Best Movies of 2017




Here’s a look at my Top 10 favorite films from 2017:


Kathryn Bigelow’s powerful portrait of race riots in 1967 Detroit comes off as raw live footage, transporting its audience to 1967 Detroit as witnesses to the true event which happened at the Algiers Motel in Detroit. The centerpiece of the movie is a brutal and misguided police interrogation inside the hotel which leads to the deaths of three black men.  It’ll leave you squirming in your seat.

Featuring John Boyega as a young security officer at the scene who tries to work as a peacemaker, and Anthony Mackie as a former soldier recently home from Vietnam who finds himself among the interrogated.   Will Poulter delivers the most memorable performance in the movie as a racist Detroit police officer. Sure, DETROIT is a one-sided interpretation, as the police are not viewed in a positive light, but the reality is, racism still exists, and until it doesn’t, stories like this need to be told.



Both hilarious and moving, THE BIG SICK is based on the real-life romance between actor/writer Kumail Nanjiani and his wife Emily V. Gordon, both of whom wrote the screenplay to this movie. Filled with countless laugh-out-loud moments, the film is loaded with memorable characters and situations. Kumail Nanjiani does a nice job playing a fictionalized version of  himself, and Zoe Kazan (the granddaughter of acclaimed film director Elia Kazan) is excellent as Emily. Holly Hunter and Ray Romano steal the show as Emily’s parents.

THE BIG SICK has it all:  fine acting, perceptive writing, and solid directing by Michael Showalter.  With a lot to say about relationships, cultural differences, and the lengths people will go to make a relationship work when they’re in love, it’s one of those movies where after it ends, you just want to see it again.



Jake Gyllenhaal delivers a riveting performance as Jeff Bauman, the man who lost his legs in the Boston Marathon bombing in 2013 and later became a symbol of hope for an entire city as he fought back to regain both his life and his ability to walk. STRONGER sports a superior screenplay by John Pollono, based on the book “Stronger” by Jeff Bauman and Bret Witter. The dialogue is first-rate, natural, cutting and incisive, and at times laugh-out loud funny.   Longtime Boston comic and RESCUE ME (2004-11) star Lenny Clarke delivers a scene-stealing performance as Jeff’s Uncle Bob.

STRONGER is not syrupy-sweet inspirational.  It’s nicely paced, funny and hard-hitting at the same time, and most importantly, brutally honest.




Based on the true story of the historic tennis match in 1973 between Bobby Griggs and Billie Jean King.  The script by Simon Beaufoy, who also wrote SLUMDOG MILLIONAIRE (2008), covers a lot of ground, tackling gender equality, gay and lesbian relationships, compulsive gambling, sports, and life in the 1970s. It keeps a light and humorous tone throughout and does a nice job covering the actual event, the “Battle of the Sexes,” complete with real footage of then announcer Howard Cosell calling the match.

Emma Stone has followed her Oscar-winning performance in LA LA LAND (2016) with a very different but equally successful performance as Billie Jean King.  Stone is marvelous in this movie.  She captures King’s emotions, fears, and shows her grit and strength of character.  Steve Carell enjoys the liveliest scenes in the movie as Bobby Riggs, and he’s perfectly cast as the retired tennis pro.  As he so often does, Carell goes deeper with the character, and we really feel for him, especially as he battles his gambling demons.



the florida project

Amazing movie about life at a Florida motel that houses low-income and out of work families and immigrants, as seen through the eyes of a six year-old girl and her friends over the course of one summer. The kids steal this movie, led by Brooklyn Prince as a foul-mouthed six year-old girl named Moonnee. Her exchanges with the understanding yet increasingly frustrated motel manager Bobby (Willem Dafoe) are worth the price of admission alone. Also a great role for Dafoe, as Bobby knows these folks have nowhere else to live, and he has a soft spot for them, especially the children. The film truly captures the essence of childhood, from innocence to devilish endeavors, like when Moonnee is giving her friend Jancey (Valeria Cotto) a tour of the motel and tells her, “These are the rooms we’re not supposed to go in. Let’s go in any ways!”

