.
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Split
The People Have Spoken:
–> The movie’s simultaneous evocation of both the depravity at work beneath society’s deceptive surfaces and the inadequacy of the liberal technocratic order to defend against that depravity is the secret to its success.
–> There are plenty of proper twists to follow, none more unexpected than the fact that Shyamalan himself has managed to get his groove back after a slew of increasingly atrocious misfires.
–> Split may not be to everyone’s taste, but the story, craftsmanship, and excellent performances will haunt you for quite a while. As will some beastly bits.
–> Shyamalan concocts a clever premise and delivers one of the most suspenseful thrillers this decade bolstered by an outstanding turn by McAvoy.
–> James McAvoy’s impressive range is on full display in “Split,” in which he stars as Kevin, a man with dissociative identity disorder.
–> Shyamalan relishes peeling back the layers of an unsettling storyline with disturbingly creepy savour.
The People Have Spoken:
–> I’m writing this not so much as a critic but as an ordinary moviegoer, experiencing Proustian transport via an old-fashioned scary movie executed by a team of filmmakers and actors at the top of their game.
–> Focusing entirely on the childhood-set portions of King’s book, it’s a collection of alternately terrifying, hallucinatory, and ludicrous nightmare imagery.
–> As a coming of age parable, IT succeeds at being both horrifying and emotionally-resonant, even while adapting only half of King’s original story.
–> More successful as a coming-of-age movie than a horror, It still ranks among the better Stephen King adaptations — no small praise indeed.
–> It’s such a great performance that you wish Muschietti had eased up on the CGI and just let Skarsgård do the talking.
–> IT is [a] study in trauma to match the best of them.
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Thelma
The People Have Spoken:
–> Joachim Trier’s Thelma draws on the familiar female naïf and, for a stretch, seems to be working with some largely recognizable narrative ideas, but it’s too pleasurably unruly to fit into one box.
–> As a hushed, haunting portrait of a young woman reconciling daughterly duty and her own incipient power, Thelma feels like a stylish, timely allegory for the present moment.
–> Thelma is both more mysterious and more accessible than his other films. The spell it casts transcends the silly plotting. It puts you in a zone all its own.
–> Thelma treads the line between the psychological and supernatural, gracefully at first, and then with increasing abandon.
–> It’s chilly in Oslo, and in this movie; the better to sneak up on you quietly, like an unexpected shiver.
–> Thelma is a superbly controlled, if derivative, a variation on a familiar theme.
–> A weirdly enthralling supernatural thriller.
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Coco
The People Have Spoken:
–> Of every Pixar film that deals with family, memory, and loss, ask, “Is there sufficient reason for the tears that will inevitably run down my face by the end?” Yes, thanks in no small part to the ingenious use of De La Cruz’s hit song, “Remember Me.”
–> None of Coco’s few flaws can fatally undermine the film because it is, most of all, a smart and enduring piece of storytelling with a satisfyingly twisting narrative and richly complex theme.
–> Disney-Pixar reminds us that it still hasn’t lost its touch in ‘Coco’. Take your kids along for it, and if you don’t have any, don’t hesitate to go alone!
–> But where Coco shines most brightly—literally—is in its vibrant visuals, which rely on a palette of fluorescent greens, blues, yellows, and oranges.
–> If this movie doesn’t quite reach the highest level of Pixar masterpieces, it plays a time-tested tune with captivating originality and flair.
–> Colorful, beautifully animated, and culturally sensitive, “Coco” is an affecting, multilayered coming-of-age drama.
–> This engaging Pixar animation plays magnificently with elements of Mexican folklore and fine art.
Other Notable Mentions:
- Hostiles
- Columbus
- Mudbound
- Moonlight
- The Square
- The Student
- Logan Lucky
- Darkest Hour
- Paddington 2
- City of Ghosts
- Marjorie Prime
- The Disaster Artist
- J. Cole: 4 Your Eyez Only
- Ex Libris: The New York Public Library
Which one was your best movie of 2017?
Source: List & comments compiled from all over the Internet.
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