Call Me By Your Name

A touching and affecting coming of age story by Luca Guadagnino that exuded sensuality without overt sexuality and effortlessly showcased the emotional turbulence of First Love. Beautifully crafted, the film is intensely powerful in its languidity as Timothée Chalamet commanded our attention as we cycled with him through the emotional turmoil that is adolescence. Chalamet fell into his character with natural ease, perfectly embodying the 17-years old in all his youth, energy, confusion, naïveté and passion. He will surely get a nomination, but would he win? Was he acting or was he just playing a role that was him? Either of which, he deserves recognition. Playing opposite him, Armie Hammer had the best role of his career; believable in his capacity as the older, more worldly-wised man. But for all the film's honesty, sensuality and beauty, the chemistry between Chalamet and Hammer lacked the enigmatic passion that would have made this a love story for the ages. Instead, the coming of age aspect trumped the romance as Guadagnino and writer James Ivory focused - and rightly so - on Chalamet. Chalamet's POV was the focus of the film and as the audience we are part of it but only through his eyes and his heart (and also sneakily acknowledged by Guadagnino and Chalamet in the final moments). And from that perspective, this film was a triumph. Kudos too to Michael Stuhlbarg for his supporting turn and that beautiful monologue at the end

Wonder Wheel

A good performance by Kate Winslet that bordered on over-maniacal against a more-exaggerated-than-usual Woody Allen dramedy on Fate and Love. Jim Belushi held his own with Winslet and Juno Temple was an interesting revelation, however Justin Timberlake was miscast and distracting with his foundation-caked complexion, botoxed and doll-eyed blank stares. Perhaps it was the Allen controversy, but Winslet does deserve some recognition for her work here as a complicated woman/mother/wife/lover. She had two stunning monologues - in single takes no less - that showcased her talent, but perhaps her lack of campaigning amidst the current climate was a double-edged sword for her.

The Disaster Artist

James Franco turned in a committed and truly charismatic and very funny performance as the enigmatic Tommy Wiseau that was oddly affecting and also surprisingly touching. James Franco really does deserve a nomination again for Best Actor this year. As the director, Franco did a great job in telling the unique story of Wiseau and "The Room" without mocking nor belittling the history or the legacy; and also not excessively elevating it beyond its cult status. Instead, what he did was that he managed to make a consistently funny pseudo-mockumentary that injected empathy for its subject and a piqued curiosity for those who have not watched "The Room". The parade of pals-of-Franco making cameos throughout also helped to keep the film interesting. With regards to casting his brother - Dave Franco - as a co-lead, that was a brilliant decision. The chemistry and trust between them both were critical in the selling of the story and the dynamics between Wiseau and Greg Sestero. Stay on for a terrific end credits scene!

The Killing of a Sacred Deer

Another outstanding and original modern day morality fable by Yorgos Lanthimos inspired by the Euripides' "Iphigenia in Aulis". Highly macabre and deeply disturbing, but yet tinged with the bleakest of black humour in its harrowing - yet darkly honest - exploration of humanity, family, parenthood and responsibility. Led by a suitably restrained Colin Farrell and a chillingly haunting, top-formed, Nicole Kidman, with a breakout performance by Barry Keoghan. The film was also enhanced by the eclectic and aptly fitting, atmospheric music/score by sound designer Johnnie Burns and Lathimos, and the visual cinematography of Thimios Bakatakis.

Star Wars: The Last Jedi

As part of the Star Wars franchise, this was a great entry into the mythos with major character developments coupled with good action, narrative twists and emotional relevance. However, objectively, as a film, it was poorly acted (still looking at you three Daisy Ridley the blank, Adam Driver the petulant pout and John Boyega the stare) and ham-fistedly scripted, riding on the goodwill of the fan base to cover up the lack of emotional resonance, multiple plot holes and contrivances and heavy handed mythology exposition - too much tell, too little show, Rian Johnson. And as cute as the Porgs were, it was too much blatant merchandising branding by Disney. At least we had Laura Dern, Benicio del Toro and Oscar Isaac, some gorgeous cinematography by Steve Yedlin (one moment at the end of the Second Act was simply...WOW!) and another great score by John Williams. "The Last Jedi" clearly moved the pieces to prep the stage for a potentially great finale, and with JJ Abrams back at the helm it should not disappoint. Here's hoping.

