Meryl Streep – Dose of Buffa

Newspapers used to mean something. They held politicians accountable, informed the public, and kept a lookout over the world. In short, they were a big deal in this nation’s foundation of hope, trust, and doing things the right way, but somewhere along the way, they lost their sex appeal.

Steven Spielberg’s The Post will remind you of that greatness, when freedom of the press was championed and not negotiable. When protecting the people’s right to know was more important than protecting the bottom line of a company. It’s an expertly crafted film that will make you feel good at the end, and you’ll buy a newspaper after you leave the theater because of it. Continue reading “‘The Post’ reminds you of the greatness and power of newspapers”

Before I break into the good, bad, and ugly of the 2017 year in film, let me put this out there: this was an incredible year for the movies. I am talking about a versatile array of cinematic pleasures that ranged from the boldly adventureous (The Shape of Water) to the pulse-pounding thrills of music and car chases (Baby Driver) to a journalistic trail blaze (The Post).

Filmmakers didn’t have to rely on old tricks or recycle favors from decades before, instead exploring new ground with wide-eyed results (look at The Big Sick combining laughs and tears without forcing it). 2016 put out some fine films, but I felt like it got started very late and couldn’t hang with this year’s slate. Like a flashy looking car with a great engine, but a driver who can’t hang on the backroads or badlands of make-believe.

Let’s no waste anymore of your time, and get to the best and worst films of 2017. First, I will put out my top film of 2017 and then list the rest, before delving into the bottom of the barrel. Pour the coffee and let’s go.

THE BEST FILM OF 2017: THE POST

Steven Spielberg, Tom Hanks, and Meryl Streep got together and made a film that couldn’t be more timely or affecting. At a time where the free press are having their dignity trashed by a scared President, this drama covering the Washington Post’s uncovering of documents which linked the government’s negligent actions during the Vietnam War hits you in the head and in the heart. Streep blows a torch for powerful women with her portrayal of Katherine Graham, a woman thrust into a leadership role that she was ill-prepared for. She ended up owning the night and Nixon.

Spielberg takes Liz Hannah and Josh Singer’s wiz script, and doesn’t waste a second of your time, painting the war room at the paper like the beaches at Normandy, where writers and editors had to decide if the last voice in the room would belong to the President or the people. Similar to Spotlight, Spielberg’s tale is diabolical in its accuracy. He filmed this in less than a year, showing what you can do when an important idea possesses you. Hanks gives a bravura performance that we have come to expect, but don’t sleep on Bob Odenkirk (Better Call Saul) or Sarah Paulson, This film gets better every time.

*Opens in St. Louis on Jan. 12, 2018 Continue reading “2017 Movies: The great, good, bad, and ugly”