The Top Ten Project Update: Greetings From the '70s

Last year, around October, I had just finished watching eighty films from the 1980s, in furtherance of my goal to watch at least fifty movies from each year as far back as I could go.  At that time, I needed to watch over 160 films to get through the 1970s, and I've been steadily working to bring the number down ever since.  Well, I just hit a pretty significant benchmark - I've just reached the halfway point with eighty-three films.  I think it's high time for an update.

As with the 1980s, I've taken the opportunity to patch a lot of gaps in my knowledge of movies, both highbrow and low.  So far, this has included watching every Best Picture nominee I was missing from the decade, and every Hal Ashby film.  However, I also took the opportunity to track down all the  James Bond and Dirty Harry I hadn't seen yet, and to watch '70s kung-fu movies, blaxploitation movies, and a lot of the gorier samurai films of this era.  I think I understand Quentin Tarantino's work much better now, having seen so many of the films he referenced in "Kill Bill" and "Jackie Brown."

Speaking of Dirty Harry, if there has been one creative force who has dominated my viewing choices so far, it's Clint Eastwood.  I think I've inadvertently managed to watch just about everything he directed or acted in during the 1970s.  He starred in several of the important revisionist westerns of this period, like "High Plains Drifter" and "Joe Kidd."   I wanted to watch "The Beguiled," since Sofia Coppola is remaking it this year, and had no idea that he was the leading man.  By the time I got down to titles like "Every Which Way But Loose" and "The Gauntlet," I was watching them because Eastwood had proved dependably entertaining.

In addition to Hal Ashby, I took the opportunity to watch some early Dario Argento, Paul Verhoeven, Werner Herzog, and David Cronenberg films.  Also, two later films from John Huston.  It was more difficult to focus on particular auteurs because I was familiar with fewer of them that were active during this decade.  Those that were active, like Francois Truffaut and Akira Kurosawa, were ones with filmographies I'd already picked over pretty thoroughly.  The availability of certain titles has also been an issue, making me very grateful for the efforts of Criterion and other classic film distributors.  I'm still trying to track down the "Mishima" documentary.

So far, the best film I've discovered so far has been Jan Troell's "The Emigrants," starring Ingmar Bergman regulars Max von Sydow and Liv Ullman.  The sequel, "The New Land," is one of the next titles I need to track down.  It's one of the best takes on the American immigrant story I've ever seen.  Other new favorites include "The 36th Chamber of Shaolin," "Deep Red," "Rollerball," "The Duellists," Werner Herzog's take on "Nosferatu," and the Bollywood classic "Sholay."  I'm still debating whether "High Plains Drifter" is a good film, or if I should just count it as a guilty pleasure.  And then there's the absolutely fascinating cultural artifact that is "Pumping Iron" with a young Arnold Schwarzenegger.

The one major disappointment so far has been the "Lone Wolf and Cub" movies.  I watched the first three, and decided to skip the rest.  The first film was decent, but the series quickly became repetitive, and the more exploitative elements increasingly distasteful.  I can definitely understand why various filmmakers have been trying to remake this property for years, but there are elements like the sexual violence and high-pressure bloodletting that really haven't aged well.  A number of prestige pictures also fell remarkably flat for me, including "Julia" and "Midnight Express."

I'll save the discussions of the wider cultural trends I've noticed in these movies for my next post, after I polish off the next eighty films.  However, I did want to point out that there's a surprising lack of films that address the Vietnam War so far after the inundation of them that I found in the 1980s.  1978's "Coming Home" is the only one from the '70s I've found so far, which along with "The Deer Hunter" and "Apocalypse Now" really kicked off the whole genre.  

But more on that next time.

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"Get Out" Gets It Done

I often feel a little hesitant when talking about media that tackles race, especially the experiences of African-Americans.  I am painfully whitebread (despite not being white), and know very few black or Latino people socially.  It doesn't feel like my place to get into the often heated discussions about race in American culture, especially where it involves police brutality and other topics where African-Americans are disproportionately affected.

