My top 10 flicks of 2017.

Now that I've seen all the major releases and awards contenders from 2017 that interested me, I present to my cream of last year's cinematic crop.

10-1:

While I found it slightly uneven and less suspenseful than The Force Awakens, Rian Johnson (only the second person to individually write and direct a Star Wars movie) took us on a profound and affectionate ride through previously uncharted regions of the galaxy for a result that was nonetheless worthy of the name Star Wars, and a fitting swansong for Carrie Fisher (RIP).

Probably the most surprising entry here, as I never actually liked the 1991 version that much. But director Bill Condon and writers Stephen Chbosky and Evan Spiliotopoulos infuse their live-action remake with such clever wit, rollicking action, crisp visuals (the Be Our Guest scene is especially dazzling) and unabashed romantic passion that it bowled me over with a strike. Not bad for a tale as old as time.

Based on Sui Ishida's massively popular manga, director Kentaro Hagiwara's Tokyo Ghoul is a deliciously dark and bloodthirsty experience even by Japanese standards. But what raises it above most of its brethren is a sincere effort to develop and make us identify with its characters, particularly of course Masataka Kubota's conflicted protagonist Ken Kaneki. A slick and grippingly ghoulish treat.

If any 2017 movie gave me cognitive dissonance before its release, this was it. Blade Runner is unquestionably one of my all-time favourites. I was especially torn as that was 35 years earlier and I had never liked Ryan Gosling in action roles, but I had no reason to be unsure as I was riveted for the whole two-and-three-quarter hours. While it inevitably fell short of its predecessor, Denis Villeneuve superbly invokes the visual and thematic mood and spirit of that landmark film with solid photography, effects and music, and his cast all rise to the challenge to deliver a thoroughly confident, exciting and thought-provoking sequel.

Another surprising choice here, as rom-coms are very hit-and-miss for me. But thanks to Emily V. Gordon's and Kumail Nanjiani's hilarious and observant semi-autobiographical screenplay, Michael Showalter's lucid direction and terrific performances across the board (especially Holly Hunter), The Big Sick turns nearly the whole genre on its head and becomes a very wise meditation on human mortality and connection (particularly the interracial kind). It charmed my socks off.

Now this one was destined to be controversial and divisive based its subject alone. Aussie director Craig Gillespie and writer Steven Rogers mostly don't bother trying to tell us anything we didn't already know about Tonya Harding and her horrible inner circle, but somehow they get away with making us understand why they did what they did. Thanks to vivid cinematography and editing, a ripper classic rock soundtrack and three explosive central performances, I, Tonya skates its way onto the podium here. Just don't have anybody assaulted with a metal bar after seeing it.

Yes, a second rom-com! And this one was drawn from the star's own life, too. Under Jeffrey Walker's imaginative direction and Andrew Knight's and Osamah Sami's hilarious and resonant screenplay, Ali's Wedding is a fabulously entertaining and non-stereotypical portrait of modern Muslim Australian life with a totally adorable cast, but as an atheist I can confirm you don't have to be a believer for this one. Coming home from it, I could not wipe the smile off my face. It could be our best rom-com since Muriel's Wedding.

After 13 Oscar nominations, I had to fight hard to suppress my expectations for this one; indeed I waited to see it this week before compiling this list. But while I can't help but compare it to a considerably more explicit, Cold War-set version of Edward Scissorhands, Guillermo del Toro's film still cuts one hell of a distinctive impression, and with its own voice. He harnesses truly exquisite cinematography, editing and period design to make this brilliantly metaphorical fantasy romance tug at the heart-strings, Alexandre Desplat offers a heart-pounding score and Sally Hawkins gives arguably 2017's finest screen performance, with flawless support from Richard Jenkins, Octavia Spencer, Michael Shannon and Michael Stuhlbarg. The Shape of Water is breathtaking.

Unless another Aussie filmmaker can turn water into wine this year, I'm expecting this Western to win the 2018 Best Film AACTA Award by the length of the Bass Strait. Inspired (sadly) by true events, Sweet Country takes us back to the Northern Territory in 1929 where Aboriginal farmer Sam Kelly (Hamilton Morris) and his wife become fugitives after he kills his abusive, racist white landlord (Ewen Leslie) in self-defence, with the help of a local preacher (Sam Neill) but also the massively corrupt local sheriff (Bryan Brown in one of his best performances) in hot pursuit. Indigenous director Warwick Thornton took his time in choosing a follow-up to his rightly celebrated 2009 debut Samson and Delilah, and here he proves that was no fluke. Before this I'd only ever enjoyed three Westerns in my life (Unforgiven, Django Unchained and The Hateful Eight), but Sweet Country is so strikingly shot and ferociously raw and powerful that it will immediately grab you by the neck and never loosen its grip. And its message is equally important now. A high watermark for contemporary Aussie cinema.

But no movie from 2017 charmed, amused, moved or even surprised me as much as Coco, Disney Pixar's wondrous take on Mexico's iconic Dia de los Muertos (Day of the Dead) festival through the history of a family believed to be cursed by music. Maybe this was an inevitable pick for me, as DP already walked on water to me (look at that, Jesus references in two consecutive reviews - and I'm meant to be an atheist!), but this is surely spookier than anything they've done before, perhaps in keeping with the subject matter. Director Lee Unkrich and his whole gifted cast and crew pack this dazzler with enough laughs, visual accuracy, richly-developed characters, emotional weight and respect for Mexican culture to make it almost miraculous. God, I sobbed like a newborn in several scenes. Its main song may be called Remember Me but I assure you you will remember everything about Coco. It is an instant classic on every level.