We, Film Clas applaud I, Tonya as we rubberneck the redneck drama of this incredibly captivating story revisited in a Christopher Guest-like manner. And it is intentionally uncomfortable and wholly entertaining.

Here, Craig Gillespie was able to maintain a fresh continuity and flow using timely narration, fourth wall breaks and hilarious but factual interviews. That said, the film cannot lace up its skates without LaVona (Janney), Tonya’s (Robbie) mom. Anxiously believable, LaVona is demoralizing and disparaging yet parental in affording opportunity for Tonya. And Janney and Robbie are just the stubborn and visionary pair that spark this darkly comedic story.

Gillooly (Stan) and Tonya are tragic but as time passes, and her success goes global, she garners sympathy for her ham-handed personal life. Gillooly is idiotic and self-inflicting, especially in keeping the company of personal operative Shawn (Hauser), so we cannot wait for their downfall. But, independently, Tonya lands the Triple Axel and we joyfully leap from the emotional Sit’n Spin we are circling on the entire film. And Maddox (Cannavale) reminds us of the special insanity of the moment.

The judges from Vermont award I, Tonya with elite status and 4.78 napkins out of 5 for technical entertainment.

Greta Gerwig’s transitional tale fails to take flight as Lady Bird lays an egg in quite a disappointing flutter. And, as we searched for the comedy amidst the trivial, we could only roll our eyes as not even DMB could save this film.

Christine “Lady Bird” McPherson (Ronan) hams it up throughout the story drawing more angst than sympathy. Yet, as we would like to believe, it wasn’t Ronan’s fault this time. Gerwig overdevelops Christine, meaning, in a 93 minute movie, we were deluged with multiple bits of forced drama in checklist fashion. And, unfortunately, this multitude of defining and cliched familial or social themes watered down the final film, ironically or not. Also, we had high hopes for Marion (Metcalf) who was virtually hamstrung; unable to spread her impeccable impromptu wings of sarcasm while buried in the unappreciated mom role.

As the film progresses, there is merit in the relationship between Lady Bird and Marion with Larry (Letts) involuntarily refereeing the endless antagonizing. But it leads to the some of the worst concluding minutes in cinema. We did not like or love this film as Lady Bird migrates south in our ratings, tallying only 1.79 napkins out of 5.

Simply, Sir Gary Oldman, hardly even recognizable, illuminates Darkest Hour with spirit and a gurgly oration. And, as the external intensity is ramping with every passing minute, we are buttered with the kindness, indulgence and humor of the incomparable leader. It’s fairly surprising.

Churchill (Oldman), trumpeted by the public, was unpopular in politics, humorously unwelcome by royalty but unanimously lauded for military intelligence; a trait surely on display from the moment he took office. Oldman, our genius vocal chameleon, ideally articulates the necessary insubordination as Churchill’s defiant speeches invite us to the House of Commons with the transporting feeling of precision reenactment.

The contrariety of the two Churchill’s portrayed gives the film its character. We have read the inspirational quotes but Clemmie (Thomas) awakens the mellowness and compassion in the family man. Pardoning some of his messy qualities, she displays unconditional love and composes him and, in turn, stabilizes the picture. And who can forget the comedy between a naive Churchill and his secretary, Elisabeth (James).

While the London Underground scene seemed fantastically staged it didn’t devolve the film altogether as we still appreciated the public engagement. Churchill never gave up as Darkest Hour surrenders 3.98 napkins out of 5.

Guillermo del Toro molds The Shape of Water into a form that floats classification. It’s a fancy sort of walleye perspective that’s drenched in symbolism and corrals all emotions into a triumphant tragedy. And it never slips up.

Elisa (Hawkins) is flawless as her endearing personality easily floats threw any sort of boundary set forth by her vocal limitation. Yes, she is everything to this story but Zelda (Spencer) is equally memorable as Elisa’s cleaning companion. Zelda just happens to be blessed with the gift of the gab, mostly for spousal complaints, and these contrasting guises give this beautiful film its fluidity.

Strickland (Shannon), the spectacularly despicable government agent in charge, displays vanity and outrageous clumsiness which allows for buckets of laughs at his many failures. In contrast, Giles (Jenkins), Elisa’s adjacent neighbor is reflective and totally flawed but blankets all his reservations to help a friend. Additionally, the beautiful non-verbal communication between Elisa and the creature (Jones) is the center of the film’s success.

Whilst reveling in such original storytelling, the reverse symmetry of forbidden love in this hum-amphibian story with Romeo and Juliet is not lost. The Shape of Water dries off with 4.77 napkins out of 5.

*Thoughtfully Spoiler Free*

Rian Johnson plays a sort of mind trick as The Last Jedi strikes back into the canon of the greatest story ever told. It’s indeed a wonderful blueprint to footnote. An inner conflict augmented with a teacher and pupil anecdote of skepticism on a far away land in a galaxy far, far way. And it’s comforting to reflect fondly on Empire whilst ready to embrace a new direction.

As Rey (Ridley) increases her awareness on Ahch-To, a reluctant Luke (Hamill) becomes one with the light side, of the film, that is. Skywalker is prickly and witty and, along with the many creatures on this Outer Rim planet, provides memorable humor. Yet, many of the film’s campy bits resonate from General Hux (Gleeson) in a brainy Monty Python-esque manner which should be celebrated.

FC Hall of Famers are highly influential in the film’s quality as, firstly, Vice Admiral Holdo (Dern) displays confidence and serenity in the face of the First Order while DJ (del Toro) brings mystery and vagabond into the lore evoking Lando. Both tiptoed around confusion and provocation.

The Last Jedi cannot force itself in the Film Clas elite but 4.27 napkins out of 5 it deserves.