So when "Get Out" started attracting a massive amount of discussion, I felt a little worried at first.  Was this going to be another movie like "Moonlight" where I'd struggle to connect?  "Get Out," is the directing debut of Jordan Peele, of "Key & Peele," a comedic thriller about a young black man, Chris Washington (Daniel Kaluuya), who goes to meet the family of his white girlfriend Rose (Allison Williams) one weekend.  At first Rose's well-to-do dad (Bradley Whitford), mom (Catherine Keener), and brother (Caleb Landry-Jones) seem like perfectly average people.  However, their behavior is a little odd, and the behavior of the black housekeeper and groundskeeper are very odd.  Chris can't quite shake the sinister feeling that something else is going on.

And there is plenty going on.  In fact, there is so much going on in "Get Out," so many little jabs at people's race-conscious behaviors and assumptions, so much sharp commentary on racial issues, and so many bits of coded dialogue to unpack, that I could spend this entire post just enumerating all the ways that the movie talks about race the way so few movies this day actually talk about race.  It was kind of exhilarating to recognize some of those little microaggressions from the first half of the film as ones that I've been on the receiving end of before.  Different circumstances of course, but I found that I could relate in ways I wasn't expecting at all.     

And the best part is, the movie is so thoroughly entertaining.  There are a lot of little uncomfortable moments, but Peele uses that to fuel the tension of the larger plot.  All the seemingly normal awkwardness between Chris and Rose's family builds up into a wonderful paranoid thriller scenario that's simultaneously hilarious and pretty scary.  Many scenes simply would not play as well if the viewer doesn't have some knowledge of the current racial tensions in America, especially surrounding African-American men.  And the commentary goes down so much easier because it's couched in such familiar, enjoyable cinematic terms.  

Daniel Kaluuya and Allison Williams are both great in this, and I'm looking forward to seeing them in bigger projects down the road.  Kaluuya has such a great screen presence, and I'm happy that he finally nabbed a more high-profile leading man role.  "Get Out" only works as well as it does because it's so easy to sympathize with Chris and follow his thought processes as he puzzles his way through the situation.  Williams, by contrast, does an excellent job of keeping viewers guessing about where her loyalties lie.  Also, kudos to newcomer Lil Rey Howrey as Chris's TSA agent pal Rod, a secondary hero and the primary comic relief.  

This is a big win for Blumhouse Pictures, which was also responsible for M. Night Shyamalan's recent "Split."  They've spent the last several years producing smaller movies, mostly low-budget horror.  However, "Split" and "Get Out" have proven how versatile and interesting the genre can be.  I love that it's giving opportunities to filmmakers like Shyamlan and Peele to make the kinds of films that the larger studios are showing less and less interest in, and get them in front of audiences.  The most interesting films often come from the outer fringes of Hollywood, and I can only hope that this is a lasting trend.      

It's oddly inspiring to find that America's thorny racial issues can be so deftly mined for entertainment value like this.  And the audience that enjoys "Get Out" has been universal - whatever your ethnicity or background, the movie plays great.  I hope that other filmmakers take the right lesson from its success though.  It's not the fact that the lead is black or that it isn't afraid to talk about race.  It's about not being afraid of taking a chance on a different point of view.    

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My Top Ten Films of 1995

This is part of my continuing series looking back on films from the years before I began this blog. The ten films below are unranked and listed in no particular order. Enjoy

"La Haine" - A generation-defining film that still impresses, thanks to its deft camera work, invigorating performances, and stark portrayal of three kids growing up in bad circumstances.  Socially conscious in every regard, the film was made as a response to police violence and escalating tensions in Paris's immigrant communities.  However, it's the innovative, energetic filmmaking that continues to impress, the way it captures the lives and the worlds that the characters inhabit.

