Top 11 Biggest Disappointments (2017)

2017 was a very disappointing year. It revealed how much genuinely heinous behaviour was being kept under wraps, how desperate people were to excuse those actions (the double-team of Kevin Spacey and Australia’s own Don Burke was particularly gross in that regard), and how a person’s past actions can come back to bite them in the arse in a major way. 2017 wasn’t just disappointing because it fell below the median; it created disappointment in individual people, people that up until that point the general public gave the benefit of the doubt. It’s rather fitting then that, along with some surprising successes, the year’s cinema would turn out some unbelievable letdowns. Seriously, this is the year that created some of the biggest cinematic nosedives I’ve ever covered, and the legendarily weak box office receipts show that audiences definitely noticed.

However, we’re not talking about the obvious suspects. As bad as films like Fifty Shades Darker, Collateral Beauty and even The Emoji Movie are, it was a given that they weren’t going to turn so well in the first place. No, this list is dedicated to the films that showed a lot of initial promise… and then proceeded to spoil it in increasingly disastrous ways. Let’s test how much worse the phrase “I’m not angry, I’m just disappointed” can be to blind rage and go over the Top 11 Biggest Disappointments of 2017… and oh boy, I had to do some serious trimming down to fit in only 11 this year.

Wonder Wheel (2017) - Movie Review

The plot: Marked woman Carolina (Juno Temple), after leaving her mob husband, returns to Coney Island to be with her father Humpty Rannell (Jim Belushi), his wife Ginny (Kate Winslet) and her son Richie (Jack Gore). At the same time, Ginny starts an extra-marital affair with lifeguard Mickey (Justin Timberlake), giving her a newfound sense of happiness about her life. However, that happiness may be short-lived once he catches the eye of Carolina, and Ginny’s mental state is about to take a turn for the worst.

 

Café Society (2016) - Movie Review

For as much as I’ve argued otherwise, I do understand that separating the actions of the artist with the published art can be harder said than done. The amount of times I hear Tie Me Kangaroo Down, Sport around my house (long story involving younger siblings) on a daily basis is made even tougher knowing what and where Rolf Harris is writing nowadays. Yes, we’re talking about the king of all things neurotic and Jewish Woody Allen once again, and in an attempt to keep with my central doctrine concerning this, I have actually liked his recent output. From the outstanding character drama Blue Jasmine to the sharply written rom-com Magic In The Moonlight to the wonky but still commendable morality play Irrational Man, I don’t have much to argue with in terms of his artistic output. However, once it gets to the point where said artist essentially inserts himself into the art, that disconnect proves ever trickier.

Top 11 Critical Disagreements Of 2015

As we welcome in the New Year, it’s time for what I am now deciding is an annual tradition around these parts: Lists! To kick off this set of lists, we’re going to take a look at just how much of a special friggin’ snowflake I am and see the top 11 films that I didn’t see eye-to-eye with most critics on from 2015. I didn’t really think that I’d end up with enough to create another list after last time, but turns out that I was wrong.

Once again, same rules from last year apply: I am not going to include any films that have divided critics already; I’m just sticking with those that have a strong leaning one way or the other. Also, so that I don’t end up repeating myself, I’m also going to refrain from including any films that will end up in either my Best or Worst of the year. Now that we have that out of the way, let’s get stuck into my Top 11 Critical Disagreements of 2015.

Irrational Man (2015) - Movie Review

Given the recent news of two other celebrities whom have become embroiled in sex scandals, talking about Woody Allen is going to prove… problematic, to say the least. What makes this even more awkward is the fact that, unlike the events surrounding Rolf Harris and Bill Cosby of late, it seems that people have forgiven(?) Allen for his actions; or, to be more accurate, developed a capacity to ignore them. Now, I’m a firm believer that a disconnection between the artist and his art is possible and, at times, necessary: Grave Of The Fireflies is an immensely powerful film, but it’s hurt when it’s brought into context of Isao’s intent for the film. I am not condoning Allen’s behaviour by any means; I’m just saying that how he is as a person shouldn’t immediately paint all opinions concerning his art, some of which is still beloved to this day. Hell, if that were the case then no-one would ever listen to another Phil Spector-produced song again. Okay, now that all of that is out of the way, let’s actually get into the film itself so that I can practice what I preach for once about separation of art and artist.