We’ve reached the end of my list of my Top Twenty Movies of 2016! Click here for numbers twenty through sixteen, click here for numbers fifteen through eleven, and click here for numbers ten through six.
And now, my top five favorite movies of 2016!
5. Hail, Caesar! – I can’t believe how ignored this terrific Coen Brothers movie has been! Set in Hollywood in the 1950′s, the film stars Josh Brolin as Eddie Mannix, a studio exec and “fixer” who is trying to locate his kidnapped star, Baird Whitlock (George Clooney), before news of the star’s disappearance can make it into the papers. Baird’s kidnapping, by a group of disgruntled Communist screenwriters, is only one of the many fires that Mannix has to try to put out as he tries to keep his studio afloat and all of his in-production pictures running smoothly. Hail, Caesar! is a very silly film, which is a difficult tone to hit, but the Coen Brothers make it look effortless. The film mines a lot of humor gently skewering the art of making movies and the pomposity of Hollywood egos. The fall-on-the-floor hysterical scene in which director Laurence Laurentz (Ralph Fiennes) — whose very name is a subtle gag running throughout the film — tries and fails to give a line reading to the dim-bulb cowboy actor Hobie Doyle (Alden Ehrenreich) could be the funniest single scene in any movie this year. Josh Brolin is terrific as the serious man (see what I did there?) trying his best to wrangle all the Hollywood crazies surrounding him. Tilda Swinton, Scarlett Johansson, Channing Tatum, Alison Pill, Wayne Knight, Jonah Hill, David Krumholtz, Fisher Stevens, Fred Melamed, Patrick Fischler, Robert Picardo, and even Christopher Lambert (the original Highlander himself!) are all so great in their appearances in the film. While Hail, Caesar! might not be one of the greatest Coen Brothers films ever (of a caliber with The Big Lebowski, Miller’s Crossing, Fargo, or A Serious Man), it is still easily one of the best movies of 2016. (Click here for my full review.)
4. Arrival — When twelve extraterrestrial spaceships appear in different locations around the globe, linguist Dr. Louise Banks (Amy Adams) is tasked with finding a way to communicate with the alien life-forms (huge creatures that the human scientists refer to as “heptapods”). Arrival is a magnificent film, a gorgeous, original, cerebral sci-fi story. The film has the visual splendor of a big-budget movie, but this is not an action-adventure film, rather this is an intelligent drama that is a fascinating exploration of language and communication. I was enormously impressed by the way the film … [continued]
10. Sing Street – Writer/director John Carney, who wrote and directed the marvelous film Once (which was then made into a Broadway show) returns with another fantastically entertaining music-centered film. Set in Dublin in 1985, the film tells the story of a lonely boy, Conor, whose getting-divorced parents have moved him into a free Catholic school. To impress a girl, Raphina, who he meets, Conor tells her that he’s in a band, and asks her to appear in one of their music videos. When she agrees, Conor must now actually form the band he claimed already existed! What follows is a lovely coming-of-age story as Conor tries to figure out just who he is and what he wants to be, all the while struggling with a group of newfound musician friends to create music that is actually good. The romance is sweet, and I adored the film’s focus on the relationship between Conor and his older brother, Brendan. La La Land has gotten all the attention this year, and I really enjoyed that film, but Sing Street is, I think, the superior musical film. The music is great, and all of the kids are wonderful and instantly lovable. It’s hard not to fall in love with these kids and this small-scale story about growing up and creating art. I certainly did.