"Ghost in the Shell" - One of the most thoughtful Japanese anime films presents a vision of the near future where humans have embraced technological enhancements to the point where they may be compromising their own souls.  When a rogue AI begins wreaking havoc, our heroine faces both an existential and social crisis.  Filled with iconic imagery, fascinating concepts, and disturbing implications, there's nothing out there quite like "Ghost in the Shell," animated or not.

"The City of Lost Children" - The film that best encapsulates the joyous weirdness of Jean-Pierre Jeunet, a fantasy adventure about misfits, clones, mad science, and dreams.  I love the use of child's logic, the beautiful production design, and the utterly go-for-broke oddity of those characters.  The clones in search of "L'originale" (all played by Dominique Pinon, of course), big-hearted Un, and tough little Miette have stayed with me after all this time.  And so has their movie.

"Toy Story" - The first big CGI animated film, and still a charmer.  While the novelty of the technology was certainly a factor, the film's success has just as much to do with its creation of memorable heroes, careful worldbuilding, and attention to detail.  You could have made the film with traditional or stop-motion animation, with very little compromise in quality.  So while CGI animation has improved over the years, "Toy Story" still remains an impressive achievement.

"Seven" - Few crime thrillers have managed to stick in the popular consciousness the way that "Seven" has.  David Fincher taps into the disturbed mind of a serial killer, creating a nightmarish atmosphere of easy depravity and moral decay.  It's a challenging film to watch, but a rewarding one in its own sick and twisted way.  This is best exemplified by the climactic finale, one of the most violent scenes I've seen in any film, despite only a single, brief violent act taking place onscreen.

"Babe" -  This is undisputedly a children's movie, but one that is so exquisitely executed on every level, it's no wonder that viewers of all ages fell in love with it.  A combination of live and animatronic farm animals tell the tale of a little pig who changes his destiny, making this a technological as well as an artistic marvel.  Chris Noonan's perfect storybook visuals are so charming and lively, it's disappointing to discover that the director as hardly made any other films since.   

"Before Sunrise" - So begins one of cinema's great love stories, as Ethan Hawke's Jesse and Julie Delpy's Celine meet by chance on a train to Vienna one night.  They walk, converse, and carry out their romance while being trailed by the movie camera and director Richard Linklater.  The simplicity of the premise belies the richness of the story, which now extends to two subsequent films.  "Before Sunrise," however, stands on its own as a love story and as an unusually absorbing film.

"Underground" - Emir Kusturica gets both political and patriotic in this madcap fable about the ups and downs of recent Yugoslav history.  The filmmaking is fabulous, the satire is ferocious, and some of the images are just unforgettable.  The monkey in the tank and the roving oom-pah band remain personal favorites.  In certain circles the film remains controversial, but there's no doubt that it comes from a place of great affection for the Serbian people, and great filmmaking.  

"The Usual Suspects" - I've been a little cool on this film over the years, since the famously twisty ending never struck me as all that much of a shocker.  However, upon rewatch, I'm come to appreciate all the little moments of humor, and all the little instances of style that Bryan Singer so neatly deploys.  And Kevin Spacey's performance as Verbal Kint just grows more iconic as time goes by.  So here's the "The Usual Suspects" and the enduring legend of the great Keyser Soze.  

"Welcome to the Dollhouse" - My black little heart will always have a soft spot for Dawn Weiner, a miserable teenager who never wins and sees her hopes dashed again and again.  In Todd Solondz movies, after all, the world is unfair as a rule, and the usual teen movie tropes are gleefully torn to shreds at every opportunity.  And once you understand what the movie is doing, it is very entertaining to watch it be as horrible to its characters as it possibly can.    

