Wonder

A wonderfully told, unabashed, tearjerker that absolutely earned its tugs on the heartstrings. A film for all ages that is so relevant with its message of optimism and kindness. Directorial manipulation is inevitable but Stephen Chbosky kept the swells of the strings and the montages to a bare minimum, instead relied on the strength of R.J. Palacio's story, the sincerity of its characters and the honest, heartfelt portrayal of its actors. If Sandra Bullock could win a Best Actress with "The Blind Side", then Julia Roberts really, really deserves at least a nomination. Her performance exuded sincerity, warmth, vulnerability and a genuine maternal love. But this film belonged to the young actors and the casting of Jacob Tremblay, Noah Jupe and Izabela Vidovic were superb casting choices with Chbosky eliciting a natural, authentic ease from them. Equally, the rest of the supporting cast from Owen Wilson and Mandy Patinkin to Daveed Diggs and Danielle Rose Russell were spot on. #ChooseKind

Mudbound

A beautifully shot and uniquely crafted film. Director Dee Rees weaved a multi-faceted and multi-layered story interlaced with alternating POVs of the main characters like chapter divisions in a novel. The film explored a myriad of themes from race and class division, family vs self, post-war PTSD and place in society, and ignorance and inaction vs responsibility and guilt; but for all its ambitions, "Mudbound" could not sustain the juggling act and some stories fell to the side. However, the most important of which - racial politics - was powerfully told and climaxed in an heart wrenching third act. And Dee Rees was the director to tell that story, in particular this less often told period of American history: the changing of generation and evolving attitudes and the conflict within family towards the change. A complex story with complex characters, simply told. Mary J Blige was a standout with a strong, restrained performance; Jason Clarke and Carey Mulligan were as usual reliable and more than competent; Garrett Hedlund and Jason Mitchell were pleasant revelations. Rachel Morrison - as aforementioned - lensed this film utterly beautifully, regardless whether by candlelight or the gorgeous dusky sun of the Mississippi delta.

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.