Writer/director Sean Baker, who co-wrote the script with Chris Bergoch, imbues this movie with authenticity.  With up-close hand-held camera work, the movie has the feel of a documentary.  Baker also does a phenomenal job with the child actors here. THE FLORIDA PROJECT is a film that you definitely do not want to miss, especially in the here and now, where it’s no secret that in the United States the chasm between the haves and the have-nots continues to widen at a tragically alarming rate. The children in THE FLORIDA PROJECT remind us why it is so important that this trend be reversed.



Taylor Sheridan is one of my favorite screenwriters working today.  He wrote SICARIO, my favorite film of 2015, and he followed that up with HELL OR HIGH WATER, one of the best films of 2016. Now comes WIND RIVER (2017), which is every bit as good as his previous two films, and this time Sheridan directs as well.

WIND RIVER (2017) takes place in Wind River, Wyoming, a beautiful expanse of land that looks like a winter paradise with its snow-covered mountains and icy rivers. But looks can be deceiving. A young woman is brutally murdered, and FBI agent Jane Banner (Elizabeth Olsen) is on the case, assisted by hunter and tracker Cory Lambert (Jeremy Renner). WIND RIVER is much more than just a straightforward thriller.  Taylor Sheridan takes us inside the minds and hearts of the Native Americans on the reservation where the murder occurred.  They are a depressed lot, feeling they have little to live for, surrounded by snow and silence. The film also points out that statistics are not kept on the disappearances of Native American women, and no one really knows how many Native American women have gone missing over the years.

With WIND RIVER, Taylor Sheridan proves to be every bit as talented behind the camera as he is writing screenplays. I can’t wait to see what he does next.



Fascinating story that is as entertaining as it is informative.  With Michael Keaton playing McDonald’s “founder” Ray Kroc, the slant in this movie is that Kroc worked so hard that he eventually claimed the title of “McDonalds Founder” even though he didn’t originate the model. Keaton is outstanding as Ray Kroc, seen here as a frenetic salesman who after one rough time after another, sees McDonalds as his opportunity to finally make it big after years of failure.  When he realizes that his success has suddenly given him more power than he ever thought he would have, he decides to use that power to go after everything he wants because he knows he can get it. In a lesser actor’s hands, Kroc may have lost all sympathy at this point, but as played by Michael Keaton, the role becomes a natural extension of Kroc’s personality and the circumstances he finds himself in.  In other words, it doesn’t come off as if he was a weasel in the making, just waiting for his chance to make it big, but rather, as a man who worked hard to be a success and then suddenly realized he had the clout and influence to get whatever he wanted.

Even though its subject, Ray Kroc, is a controversial figure, THE FOUNDER is not that dark a movie.  Director John Lee Hancock films this one with bright tones which capture both the 1950s and McDonalds restaurants. The screenplay by Robert D. Siegel also keeps things light.  The movie plays like an offbeat quirky drama as opposed to an ominous piece on the ruthlessness of cutthroat business tactics. With Keaton in the lead, it’s entertaining from start to finish.



The new PLANET OF THE APES series keeps getting better and better. WAR FOR THE PLANET OF THE APES (2017), the third film in the new rebooted series, is a thoroughly engrossing tale that is equal parts futuristic science fiction, epic adventure, and prisoner of war drama. All three parts work well to comprise a story that is captivating from start to finish, so much so, that this third film is clearly the best entry of the series thus far.

Director Matt Reeves, who also directed DAWN OF THE PLANET OF THE APES (2014), is one of the more talented directors working today. Andy Serkis returns as Caesar in another impressive CGI motion-capture performance. Woody Harrelson plays the human villain, an evil Colonel. Contains superior special effects. The apes look phenomenal. They’re so good it’s easy to forget that nearly every character in this movie is a CGI creation.  With lots of nods to the original series, WAR is an extremely satisfying chapter in the APES saga. One of the best, if not the best, genre film of the year.




One of the more intense, energetic, and insane thrillers of the year, GOOD TIME is the story of two brothers, Connie (Robert Pattinson) and mentally challenged Nick (Benny Safdie) who rob a bank and then botch the escape.   Connie eludes the police, but Nick is arrested. Connie spends the rest of the movie trying to break his brother out of the hospital in which he is being held, and what follows is a roller coaster ride of a night as Connie faces one obstacle after another, and the film treats its audience to one twist after another.