Honorable Mentions

The Bridges of Madison County

Sense and Sensibility

Memories

Whisper of the Heart

Casino

Mighty Aphrodite

Leaving Las Vegas

Heat

Midaq Alley

A Little Princess

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My Top Ten "21 Jump Street" Episodes

Little confession time. If you've read this blog for a while, you'll know that I'm a Johnny Depp fan going way back to the 1990s.  "Edward Scissorhands" started it, but what kept it going was my ready access to "21 Jump Street" reruns, which played in a convenient after-school slot on one of the local syndicated channels when I was a teenager.  The show had a troubled production, with most of the cast having bailed completely by the fifth season.  Depp notoriously lost interest in the show around the third season and was actively screwing with the production to get himself out of his contract by the fourth.  

Picks below are unranked and ordered by airdate:

"Mean Streets and Pastel Houses" - One of the big ironies about Depp's involvement in "21 Jump Street," was that his character, Tom Hanson, was a straightlaced goody-goody cop, while Depp was a notorious hellraiser.  So his best episodes were often the ones with Depp undercover - in this case playing a suburban punk.  The episode reportedly gets plenty wrong about the punk scene of the times, but gets a few key things right - and Depp is clearly having a blast.  

"Christmas in Saigon" - Dustin Nguyen was a rare Asian face on television in the early '90s, and the show often didn't know what to do with him.  However, they did devote their second season Christmas episode to his character, Ioki, specifically his complicated backstory as a Vietnamese refugee - based on Nguyen's own experiences.  He essentially plays a younger version of himself in flashbacks, and looks so different that I had to double-check to make sure they hadn't gotten another actor.

"A Big Disease With a Little Name" - Every episode of "21 Jump Street" seemed intent on being a very Very Special Episode for a while, thanks to the premise.  So, it being the early '90s, we had to have an AIDS episode.  And this is actually a very good one, featuring a kid named Harley who is ostracized for having the disease.  Oh sure, we had to have the cheesy moralizing over an important social issue, but Harley is very much a real kid, who is was easy to empathize with.      

"Orpheus 3.3" - Poor Tom Hanson could never keep a girlfriend for very long.  In this episode, a convenience store robbery offs the latest one, leaving Hanson to stew over whether he could have done anything to prevent it.  This is handled in the most melodramatic terms possible, of course, but Depp turns in a heluvah good performance as Hanson grapples with survivor's guilt, and it's always good to see the personal side of the Jump Street gang, which never got much press.

"Champagne High" - My favorite episode, and obviously a huge influence on the "21 Jump Street" reboot.  Hanson and partner Doug Penhall go undercover as the McQuade brothers, a pair of highly entertaining delinquents, to investigate a series of thefts and burglaries.  The comedic antics that these two get up to are so much fun, and it's no surprise that the McQuades would return multiple times throughout the show, and were resurrected for the movie version too.    

"The Currency We Trade In" - An abuse storyline of a different stripe sees a newly promoted Penhall, played by Peter DeLuise, get a little too zealous in nabbing a child molester, only for it turn out that the man is innocent.  Penhall has to deal with the fallout of having ruined another person's life.  This is a complete downer of an episode, but it does give all the actors involved a chance to shine.  DeLuise in particular never got enough credit for playing the show's most lovable lug.

"Swallowed Alive" - The McQuade brothers get sent to a high security juvenile detention facility, but there's nothing funny about this.  Instead, the whole episode is essentially a prison movie in miniature, and a surprisingly dark and harrowing one at that.  Penhall puts it best, that it's like finding out that all the kids the Jump Street crew nabbed over the years were sent to hell.  This existential crisis was not resolved in the end, but the intense episode remains one of the better ones.

"High High" - The gag at the end of "22 Jump Street" imagines the stars infiltrating all kinds of different educational institutions.  The show actually did this occasionally, including this episode set in a "Fame" style school for performing arts.  I admit that my biggest reason for including this on the list is for Penhall's scenes in acting class recreating "The Honeymooners."  And who's playing the drama teacher?  Michael De Barres, aka the villainous Murdoc from "MacGyver."  

