in the New York Times, highlighting his penchant for yanking his crank in front of women who had no interest in Little Louie. They were spooked by a damning exposé of director/star Louis C.K. (Thoughts here.) A bit of a cheat, I guess, since the distributor bailed on releasing I Love You, Daddy just days before it was scheduled to hit theaters. The model pioneered by Blumhouse Productions has its drawbacks and its limits- Split ($9 million budget) and Get Out ($4.5 million budget) both occasionally look incredibly cheap think of the final transformation in Split and the set for the surgery in Get Out-but damn if the studio isn't churning out the most regularly entertaining low-budget flicks around.

( Split review here Get Out essay here.) Two low-budget indie horror films from the beginning of 2017 with more verve and nerve than just about anything else this year. In a world flooded with #content, these are the features that I recall as having truly made an impact. With that in mind, it may make more sense to think of the following not so much as a 'best' list than a 'most memorable' list. It wasn't all bad, of course, though much of the good-entertaining sequels like John Wick 2 and Alien: Covenant visionary misfires like Valerian-has faded from memory. There's nothing quite like carving out a month for movies and shuttling from flick to flick with no reaction more impressive than 'Yeah, that was fine, I guess.' Ah well. From The Last Jedi to The Shape of Water to Phantom Thread to Call Me By Your Name, much of the year-end, award-season rush simply failed to move the needle. Or, perhaps more charitably, underwhelming movies. This decrease in surplus population and the vile capitalistic use to which it has been put, I presume, helps explain why the unemployment rate is at a 17-year low and the stock market is at an all-time high.īad movies were, actually, my biggest problem this year. We get it, you think the United States has devolved into an authoritarian hell-scape where the weak are ground into paste and fed to the Koch Brothers' dogs. Of all the trends in year-end pieces this December, the most annoying is the one typified by the first sentence of the AV Club's wrap up: 'Bad movies were the least of anyone’s problems in 2017.' This is true literally every year-no one's most pressing problem has ever been spending $15 on The Emoji Movie-and so fatuously self-congratulatory in our current moment.

Avclub best movies 2017