By Justin Taylor

The summer of 2017 was a fantastic season for blockbusters as well as independent films. There were so many great movies that debuted over the last few months. The following films are my personal favorites, and I feel almost anybody would enjoy and be entertained by.

Okja

(Bong Joon-Ho)

A touching yet unorthodox love story centering on the friendship of a young farm girl and a genetically engineered super-pig. “Okja” is at its freshest when it boasts its use of some of the most strange and original characters I’ve seen in years, played by experienced character actors — Tilda Swinton as a pair of twin CEOs, Jake Gyllenhaal as an unhinged celebrity zoologist, and Paul Dano as the head of an underground animal activist group. Okja cleverly utilizes these roles in a story that manages to be horrific and tragic, yet touching.

Baby Driver

(Edgar Wright)

Edgar Wright’s newest flick, “Baby Driver,” is a technical masterpiece that uses its thrilling score of hand-picked rock songs to fuel its action set pieces. Featuring the stellar performances of Jon Hamm, Jamie Foxx (in a fantastically psychotic role), Kevin Spacey and starring the charismatic Ansel Elgort in the title role. Wright brings the style and flare that makes this delightful surprise one of the summer’s must-see features.

Dunkirk

(Christopher Nolan)

Nolan’s entry into 2017 brings one of his more experimental films. Centering on the military disaster at Dunkirk, Nolan tells the story from three different perspectives: land, sea and air. He uses this formula to experiment with structure and tell a non-linear story that all comes together by the climax, in the third act. This technique becomes integral in building suspense, as well as the tense soundtrack by Hans Zimmer, mixed from the ticking of Nolan’s own stopwatch. Dunkirk stands out as an intense and at times bleak take on war, featuring very little dialogue and character, opting to focus on the violence and hardships of the disastrous operation.

Spider-Man: Homecoming

(Jon Watts)

In the franchise’s second reboot, director Jon Watts manages to bring the character back to the big screen in a way that still feels fresh and foremost, in a tone and style that fit and perfectly embody the character. Taking inspiration from the “Ultimate Spider-Man” comic run, “Homecoming” is packaged as a teen film, a convention that works well for the character as he attempts to balance his responsibilities with his newfound power. Coming in late to the Marvel Universe, the film takes pleasure in exploring and playing with the elements of an already established world.

The Big Sick

(Michael Showalter)

Written by comedian Kumail Nanjiani and his wife, writer Emily Gordon, comes this unconventional romantic comedy based on their relationship. Everything from the cast to the writing is absolutely brilliant, tackling hard-hitting themes like racial tension, diverse relationships, and the effects of tragedy, all without forgetting that it’s a comedy. And in that aspect, “The Big Sick” is hysterical; I haven’t laughed that much during a showing in years. The likeability of its leads elevates the comedy; it features Ray Romano in what is surprisingly one of his best roles.

War for the Planet of the Apes

(Matt Reeves)

In the final installment of the newest trilogy in the franchise, “War” dials down the action in a meditative and gripping reflection on war and its impact on society wrapped in a hard-sci-fi package — and still manages to deliver fresh and exciting sequences. Andy Serkis returns as Caesar, in one of the most intense and gripping character performances in years, which surpasses its predecessor.

Guardians of the Galaxy Vol. 2

(James Gunn)

“Vol. 2” manages to be even more insane the the first. James Gunn returns with the same irreverent splendor and nonsensical action that made the original so great. Featuring stellar special effects and building on the team dynamic of roguish Guardians, “Vol. 2” is ridiculous fun that throws the humor at you like a bullet-train, as well as being able to balance it with some of the more dramatic moments of the film.

Free Fire

(Ben Wheatley, Benjamin Taylor)

This experimental film features bold character bundled together in a gun deal gone bad. After just 15 or so minutes of setup, the film erupts into a marvelous gun fight that lasts pretty much the remainder of its runtime. “Free Fire” is backed by a chaotic jazz soundtrack, which manages to hold the momentum and interest of the audience for the duration of the firefight and highlights the sense of danger in the drawn-out sequences. Explosive and dynamic, this indie flick from A24 is one of the most memorable theatrical experiences I had this summer.

Colossal

(Nacho Vigalondo)

This early-summer features an inventive premise in which a late 20s party girl, after returning to her home after being dumped by her boyfriend, discovers she is controlling a massive monster halfway around the world. Nacho Vigalondo does more with this premise than I would have thought, and uses character to propel the conflict forward in a way I’d prefer not to spoil. He focuses not on the how or why of the concept, but uses the characters to showcase the capabilities and repercussions of such a situation. The bizarre and surprisingly humorous finale makes this one of my favorites of 2017.