"2245" - There's barely any involvement by any of the usual cast in this episode, which looks in on the lonely life of Ronnie Seebok, a youngster on death row.  A minor character from an earlier season brought back for a solo outing, flashbacks fill in the details of his crimes and relationship with a girlfriend played by Rosie Perez.  Genre fans may recognize two of the credited writers here: Glen Morgan and James Wong, who cut their teeth on the series.

"La Bizca" - And finally, in one of the the most wild digressions for "21 Jump Street," Hanson and Penhall travel to El Salvador to track down Penhall's wife Marta, and land themselves in the middle of the country's Civil War.  A Very, Very Special Episode that wanted to shine some light on the conflict, "Jump Street" managed to get Richard "Shaft" Roundtree to guest star, and U2 let them use "With or Without You."  A little cringeworthy, yes, but admirable stuff.

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"The Girl With All the Gifts" Deserves Her Due

I debated with myself how to describe this movie, since giving very much of a description could be called a spoiler.  So let's just say that this is a dystopian thriller with an unusually strong subversive streak, featuring a lot of monsters of all shapes and sizes.  It's not a great film, but it does a lot of things right, and in a way that I found very smart and appealing.  

At the center of the film is the fascinating character of Melanie (Sennia Nanua), a bright girl who is one of a group of children being held in a military base, under heavy guard, and always in restraints when interacting with any adults.  The one person who is kind to her is the children's teacher, Miss Justineau (Gemma Arterton), but her affection is frowned upon by Sergeant Parks (Paddy Considine), one of the base's commanders.  Melanie is also visited regularly by a scientist, Dr. Caldwell (Glenn Close), who is studying the children.      

"The Girl With All the Gifts" presents a familiar horror scenario, but one that examines and challenges its underlying framework.  It has a lot in common with other recent science-fiction films like "Ex Machina" and the rebooted "Planet of the Apes" series, where the audience is meant to question who they're rooting for and why. This isn't apparent until a fair ways into the film.  For most of the running time, this operates as a fairly straightforward dystopian survival movie, and not a great one.  However, it's been a long time since I've seen a science-fiction film that takes so many of the familiar old tropes and manages to make something genuinely different and interesting out of them.  The worldbuilding in particular is just fantastic.   

I wish some of the secondary characters could have been better fleshed out, especially as the cast is wonderful.  We really don't see enough of Glenn Close these days, and Paddy Considine is as dependable as ever.  However, this is really Melanie's story, and  Sennia Nanua carries the film just fine.  Her performance alone is worth a watch, as she gradually learns more about her world and herself.  Though the filmmakers aren't too on the nose about it, there are some elements of the  plot that echo current social issues.  Melanie is a rare cinematic creature in many respects, and the fact that she's also a person of color surrounded by, and under the control of more typical Caucasian hero figures creates some startling images.  

"The Girl With All the Gifts" was made a on small budget, and occasionally feels like an episode of a higher-end sci-fi anthology series like "Black Mirror."  It's no surprise that director Colm McCarthy has worked mostly on UK television series.  However, the film delivers pretty well on thrills and chills, and it does manage to create a distinct, engaging dystopia without feeling like it's cutting many corners.  The glimpses of London suburbs overgrown with vegetation are more vibrant and alien than the traditionally bleak images of decay that we get with similar movies.  On the other hand, the action scenes could have used some work, especially since there are so many.  

I want to stress, however, that this is not a film that's about the action in the end.  At hear, it's a character drama about a special girl finding her place in the world.  And on that level, it's an immensely satisfying watch.  It also does everything that a good science-fiction film is supposed to, developing interesting ideas and scenarios in a very thoughtful, socially relevant way.  I also appreciated that it was so female-centric, which is still a rarity, and so self-aware about all the usual tropes and cliches of this genre.  Just when I thought these kinds of stories were getting played out, someone has found a new angle to explore.   

It's a shame that smaller genre films like this are still getting overlooked.  The UK and Australian produced ones seem especially prone to slipping through the cracks, even when top tier talent is involved.   "The Girl With All the Gifts" is one of these, having had only a very limited Stateside theatrical and VOD release.  I hope that it finds its audience sooner rather than later.  

