On Netflix, director Dee Rees’ adaptation of the novel “Mudbound” managed to be both a sweeping, old-fashioned epic and an insightfully modern rendering of farm life in the Jim Crow-era South. It is, but underneath lurks a dark fable about toxic masculinity, embodied by seemingly nice-guy Jason Sudeikis. The prize for the worst-marketed best film goes to Nacho Vigalondo’s Anne Hathaway-starring “Colossal,” advertised as a quirky monster movie. And Sofia Coppola snagged Best Director at Cannes for her gorgeous, female-centric revisiting of Clint Eastwood pic “The Beguiled,” a gothic Civil War drama about a wounded soldier and the women who take him in. “Spider-Man: Homecoming” was another genre tweak we didn’t know we needed: It’s the most authentic take yet on the teen web-slinger from Queens (an adorably squeaky-voiced Tom Holland) from director Jon Watts. “Baby Driver,” from Edgar Wright, upended heist-movie tropes, choreographing action to match the tunes in the earbuds of its music-obsessed wheelman (Ansel Elgort). And “I, Tonya,” from Craig Gillespie, who gave us a whole new, and wholly darker, understanding of a legendary fall from grace, with a masterful Margot Robbie as Tonya Harding. Staking out bleaker territory is another debut, Jordan Peele’s “Get Out,” a horror-comedy (but more the former) with its finger squarely on the pulse of racial tensions. Likewise, Greta Gerwig’s solo directing debut, the achingly funny coming-of-age dramedy, “Lady Bird.” This sun-dappled, erotic portrait of young love during a Northern Italian summer, adapted from the novel, is the rarest of cinematic gems.
Luca Guadagnino’s “Call Me By Your Name” won my heart when I saw it at Sundance, and never ceded its place atop my list. Here you’ll find directors who gave us a unique and striking vision, whether working with their own material or giving new life to stories we thought we knew. (Note to Hollywood: maybe stop throwing money at brainless reboots and sequels like “Baywatch” and “Transformers: The Last Knight.”) My picks represent the polar opposite of budget-busting studio flicks that feel made-by-committee. Ironically, they coincided with one of the worst box office summers on record.
#SICK EMOJI STAR WARS TV#
The Mandalorian, whether you watch it on your TV or if you saw it projected, it should feel just as much like Star Wars as any of the features.How to explain the oddball year that was 2017 in movies? It was my favorite in recent memory and featured a slew of terrific releases long before fall’s awards-season glut. And everybody has these beautiful 16 by 9 flat screen TVs and you wanna create beautiful imagery that takes advantage of what people have. "The fact of the matter is that, if you look at Lion King, for example, we were very cognizant that, as many people are seeing it in the theaters, there are gonna be more people seeing it at home.
#SICK EMOJI STAR WARS MOVIE#
"Well, first of all, you have to treat it like you're making a movie for the big screen," creator Jon Favreau said earlier this year. The Mandalorian looks like it has the same quality fans expected from the feature films, something that creator Jon Favreau spoke to earlier this year.
#SICK EMOJI STAR WARS SERIES#
And it's a series that fans are very excited about for more than just the fact that it's a Star Wars story. In addition to the emoji and the final trailer for The Mandalorian, Disney+ and Star Wars Twitter accounts also unveiled some character posters for the series on Monday, giving fans plenty to soak in for the series. Writing #TheMandalorian so the helmet emoji appears.
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