Martine Olivier
Overrated: “Thor: Ragnarok”
I know what your thinking. How can this be? Is this writer stupid or just crazy? While the answer might be both, “Thor: Ragnarok” fell a bit short for me. Although I would agree that it was the best of the ‘Thor’ films and I did enjoy it, I found it delved a little too deeply into the comedy element. Don’t get me wrong, I am a fan of Taika Waititi’s work as both an actor and a director in films like “What We Do In The Shadows” and “Boy”; and given the types of films he’s made, the tone here isn’t all that surprising. That said, it was too strong on the comedy for a comic book film. Hela, played by the extremely talented Cate Blanchett, couldn’t make her character as intimidating or as menacing as the Goddess of Death surely ought to be: She would’ve destroyed Ragnarok and us in the process if she had been able to ascend to her full potential, particularly as the first female villain in the MCU. This is supposed to be Ragnarok: the destruction of the cosmos! the doom of the gods! the ancient story of the death and the rebirth of the world which has been told since ancient times! Should it really feel like a big joke?
Underrated: “Stronger”
This powerful film is based on the real-life story of Jeff Bauman, who tragically lost both his legs in the 2013 Boston Marathon bombings. He was subsequently hailed as a national hero after providing crucial information which directly led to the capture of both terrorists. Although Gyllenhaal’s casting in “Stronger”was seen as inappropriate by some, citing the underrepresentation of real disabled people in film, that’s really an unfortunate blemish on what could be considered one of Jake Gyllenhaal’s finest performances. Bauman himself was unfazed by such controversies saying that he was thankful to both Gyllenhaal and director David Gordon Green for their “fierce commitment to authenticity” and lauding Gyllenhaal for working tirelessly to finally bring his story to life. This film is tough in parts, facing the ugliness of what happened and the daily struggles Bauman had trying to put his life back together again, but it’s a testament to the strength and resilience of the human spirit. Gyllenhaal poignantly translates Bauman’s experiences, no matter how personal, directly to the audience making it something profound, palpable and well beyond a typical conventional drama. As someone so eloquently put it in the film, “we gotta show them nothing can break us, because we are ‘Boston Strong.’” Bauman is you and he is me; truth is, any one of us could’ve been standing right in that spot, waiting for our loved ones to cross the finish line when that bomb went off. Anyone at any time can be touched by tragedy, but it’s what we do in the time that follows that speaks volumes.
Rodrigo Perez
Overrated (or just simply loathed): Film Twitter, whiny fan petitions, empty threat fan boycotts, misguidedly positive reviews of “Bright,” the absolutely dead boring Film Vs TV debate, Underrated and Overrated lists, hot takes, and most arguments that take place over social media.
Underrated: “Hostiles”
A frustrating filmmaker who has all the goods in his toolkit including the language of cinema and the skill to coax great performance out of actors (see “Crazy Heart,” and “Out Of the Furnace”), Scott Cooper’s admirable, ultimately dissatisfying movies have always been missing something elemental which prevents them from achieving greatness. Many of us have either been waiting for him to finally pull one out of the bag or given up entirely. Well, he finally nailed it with the poignant, but grossly underseen “Hostiles.” Part of its invisibility is because it’s arriving in theaters just now in a small, limited release, but the other half of its near nonexistence is the curiously muted response out of Telluride earlier in the year. Had it been more positively received, it would surely have been in theaters by now with a significant awards push. Nevertheless, Cooper’s harsh and soulful drama is emotionally haunting. Set in the early 19th century during the sustained Native American genocide, an outstanding Christian Bale stars an Army captain who loathes the Indigenous people and is forced, under military order, to reluctantly escort a Cheyenne chief (a terrific Wes Studi) and his family through dangerous territory (Rosamund Pike, Ben Foster, Adam Beach, Rory Cochrane, Jesse Plemons and Q’orianka Kilcher are just a few of the names that round out a superb supporting cast). Perhaps even more so than “Godless” (Netflix’s excellent Western from Scott Frank), “Hostiles” illustrates the God’s absolute dereliction of duty, the severe hardships of living in inhospitable times and the complete absence of mercy. What haunts most in this soulful, but severe film is the profound toll taken on those who’ve experienced too much death and spilled too much blood. Brutal and beautiful, meditatively told (gorgeous cinematography and score from Masanobu Takayanag and Max Richter, respectively) “Hostiles” affectingly captures the weariness of the soul and the inescapability of death while lamenting spiritually broken men tired of their lives and the unforgivable things they’ve done.
Jack Siegel
Overrated: “Kong: Skull Island”
The most consistent complaint for Gareth Edwards’ “Godzilla” (and rightly so) was the complete absence of its titular character. Jordan Vogt-Roberts’ “Kong: Skull Island” overcompensates in this regard 70% consisting of shots of Kong brutally murdering people and mythical creatures to nauseating, diminishing effect. There are about 8,000 characters in the film, all one-dimensional, with lackluster motivations and limited time to be even partially developed. Now, I understand movies don’t have to be high-brow entertainment to be enjoyable, but that isn’t an excuse to make something only slightly better than Roland Emmerich-level. Speaking of Emmerich, his traits are scattered throughout this ADHD-induced picture: Excessive globe trotting, simplistic dialogue, a sophomoric vision of Vietnam War Era America and a mawkishly contrived ending will give you unsettling flashbacks of “Independence Day”.