Rewatching the Disney Renaissance

The biggest cultural touchstones of my childhood were the Disney Renaissance movies, everything released from "The Little Mermaid" to roughly "The Emperor's New Groove."  When I was young, these were the only movies that I was guaranteed to see in theaters, and the only movies my parents would buy on home video.  Because my music teacher mother would also used the songs in her classes, we'd also buy the soundtracks, which were played over and over again in our house and on long car trips.  I remember my mother remarking darkly at one point that my brother and I were being brainwashed by Disney, but whose fault was that?

Now, there were some of the Disney movies we liked better than others, but the big three were always "Beauty and the Beast," "Aladdin," and "The Lion King."  These were the ones that everybody liked and got the most play.  "Pocahontas" and "Hunchback" weren't nearly much fun, and by the time "Hercules" and "Mulan" came around, us kids were quickly aging out of the intended audience.  The music was getting progressively worse too, so we stopped buying the soundtracks and videos.  We still saw all the movies - I distinctly remember going to "Tarzan" multiple times, and we treated "Fantasia 2000" as a major event - but there was a clear sense of diminishing engagement as we got older.

The last time I saw "Beauty and the Beast," "Aladdin," and "The Lion King" on my own was well over a decade ago, when they were released on DVD with tons of bonus features.  Cinephile that I was, I rented them specifically to listen to the commentary tracks and watch the making-of featurettes.  I had watched these movies so many times as a kid via VHS tapes that I knew every  shot, every frame, every line of dialogue, and every note of music.  I knew so much trivia, and even had the supervising animators for most the characters still memorized.  Disney Feature Animation was going through a rough spot around then, however, and I'd mostly stopped following the new films.  

And now in 2017 I'm a mom with young children, and Disney is hellbent on remaking the majority of these movies as live-action features to capitalize on my nostalgia.  The "Beauty and the Beast" remake made oodles of money, and "Aladdin," and "The Lion King" are on their way soon.  There are a lot of animated Disney films in my life again, especially "Tangled" and "Frozen."  However, we have revisited the older Disney classics, including the Renaissance films.  "The Lion King" went over especially well.  And the experience of watching these films again, for the first time in ages, has been a real eye-opener.

Yes, they still hold up beautifully.  I still like the parts that I liked when I was younger, and get bored at the parts I don't.  Some characters are more grating, and some less so.  What really surprised me, however, is how emotionally fraught the stories are.  The death of Mufasa is far more traumatic than the offscreen loss of Bambi's mother.  The Beast is legitimately frightening, and I kept eyeing my toddler, wondering if the kiddo needed some reassurance that it would all turn out okay.  I know parenthood has the effect of making  everything seem scarier, but Disney's recent output is rarely so intense.

I think back to the media hubbub around these films during the '90s, the endless spinoffs and reimaginings and adaptations into different formats, and it's comforting to realize that the Disney Renaissance movies really were something special.  I didn't like them just because I was a kid being bombarded with Disney commercials.  I liked them and continue to like them because they're legitimately fantastic pieces of cinema.  And watching them with my rugrats gave me a renewed appreciation for them.  

Somewhere along the way I stopped being a Disney obsessive while I was being an anime obsessive and then a general media obsessive.  I still enjoy animated films very much, and rarely miss a Disney or PIXAR feature, but it's been a long time since I bought one on home media for myself or bothered to listen to a full soundtrack.  My kiddos aren't quite big enough to have developed any long-lasting attachments to any media yet, but they're getting there.  And I'm enjoying getting reacquainted with the Mouse.

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Anticipating the Movies of 2018

The movie season always seems to hit the doldrums in August, and this year is no exception, despite some good titles in  the mix.  So let's take a quick look at some of the movies that are coming up next year.  As I noted in last year's installment, I'm writing this post now because this is roughly the point where you can make pretty good assumptions about which projects are actually going to become next year's films, even if many of them don't have release dates. If a movie hasn't started filming by now, it's not very likely that it's going to be ready for audiences by next December.