GOOD TIME was expertly directed by brothers Benny Safdie and Josh Safdie.  Benny also plays Nick in the film, while Josh co-wrote the screenplay with Ronald Bronstein.  It’s an excellent script with realistic dialogue and vibrant, living characters.  Nearly every character who appears in this movie is interesting, a testament both to the acting and to the superior writing.

Brilliant performance by Robert Pattinson as big brother Connie.  This is his best performance yet, and he gives Connie a depth not often found in a character like this. There’s also an absolutely frenzied and very effective music score by Daniel Lopatin that really adds a lot to the movie.  It reminded me of something John Carpenter would have written.

GOOD TIME doesn’t stop.  It’s one of the more frenetic movies of the year, and certainly one of the most satisfying.  It’s a ride you definitely do not want to miss.




Forget everything you know about traditional storytelling. DUNKIRK (2017), the World War II movie by writer/director Christopher Nolan, changes the rules and then some. In an interview, Nolan described the soldiers’ experiences at Dunkirk in three parts: those on the beach were there a week, the rescue on the water took a day, and the planes in the air had fuel for one hour.  To tell this story,  Nolan separates it into these three parts- the week on the beach, the day at sea, and the crucial hour in the air, but he does this in a nonlinear fashion, meaning all three events are shown happening concurrently and interspersed with each other.  Surprisingly, the result isn’t confusing. Instead, this bold use of time generates heightened tension and maximum suspense.

DUNKIRK tells the amazing story of the rescue of 338,000 British soldiers from the French port town of Dunkirk in events which transpired from May 26 – June 4, 1940.  The soldiers were surrounded by German forces and the only escape was by sea, which was covered by German planes.  In effect, there was no escape. However, in what turned out to be a stroke of genius, instead of sending the navy, the British authorities sent out a call for civilian ships to go to Dunkirk, which they did, and they miraculously rescued the soldiers.  Had the British soldiers been captured, Germany would have advanced, most likely on their way to a successful invasion of Great Britain.  But the soldiers escaped to fight another day, and Churchill turned the event on its head, claiming a moral victory and using it to espouse the spirit of resistance.

Superb cast, albeit mostly unknowns, deliver first-rate performances.  Veteran actors Mark Rylance, Kenneth Branagh, and Tom Hardy are also outstanding.  The editing during the climactic sequence is second to none.  It’s one of the more suspenseful last acts to a movie I’ve seen in a while. Nolan also makes full use of sound.  When the planes attack, the sound effects are loud and harsh.

DUNKIRK tells this improbable story in mind-bending fashion, thanks to the innovative efforts of Christopher Nolan, one of the most talented writer/directors working today.

It’s my pick for the best movie of 2017.

Thanks for reading!


Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

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IN THE SPOOKLIGHT, movie review collection by Michael Arruda.


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FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

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DETROIT (2017) – Powerful Portrait of 1967 Detroit Race Riots



The best part about DETROIT (2017), director Kathryn Bigelow’s powerful portrait of race riots in 1967 Detroit, is that it doesn’t play like a movie at all.  It comes off as raw live footage, transporting its audience to 1967 Detroit as witnesses to the horror which occurred during that time.  It’s based on a true event which happened at the Algiers Motel in Detroit.

In DETROIT, you won’t find traditional characterizations, main characters with background stories and depth, a plot with a neat and tidy story arc, or anything else that makes you think you are watching a movie.  You will find horror and revulsion.

The centerpiece of the movie is a brutal and misguided police interrogation inside a hotel which leads to the deaths of three black men.  This wince-inducing sequence takes up a sizable chunk of the movie.  It’ll leave you squirming in your seat, wishing it would just end, but it doesn’t end.  It goes on, and as such, it’s one of the more riveting sequences in a movie I’ve seen in a long while.  Not only are the Detroit police tactics disturbing, but the fact that everyone else on the scene— the State Police, the National Guard soldiers— look the other way is equally sickening.

DETROIT opens at the outset of the 1967 race riots in Detroit, and then follows a group of characters whose fate becomes connected when they cross paths at the Algiers Motel. When someone shoots a toy gun in the vicinity of the National Guard soldiers on the street, it’s mistaken for sniper fire.  The Detroit police descend upon the hotel with the soldiers, and the police interrogation begins.

