Best Movies of 2. Every December it bears repeating: Anyone who thinks this was a bad year for movies simply hasn’t seen enough. In an age of binge- viewing, a preponderance of must- see premium cable shows and, hell, even smartphone apps that command far more attention most feature- length achievements, the true range of quality cinema is often obscured by the noise of an ever- cluttered media landscape. Download Movie Girls Trip (2017) Dvd there.

To really assess the state of modern movies, one look beyond the obvious. Sure, it was a weak year for movies that stand out mainly due to star power and sizable marketing budgets, but those options represent only a small fraction of the marketplace. The film festival circuit provides an ideal alternative to conventional channels for discovering movies worth talking about all year long — and, if they’re lucky enough to land distribution, they quality for year- end celebration on lists like this one. This year, every single finalist for my list of the year’s best surfaced at a major festival and, in most cases, found its way to theaters later on. None of them were safe commercial bets; in fact, their cumulative box office figures might paint a dreary picture of this art form’s commercial viability, but that picture’s only one small piece of a much bigger puzzle. Movies that challenge conventions, throw people off and leave them uncertain about what they just experienced are often the ones most deserving of celebration. READ MORE: New York Film Critics Circle Names .

Consensus is boring. If anything here provokes disagreement, it only strengthens the vitality of these great works. If there’s a theme running through them, it’s the anxiety of modern times. Our society is increasingly shaken by unexpected developments — as evinced by Donald Trump, Brexit and the Chicago Cubs alike — and many of this year’s best movies speak to that queasy feeling of a mysterious world and the surprises it offers us. These stories involve characters adrift in uneasy settings where the boundaries between reality and fiction dissolve, leading to uncertain quests for an elusive truth. Not everyone finds it.

The Eyes of My Mother,” “Nuts!”, “Manchester By the Sea” and “The Lobster”The following list is ranked. It requires a few caveats to acknowledge some runner- ups. First off, my curatorial approach takes into account factors such as balance and scope. There are plenty of first- rate efforts that would rank highly on my list were there not other, similar titles that I appreciate just a touch more (thus, “The Witch” gets the horror slot over “The Eyes of My Mother,” and “Swiss Army Man” beats out “The Lobster” in the quirky, allegorical fun department).

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While I’ve expanded the list beyond the usual top 1. These include the Coen brothers’ delightful spoof of the Hollywood dream factory “Hail, Caesar!” and Penny Lane’s inventive semi- documentary of an infamous snake- oil salesman in “Nuts!”, both of which speak to ideas reflected throughout this list. See them all. Above all, this list reflects a wildly complex year of cultural experiences, when society was turned upside- down and the movies anticipated as much. They are a mirror to the world we live in now.

Lists are inherently limiting, so you can expect to see a lot of them these parts as we spread the love around. Other voices from the Indie. Wire team will weigh in throughout the week, and this article will be updated with links.

For now, here’s this critic’s final assessment on the best movies released in 2. Arguments are welcome, but readers quick to pass judgement are encouraged to track down all these titles first. Each of the film’s three chapters speak to a sense of dislocation among working class figures in Montana. In a year in which working- class frustrations reached a fever pitch, it couldn’t be more topical. Reichardt’s anthology approach is riddled with ambiguous confrontations: With the plight of a bored lawyer (Kristen Stewart) teaching adult education classes and the lonely ranch hand (Lily Gladstone) who falls for her, Reichardt constructs her best two- hander since “Old Joy,” while the attempt by a married couple (Michelle Williams and James Le Gros) to acquire ancient sandstone from an older man subtly addresses inter- generational conflicts.

But the movie’s true power comes from its bookends, in which a confident legal adviser (Laura Dern at her best) deals with a disgruntled blue- collar man who goes postal after his company cheats him out of settling for a workplace injury. The mounting rage of an angry older white man, and the struggles of Dern’s character to console him, gives “Certain Women” an astonishing degree of insight into the divisiveness of American society. Almost exclusively set at a drab cabin and the ominous woods surrounding it, the movie’s minimalist approach doesn’t lack for authenticity, as Eggers relies on court records and other documents to script the dialogue along with costumes from the period in question. The effect is a haunting narrative of otherworldly forces made especially scary due to the realism surrounding them.

Paired with Nicolas Pesce’s astonishing debut “The Eyes of My Mother,” it’s exactly what the horror genre needs right now — a genre- busting jolt of fresh blood and original storytelling. Ade’s epic two- hander about family dynamics has payoff in its ambition. Both a touching account of father- daughter estrangement and a sly corporate satire, “Toni Erdmann” wrestles with big issues through a surprisingly intimate lens, in an uneasy balance that reflects its characters’ unstable lives. At first, I wasn’t entirely convinced that it justified the heft, but “Toni Erdmann” has stuck with me in the months since I first saw it at Cannes, its layered narrative gradually revealing its masterstrokes in retrospect. That’s the mark of a genuine cinematic achievement. But the brilliant coup of Todd Rohal’s meta- romp through the mind of “Uncle Kent” star and “Adventure Time” animator Kent Osborne is that the movie’s bizarre twists result in the most cinematically inspired sequel in ages.

In grimy opening chapter directed by Joe Swanberg, Osborne attempts to pitch a sequel to Swanberg’s little- seen portrait of the goofy fortysomething bachelor; when Swanberg tells Osborne to just make the sequel himself, the ensuing wacky odyssey becomes just that. Rohal, himself an under- appreciated surrealist filmmaker (“The Guatemalan Handshake”) delivers a brilliant spoof of narcissistic American indie tropes that just keeps getting crazier as it moves along. If Charlie Kaufman put the concept behind “mumblecore” in his sightlines, the result might look something like this. But if “Uncle Kent 2” is a lark, it’s a wholly satisfying one, delivering a shrewd indictment of self- aggrandizing creativity by burrowing inside its extremes and blowing them to pieces. Eleven- year- old Toni (breakout star Royalty Hightower) aspires to be a dancer while making her way through boxing training at her Cincinnati youth center.

As a convulsive disease begins to affect several of her fellow dancers, “The Fits” gradually transforms into a “Twin Peaks”- like look at communal alienation, but it’s also a smart depiction of an insular community seen through the lens of childhood wonder. Hightower’s astonishingly subtle performances meshes perfectly with the movie’s rhythmic portrait of the mysteries and alienation of adolescence. Holmer’s ability to remain within her young protagonist’s perspective of the world imbues “The Fits” with a disarming simplicity that’s almost jarringly poignant as it builds to a surreal finale. Though he hasn’t had a film released in the United States since 2. In the City of Sylvia,” Guerin has continued to craft inventive cinematic experiments that blend documentary and fictional components with bracingly unpredictable results.