Due to the lack of details, the titles below are mostly in list format with a few notes here and there.  Several of these are probably going to be delayed until 2019, especially the indie and foreign titles.  There are a couple from last year's post that are still MIA, and I've repeated one entry here.  So think of this as my little list of the titles that I'm keeping a close eye on.  They're the ones that we know are coming down the pipeline, with the best chances of actually becoming movies in 2018.

So what's on the slate for next year that I'm getting excited about?

Let's start with the bigger budget, studio films that already have distribution, and in most cases even release dates:  

 

• Ralph Breaks the Internet: Wreck-It Ralph 2 - dir. Rich Moore
• A Wrinkle in Time - dir. Ava DuVernay
• Ready Player One - dir. Steven Spielberg
• Oceans 8 - dir. Gary Ross - With Sandra Bullock
• Han Solo - dir. Ron Howard
• Avengers: Infinity War - dir. Joe and Anthony Russo
• The Incredibles 2 - dir. Brad Bird
• Alita: Battle Angel - dir. Robert Rodriguez - Still being produced by James Cameron.
• Mary Poppins Returns - dir. Rob Marshall - With Emily Blunt and Lin Manuel Miranda
• Scarface  - No announced director since Antoine Fuqua and David Ayers parted ways with the project, but guess who's taking the latest whack at the screenplay?  Joel and Ethan Coen.  

And the movies that are probably going to start out as limited releases, assuming that they come out in 2018 at all:

• Annihilation - dir. Alex Garland - With Natalie Portman
• Isle of Dogs - dir. Wes Anderson - Anderson's second stop-motion animated film after "Fantastic Mr. Fox."
• The Irishman - dir. Martin Scorsese - With DeNiro, Pacino, Pesci, and Keitel so far.  But with Netflix producing, will this actually be treated like a theatrical feature?
• The House That Jack Built - dir. Lars von Trier - With Matt Dillon and Uma Thurman
• Annette - dir. Leos Carax
• The Nightingale - dir. Jennifer Kent
• Widows - dir. Steve McQueen - With Viola Davis and Daniel Kaluuya
• Suspiria - dir. Luca Gugadino - With Chloe Moretz and Dakota Johnson
• Insects - dir. Jan Svankmajer - Announced as his final film.
• Freakshift - dir. Ben Wheatley - With Alicia Vikander and Armie Hammer.
• Peterloo - dir. Mike Leigh
• Last Flag Flying - dir. Richard Linklater - With Bryan Cranston and Steve Carell.  This is a sequel to Hal Ashby's 1973 film "The Last Detail."
• Enzo Ferrari - dr. Michael Mann - With Hugh Jackman and Noomi Rapace.
• Three Christs - dir. John Avnet - With Richard Gere
• Bel Canto - Paul Weitz - With Julianne Moore

And I may be tempting fate by even listing this one, but:

• The Man Who Killed Don Quixote - dir. Terry Gilliam - With Jonathan Pryce and Adam Driver.  Fingers crossed!

I'll update on these films and others in my 2018 Top Ten Anticipated Films posts next year, once we know more.  Remember that none of these productions are out of the woods yet, and there's always the possibility of them getting tripped up or delayed.  The J.C. Chandor feature "Triple Frontier,"for instance, fell apart at the last minute back in April, despite having Channing Tatum and Tom Hardy  ready to star.

I also want to note quickly that there are a several higher profile features being helmed by female directors this year, including "A Wrinkle in Time,"  which is very good to see.  And a couple like Kay Cannon ("Pitch Perfect") and Jennifer Yuh Nelson (the "Kung Fu Panda" movies) are making their live-action directing debuts.  Fingers crossed that this leads to more women-led blockbusters in the future.  

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