Murder on the Orient Express

A competently directed and beautifully shot film by Kenneth Branagh that did not veer too much from Agatha Christie's source material. A refreshing take of a classic story that engages but never really hooked the audience. And if not for the strong ensemble of veteran thespians holding this film up, it would surely have not been as entertaining especially since the younger actors were general disappointments (with the exception of breakout actor Tom Bateman) as their obvious inexperience were starkly apparent when compared directly opposite the likes of Branagh, Dame Judi Dench, Olivia Coleman, Derek Jacobi, William Dafoe and Michelle Pfeiffer.

Branagh and writer Michael Green managed to inject some originality and freshness to this (mostly) familiar story but despite Branagh's eye for staging, blocking and mood, he never really managed to capture that elusive hook that made this improbable Christie's story so gripping in text. There was a lack of climatic excitement and the urgency of solving a murder which made the book such a page-turner.

Similarly, compared to superior 1974 version - which had an all round star-studded and competent actors - this version lacked the suspense and a genuine sense of whodunnit even despite knowing the source material.

Branagh managed to ensemble a great cast of named-stars both veterans and up-and-comers. However, as aforementioned, the younger cast members could not hold their own against these established, and academy award winners and nominees. Every actor has a scene whereby they are the focus and it was so stark the difference between how veterans like Dench, Dafoe, Coleman, Jacobi commanded the screen compared to the blatant acting of young ones like Daisy Ridley, Leslie Odom Jr, Lucy Boynton and Manuel Garcia-Rulfo. If only Branagh - and his odd accent - could have cast or directed these younglings better.

Kudos to cinematographer Haris Zambarloukos and composer Patrick Doyle for providing excellent craft support that bolstered the film.

Now, as we wait for the sequel Death on the Nile, hopefully if Branagh returns to direct, he will have improved on the short-comings of this production.

Coco

An absolute crowd-pleaser  for the whole family. Pixar has done it again with a four-quadrant winner that resonated across generations and culture. It may not be as (pseudo)-intellectual as Inside Out but it definitely pack a great emotional punch especially in its third act, with a strong story line on the evergreen theme of family vs self and obligation vs passions that never turned schmaltzy. Great voice work all around in particular Anthony Gonzalez and Gael Garcia Bernal, with great music and score from Kristen Anderson-Lopez and Robert Lopez, the duo that gave us the hits from Frozen, and Michael Giacchino who is back - at last - with a mariachi-tinged score that delivered on the emotional journey.

Directed by Lee Unkrich, who also gave us the last real Pixar tearjerker, Toy Story 3, Coco continued Pixar's animation technological supremacy. The film was gorgeous to behold and tiny nuances like the translucency of the skin, the glow of candle light and the luminosity of the alebrijes, especially Pepita's - oh Pepita! - are mesmerising. The animation is fluid and never distracting.

The main story itself was simple, and Unkrich told it efficiently but yet without ever holding back anything. At a brisk 109 minutes, the only letdown was the slightly draggy second act as well as the predictability (for an adult perhaps?) of the finale. However, the emotional sincerity of our lead character Miguel held steady throughout and helped to sell the story, predictability and all which led to very, very strong third act and finale that will surely tug at the heartstrings of even the meanest scrooge. And for most, tears will be inevitable. But the tears were well-earned.

Coco proved that Pixar (and to a smaller extent, Disney) can still create wondrous, original content instead of just money-making, merchandising-selling sequels. In addition, well-thought out characters that have rich, emotional depth will always connect with the audience.

Key to the success also laid in the music and the Lopez have definitely nailed it with the potential Best Song nominee Remember Me. Giacchino has also found his groove back with a great score, echoing the success he had back in his last collaboration with Pixar for Inside Out. Hope he can continue this collaborative streak in The Incredible 2.

Coco is definitely the animation to beat this year for the Best Animation Oscar. And I daresay it should even have a shot, albeit a very long one, in this year's wide-open Best Picture race if for nothing else but its optimistic outlook and attitude on love and acceptance - elements sorely lacking in the world these days.