Marty McDonagh’s banner effort, Three Billboards Outside Ebbing, Missouri, displays a unique coupling of relentless tragedy and dark comedy that elicits shameless laughs yet it remains aware of its context. And it happens that we somehow happily emerge from the film without agita.

With Mildred (McDormand), we never stray from the drawn eyes that caption a face fixed with unimaginable grief. The billboards are explicit and as succinct as she. Her apathy and indifference of personal consequence is the humor and sadness of the film and McDonagh does well to treat both equally. This polarity invites Willoughby (Harrelson) and Dixon (Rockwell) into the fray at opposing viewpoints. Willoughby, humble and nurturing, targeted by Mildred begets Dixon, arrogant and nurtured, to amplify his horrible policing.

In a crowded and stellar ensemble, Jerome (Britt-Gibson) presents with brevity and relevance and his initial interaction with Dixon sets the tone. Red’s (Jones) consequential kindness amongst the brouhaha struck a chord for it’s credibility. A single blip is the finger-snap transition of Dixon but this aspect drives the final act of the film.

It’s a provoking film with only a single billboard needed to showcase 4.02 napkins out of 5 for Three Billboards Outside Ebbing, MO.

In The Florida Project, Sean Baker shines a light on the previously marginal hidden homeless plight in the shadow of America’s grandest logo. It’s equal parts sad and infuriating with zero inspirational gist and is one of the most debated movies in the corridors of FC HQ. And it’s good.

Halley (Vinaite), Moonee’s (Prince) mom and careless enabler, drifts through by manipulation and disrespect and willingly passes on these talents to Moonee. It plays innocently for Moonee while Halley acts so frustratingly entitled that her love for Moonee seems shrewd. And this disappointment of Halley’s influence on Moonee is as thick as the Florida humidity.

Bobby (Dafoe), the exhausted manager of the motel, finds himself caring too much for everyone with nothing in return. He coerces some herons onto the grass which serves as proof that someone, or something, could actually listen to him. Thus, when Halley directs her ubiquitous irreverence to Bobby, the disdain for her character tips to all time. But Bobby’s appreciation for the poetic innocence of children prevails.

The abrupt ending screams fantasy with slight frustration but Prince gleams in the Sunshine State. The Florida Project manages edible spoons and 3.9999 napkins out of 5.

Taika Waititi, an FC favorite, stuffs this timeless Marvel Meathead full of original humor and a psychedelic motif to break free from the usual bore of Thor. And in doing so, he invites all naysayers of loud MCU mashups (yes, our hands are raised) to his peculiar interpretation.

Taika’s vision is seen in the opening sequence as Thor (Hemsworth) is face to face with Surtur (Brown, voice)…and then he is not…and then he is again. His style is felt in the film’s belly as he juices each character, no matter how unfunny in this normally serious cosmic space, for their latent comedy. And ultimately, Korg (Waititi) carries that unmistakable Kiwi accent into the most memorable, and hilarious, moments of Thor.

The Grandmaster (Goldblum) layers his heartless sarcasm and self-indulging governance amidst his fantasies in an ideal la-di-da manner. Topaz (House) ogles The Grandmaster but also frets his glaring incompetence. Although we didn’t really buy the buddy dynamic of Thorsky & Hulk (Ruffalo), it was a noble effort and Valkyrie’s (Thompson) apathy gets a nod.

At times, it’s a bit of a mess but Taika brings us back to Asgard with a laugh. Thor: Ragnarok hammers home 4.49 napkins out of 5.

In directing Blade Runner 2049, Denny Villeneuve is trapped somewhere between reboot, sequel and superhero origin story. Whilst grasping for the original ambiguity of the Art House classic, the neo-noir wheels spin and we advance nowhere. And that is seemingly by a design absent of creativity.

The originality bursts by Villeneuve are the film’s peaks especially as Ana (Juri) triggers our sincere compassion. And we get it, the loose interpretation of the story dallies in the blurred lines of human definition, specifically sexuality. And that is great. Then two of the main female characters are named Joi (de Armas), K’s (Gosling) holographic girlfriend and Luv (Hoeks), the A+ henchwoman of the Wallace Cooperation, and we sigh. Then we have Doc Badger (Abdi), wonderfully timed and perfectly portrayed, balancing the overacting divinity of Wallace (Leto). It’s as if the entire picture cancels itself out.

The cinematography conveys the beautiful ugliness of the time and, to that, there’s no dispute. K draws sympathy in his search but seems emotionally contained for no reason. Deckard (Ford) surprisingly accentuates the film, but is tardy. Blade Runner’s persistent back and forth results in 2.999 napkins out of 5 as some stories are best left in the future.

Tommy Cruise, an FC Hall of Famer, makes American Made and, essentially, the genesis of drug trade into a wild and clownish hoot. And through the clouds of cocaine and flurries of cash, this historically made up true story teaches us a bit whilst entertaining us a lot.

Barry Seal (Cruise) narrates the story ideally with the help of some well placed cartoon cartography and real life flashbacks. Things happen fast, almost too fast, but that’s part of the farce and his witty guidance and time-stamping allow for precise historical recollection. Seal is clueless yet intelligent and overwhelmed yet gains control. He blurs the line of integrity with each sojourn and evolves into the antagonistic good guy.

The insanity of the time is personified by Shafer (Gleeson), the CIA operative who tugs Seal every which way while he maintains plausible deniability. Gleeson’s humorous authority and logic are exceptional. Seal flips the script on the government by introducing the Medellín Cartel to America. Escobar (Mejía) employs Seal’s naivety, greed and usefulness to their benefit. It’s a dizzying scene.

Cruise always multiplies the role with his investment. American Made puddle jumps into the Film Clas Elite, laundering 4.79 napkins out of 5.