Father Figures, the best and worst of 2017

Each day a new "year in review" piece. Here's Ben Miller...

I’ve been a father since 2012.  It’s one of the great joys in my life.  If you classified me as a person, father would be near the top of how I would want to be described.  I want to be a good father and I strive to be. 

But, generally, I don’t look to film for guidance.

Terrible fathers are a touchtone of cinema.  From Jack Torrance to Daniel Plainview, movie dads rarely get the chance to show how great they can be for their children.  2017 surprisingly provided us with a bevy of complex relationships between parents and their progeny, and the dads actually got a chance to shine.  Check out the top ten great dads in 2017 films.  (I also included five terrible fathers, because 2017 gotta 2017.)

TOP TEN GREAT DADS IN 2017 MOVIES
Spoilers for all of these films are included

01 Larry McPherson, Lady Bird (Played by Tracy Letts)
Lady Bird and her mother, the central figures in the film, aren't the only ones to benefit from Larry's warmth (we previously discussed this characterization here). Even when faced with a fruitless job interview, he smiles in the face of adversity, opting for a big bag of Doritos.  When his son comes in for the next interview, there is no animosity.  Larry straightens his tie, pats him on the shoulder and tells him to go get ‘em.  He does this while losing his job, providing for an extra person in his house, losing his daughter to college and suffering from years of depression.  God bless Larry McPherson. 

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Los Angeles Film Critics Association Winners 2017

by Nathaniel R

Another day, another set of precursor awards. We heard from the New York Film Critics Circle a few days ago where Lady Bird and The Florida Project were the big winners with two prizes each. Over on the West Coast Call Me By Your Name and The Shape of Water both took three prizes. Commentary, stats, and winners list are all after the jump...

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Blueprints: "Call Me by Your Name"

Wrapping up Call Me by Your Name week at The Film Experience, so Jorge takes a look at its screenplay to talk one of the biggest and most successful changes made from the novel to the screen. It’s peachy.

Perhaps the most challenging aspect about adapting a book into a movie is converting the literary language into something visual; show with images what in the page is being told with words. This is especially hard if the novel takes place within a single character’s mind and perception, like “Call Me by Your Name” does with Elio.

One of the easier solutions (sometimes merited, others not so much) is translating the thoughts that the character has on the book into voice-over. It’s a simple, straight-forward way to effectively convey ideas and feelings.

Call Me by Your Name, the film, has been lauded (among many other things) for avoiding this go-to trope, and instead using action and visual cues to convey Elio’s quiet longing for Oliver, and the intimacy and slow simmer of their romance. However, it wasn’t always like this...

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Coco, CMBYN, and the Specificity of Feeling Seen at the Movies

by Jorge Molina

Award season means trying to watch as many movies as possible in the shortest amount of time to feel included in the zeitgeist (well, in our zeitgeist here, at least; movies from all across the board that, apart from wanting to be in the awards conversation, often have little in common.)

Recently I watched two movies that, at first glance, couldn’t be more different. On one hand there’s Coco, Pixar’s newest entry about a Mexican boy wandering into the Land of the Dead. And on the other, there’s Call Me by Your Name, the much-discussed festival favorite that follows the romance between a teenager and an older man in sun-drenched Italy. On the surface, these two films don’t share much yet they offered me a very similar cinematic experience.

Both made me feel seen (yes, in italics). They reflected parts of my identity that I rarely get to see reflected on screen. How did they do that? By being as specific as possible...

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Call Me With Kindness

by Jason Adams

Call Me By Your Name is turning out to be the sort of success none of us saw coming sixteen months ago when it was first announced that the director of I Am Love was tackling a little gay love story. It just broke the 2017 record for per theater average over the weekend, and its reviews have been unanimously stellar. It won Best Feature at the Gothams Monday night, it topped the Independent Spirit nominations, and it’s expected to stick around racking up such prizes all awards season long.

And yet there’s been one complaint that’s nagged at the movie from a determined bunch of folks (including the film’s own writer, legend James Ivory) since it first screened at Sundance in January – a supposed shyness about nudity and gay sex. Ivory told Variety it’s a “pity” there's no full-frontal nudity in the film, while The Guardian called the movie “coy” and Slate called it out for a “lack of explicit sex.” One shot in particular has rankled these folks the most – a seemingly old-fashioned pan out the window just as the characters finally approach their erotic consummation.

The film’s director Luca Guadagnino, who probably had to look up the word “coy” in the dictionary the first time it was lobbed at him for this, is nonplussed by the reaction – he told Vulture:

“It’s really something I don’t understand. It’s as if you said there are not enough shots of Shanghai. I don’t understand why there has to be Shanghai in this movie.”

I’m inclined to agree with him. Not only because I found the film sexy as hell, erotic in languorous, voyeuristic ways that movies don’t really approach anymore. Its sense of tactility, for sweat and fabric and skin, and its often-prurient stares – up the legs of swimming trunks, for example - are a welcome shock to the system that makes the forbidden seem commonplace, easy...

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