Sigourney Weaver tagged posts

The 10 Best Films of 2017

Another year, another 10 movies that define why we love cinema. 2017 was such a strong year for film releases that many excellent movies failed to make our Top 10.

Honorary shout-outs then to such must-sees as Wind River, IT, Mother!, Una, A Silent Voice and Wonder Woman. Great movies all, all pipped to the post by the titles below.

Whatever brow-furrowing misbehaviour 2018 brings, one sliver of good news is that cinema should remain in fine shape. From what we saw at the London Film Festival in October, at least three five-star movies will be released next year.

But, without further ado, here is Electric Shadows’ 10 Best Films of 2017…


  1. Brawl in Cell Block 99

Writer/director S...

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The Best Films of the 2016 BFI London Film Festival

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Another BFI London Film Festival belongs to the ages. And this 60th anniversary festival was done proud by some of the best cinema you will see this year (or next dependent upon UK release patterns).

Below is Electric Shadows’ Top 10 of this year’s LFF. Please note that in Brexit Britain immune systems seem to have fallen as low as the pound. With a heavy cold racking this gutsy scribe’s constitution, part days and bed rest replaced full film indulgence. This meant Personal Shopper, Certain Women (the LFF’s Best Film winner), The Birth of a Nation, Dog Eat Dog and Ethel and Ernest were all missed in favour of Lemsip and blankets.

All the above movies seem like Top 10 contenders.

Press screening scheduling clashes meant Elle was chosen over Manchester By the Sea and Your Name over ...

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A Monster Calls

a-monster-calls-posterDirector: J.A. Bayona

Writer: Patrick Ness (and novel)

Cast: Lewis MacDougall, Felicity Jones, Sigourney Weaver, Toby Kebbell, Liam Neeson

Cert: 12A

Running time: 108mins

Year: 2016

 


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What’s the story: Conor, a young boy whose mother is seriously ill with cancer, is visited by a giant tree monster who he thinks can help him.

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What’s the verdict: J.A. Bayona’s A Monster Calls immediately joins The Spirit of the Beehive, Pan’s Labyrinth, and the too-little remembered Paperhouse as a first class film about the power of art and imagination to battle the difficulties of real life.

Or to put it another way, it’s Billy Elliott with a big monster instead of ballet.

It is also one the most effective tearjerkers of recent times, so take a big box of tissues (blokes, that goes for you ...

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