Top-billed John Boyega plays a young black man named Dismukes who’s working multiple jobs to make ends meet.  One of the jobs he holds is as a security officer in a building across the street from the Algiers Motel.  Dismukes has a good head on his shoulders, and early on he brings coffee to the National Guard soldiers, alerting them that he’s across the street guarding the building, letting them know that if things go down, he’s on their side, which is exactly what happens when the “sniper fire” draws the authorities to the Algiers Motel.

Dismukes is on the scene as well.  He views it as his duty to keep as many people alive as possible, and so he goes out of his way to play level-headed peacemaker, which in this case, since he also allows the police violence to continue, may not have been the best idea.  Dismukes is accused later by his black brethren of being an “Uncle Tom.”

Since there aren’t any lead roles here, fans of John Boyega might be disappointed that he’s not in this one more, but it’s still a much meatier role than when we saw Boyega last, in THE CIRCLE (2017), which really wasted Boyega’s talent.  He does a nice job here as Dismukes.  I found Boyega’s performance reminiscent of a young Denzel Washington.

The other big name in the cast is Anthony Mackie, who plays a former soldier recently home from Vietnam named Greene who finds himself among the interrogated.  It’s a good performance by Mackie, and the scene where he decides he won’t lay down for the police is a potent moment.  It’s also jarring to watch this character, someone who fought in Vietnam and survived, beaten back home in the United States by officers of the Detroit police department.

One of the better performances in the movie belongs to Algee Smith as Larry, a young singer whose group’s performance was cancelled by the riots.  The group becomes separated, and Larry and his friend Fred (Jacob Latimore) find themselves at the motel. Smith nails the emotions, from fear to disillusionment to eventually anger.  Likewise, Jacob Latimore is very good as Fred, who like the rest of the black men forced against the wall during the interrogation, becomes more and more terrified as the night goes on.

But the most memorable performance in the film just might belong to Will Poulter as the racist Detroit police officer Krauss. You can’t take your eyes off this guy.  He’s that despicable.  This might be a break-out role for Poulter, who starred in THE MAZE RUNNER (2014) and was in THE REVENANT (2015), but I remember Poulter most for his role as Jennifer Aniston’s and Jason Sudekis’ son in the comedy WE’RE THE MILLERS (2013).  Poulter’s work here is about as far removed from his comic work in WE’RE THE MILLERS as you can get.

Likewise, Ben O’Toole is nearly as chilling as Krauss’ partner Flynn.  They’re the epitome of racist police officers.

And while DETROIT doesn’t paint a positive picture of the Detroit police, it does show that these two officers did not represent the entire department.  During the movie, we see other white officers helping black people, and we see other white officers chastising Krauss’ motivations.  The problem is, and this is where the film remains true to life, that while most did not share Krauss’ views towards blacks, no one felt strong enough to do anything about it.  This film is every bit as much about those who turned a blind eye on the proceedings as those like Krauss who instigated them.

There are also two strong performances by Hannah Murray and Kaitlyn Dever as two white women, Julie and Karen, staying at the motel.  When they are found with the black men, they are accused by the police as being whores.  They endure both verbal abuse and in Julie’s case physical abuse, as the police strip her top from her.

The screenplay by Mark Boal is first-rate, which is no surprise, since Boal also wrote the screenplays to the two other critically acclaimed movies directed by Kathryn Bigelow, THE HURT LOCKER (2008) and ZERO DARK THIRTY (2012).  The dialogue is superb, the situations tense, and the characters while not fleshed out in the traditional way are all very real.

Director Kathryn Bigelow makes full use of her camera, from painful close-ups to terse hand-held camera work during chase scenes.  She also captures the race riot streets of 1967 Detroit.  I really felt as if I had been transported back to this volatile time.

I would imagine Bigelow will receive some backlash regarding this movie, as it’s a rather one-sided interpretation, and the police are not on the bright side of this one.  But the reality is, racism still exists, and until it doesn’t, stories like this need to be told.

DETROIT is a superior movie, a powerful movie, and one that is even more disturbing because it takes place in a country that is known for its freedom and its rights, but as shown in this movie, those freedom and rights don’t extend to everybody.