Underrated: “mother!”
Darren Aronofsky’s latest utilizes “Black Swan”-like dread to keep both audiences and its protagonist in a constant state of discomfort, confusion and eventual shock. Every aspect of this film is carefully calculated, from the consistently dim lighting, symbolizing mother’s (Jennifer Lawrence) ignorance of her husband’s elusive motivation, to the idyllic country setting, whose peaceful nature serves as a sharp contrast to the chaos within the house’s walls. The picture’s bleak philosophy feels refreshingly natural, in a world where too many movies mistake nihilism for intellectualism. Not to mention the fact that Lawrence gives her most understated performance since “Winter’s Bone.” With “Requiem for a Dream,” ‘Swan’ and now this latest master stroke, Aronofsky has invented his own subgenre of psychological horror flicks that rely on a combination of impending doom, visual terror and an inherent distrust of humankind.
Drew Taylor
Overrated: “Logan”
As the year concludes, there seems to be a unanimous declaration that “Logan” wasn’t just the best superhero movie of 2017 but one of the greatest comic book-based films ever. And while the movie does have a few nice moments peppered throughout it (including a brilliantly bittersweet conclusion courtesy of co-screenwriter Scott Frank), this widespread praise is baffling. Consider that this is a movie that cost around $100 million but has all the visual sophistication of an old episode of “Bonanza” – it’s mostly dusty roads and extreme close-ups and wayward plot threads. Just remember that elements of this supposedly great adaptation include a band of misfit child mutants who brutally murder shadowy government operatives, a complete lack of a coherent main villain, and a goddamn evil twin. Sure, Hugh Jackman is terrific in the role that made him a movie star, but hasn’t he always been wonderful? The inclination to take the Wolverine character into harsher territory is a smart one, but at what cost? Desolate, humorless, and oftentimes dramatically inert, “Logan” was the blood-soaked conclusion to a four-color saga that limped across the finish line. Just because it’s R-rated doesn’t mean it’s good.
Underrated: “Brawl in Cell Block 99”
The difference between good trash and bad trash is an underlying feeling of satisfaction. Bad trash is empty but icky; good trash has soul. And “Brawl in Cell Block 99” is the best trash. Written and directed by S. Craig Zahler, the madman behind the similarly berserk “Bone Tomahawk,” his latest offering is a ’70s-style prison move that marks the first movie to use Vince Vaughn‘s raw, hulking physicality for anything besides amiable, awkward goofiness. (An early sequence has Vaughn destroying a car with his bare hands. It’s awesome.) In a truly live-wire performance, Vaughn plays a thug who gets blackmailed into some truly horrific adventures in prison. What follows is a cathartic, cartoonish exploration of masculinity, heroism, and how many ways you can crush a man’s skull (as it turns out, there are plenty). Zahler understands that fountains of gore only carry a kick when you give a shit, and he’s saddled Vaughn’s character with a tragic backstory filled with unexpected nuance. Less nuanced but just as fun are the hammy supporting turns by Udo Kier and Don Johnson (as a sadistic warden). Some have written about the movie’s supposed rightwing politics but it’s hard to understand whether or not Zahler’s point-of-view is sincere or some kind of elaborate prank. And “Brawl in Cell Block 99” is all the better for it.
Lena Wilson
Overrated: “A Ghost Story”
A floral-clad “female” ghost speaks in unnecessary subtitles. An underutilized Rooney Mara repeatedly out-acts (and out-murmurs) Casey Affleck. These are just a few reasons to boo “A Ghost Story,” David Lowery’s third feature and the most pedantic film of 2017. Though I thought it was an artful film with a good concept, “A Ghost Story” is proof that great cinematography and Rooney Mara do not a masterpiece make. Lowery’s third feature spills into mawkishness, sporting the most heavy-handed symbolism to grace screens this year. A tip for Mr. Lowery: if a character has to mansplain your leitmotif an hour in, you might want to consider revising your script. Also, stop making me watch Casey Affleck. Points for artistic effort, but I’ve had enough men with bad hair explain the universe to me. Sharpen your pitchforks, indie nerds. I would have rather seen Rooney Mara eat pie for 90 minutes.
Underrated: “Novitiate”
If you’re interested in subdued, well-made art films, then skip the brooding Affleck and check out “Novitiate.” This wildly underappreciated Sundance premiere from Margaret Betts follows a group of young women as they enter the novitiate, the most challenging phase of nun initiation. Set amidst the destabilizing doctrine of Vatican II, this moving drama explores concepts of faith, sexuality, and womanhood with all the stark compassion they deserve. Betts’ script deftly utilizes symbolism, weaving together a complex and compelling story that ends in beautiful ambiguity. Margaret Qualley stuns as lead Cathleen, chronicling her character’s manic descent into ambivalence with Kristen Stewart-esque magnetism. It’s stunning to think that this was Betts’ first film and Qualley’s first lead role — the two seem so at home in this world of women that you’ll be spellbound by even its quietest moments. Standout performances from Dianna Agron and Melissa Leo round out this profound narrative. At a key moment, Cathleen says she’s starving for something she can’t name, and after seeing this gem, I know what I’m starving for — more female-directed takes on adolescence and desire. In a great year for coming-of-age films, “Novitiate” is certainly no exception. But somehow this cinematic godsend hasn’t gotten the devotion it deserves.
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— with Jessica Kiang, literally do not @ me.