9. Star Trek Beyond – This rebooted Star Trek movie series (begun by J.J. Abrams who directed the first two films) hasn’t ever quite gelled into feeling like true Star Trek for me, but damn if Star Trek Beyond doesn’t come close. Star Trek Beyond is not a perfect movie, but it is nevertheless a very entertaining new Star Trek adventure that is fun and exciting, with a strong focus on character and a firm grip on Gene Roddenberry’s optimistic vision of the future. New Trek director Justin Lin, working from a script by Simon Pegg (who, of course, also plays Scotty in the film) and Doug Jung succeeded in crafting a terrific new Star Trek stand-alone adventure. Set several years into the Enterprise’s five-year mission, Beyond was made to feel like a big-screen version of a classic Star Trek episode. I love that approach, and there is a lot about Star Trek Beyond to enjoy. It’s fun to get a brand-new story, set on a never-before-seen planet and with lots of never-before-seen aliens. There’s a wonderful focus on the Enterprise crew, with every member of the ensemble getting fun stuff to do. In particular, after two movies that emphasized the Kirk-Spock … [continued]
On Wednesday I began my list of my Top Twenty Movies of 2016! Let’s continue:
15. Weiner – It’s remarkable that this film exists. For some reason, disgraced former Congressman Anthony Weiner allowed a documentary crew full access to himself, his family, and his political team during his campaign for the Democratic nomination to be the Mayor of New York City in 2013. Weiner’s attempt at political resuscitation came crashing down around his ears in spectacular fashion when, a few weeks into the campaign, new sexting scandals came to light. The film is a you-can’t-look-away story of personal and professional catastrophe, and there’s something mesmerizing about it. It’s a fascinating how-the-sausage-is-made look behind the scenes of a modern political campaign, and a devastating story of a very flawed man destroying himself. It’s exhilarating and terrifying, funny and deeply sad. Josh Kriegman and Elyse Steinberg have crafted a remarkable film that has so much to say about the political and human realities of our current age.
14. 10 Cloverfield Lane – Somehow J.J. Abrams’ production company, Bad Robot, was able to create this film almost entirely in secret, only announcing it’s existence a few months before its release. That’s an incredible magic trick all its own in today’s internet spoiler era, but even putting all of that aside and judging the film strictly on it’s own two feet, this is a great movie that really hit me in my movie-going sweet spot. For much of the film’s run-time, it’s a gripping character piece and exercise in escalating tension. Michelle, played by Mary Elizabeth Winstead (Scott Pilgrim vs the World) wakes up after a car accident to find herself locked in an underground bunker with Howard (John Goodman) and a young man, Emmett (John Gallagher). Howard is a survivalist who tells Michelle that a deadly virus or nerve agent has been released by a foreign attack and that, if she leaves the bunker, she will die. Is he telling the truth or is he lying? Is Howard Michelle’s savior or a terrible villain? Dan Trachtenberg’s film (written by the great Drew Goddard) keeps turning the screws on Michelle and the audience, and it’s a magnificent thing to watch. All three main actors are fantastic, 100% invested in this story and these roles. Then there are the film’s final twenty minutes, which are absolutely bonkers and yet absolutely perfect. I love the idea that Bad Robot will be periodically releasing Cloverfield films, creating a movie anthology series of weird and suspenseful tales. I loved 2008′s Cloverfield, and this new film — which totally stands on its own and yet also feels 100% “of a piece” with the first Cloverfield… [continued]
I am very excited to present my list of my Twenty Favorite Movies from 2016! While I don’t think 2016 was quite as strong a year for movies as 2015 was, there were still a heck of a lot of great movies released this year! I debated cutting back and presenting a list of my fifteen favorites this year, but I found that I was easily able to fill a list of twenty, just as I did last year.
Though I have seen a ton of movies in 2016, as always there is still a boatload of movies that I wanted to see but didn’t get to. These include Silence, Live By Night, Fences, Twentieth Century Women, Collateral Beauty, Moonlight, The Edge of Seventeen, Rules Don’t Apply, Hidden Figures, Everybody Wants Some!, Keanu, Denial, War Dogs, American Pastoral, Frank & Lola, Cafe Society, Whisky Tango Foxtrot, Miss Peregrine’s Home for Peculiar Children, and more. So if you’re wondering why any of those films aren’t on this list, well, now you know. I am hopeful that I will be able to see many of those films I just listed in the coming weeks, but I couldn’t wait any longer before publishing this list.
Meanwhile, there were plenty of wonderful 2016 movies that I did see and enjoy and yet didn’t make this list. Those include Jackie, Green Room, The Lobster, Midnight Special, Fantastic Beasts and Where to Find Them, Office Christmas Party, For The Love of Spock, and many others. (In a few weeks, after I finish posting my Best of 2016 lists, I’ll be posting reviews of many of the films that I saw in my end-of-the-year rush to catch up with as many 2016 films as I could.)
Honorable Mention: Brooklyn – This was a 2015 film that I didn’t get to see until well into 2016. But if I had seen it earlier, it surely would have been one of the top films on my 2015 list. This gentle story of a young Irish immigrant to the U.S. in the nineteen-fifties was gorgeous and very moving. Saoirse Ronan makes an extraordinary impression in the lead role, elevating herself from great character actor to true movie star. In a modern era in which so many American politicians like to demonize the “other,” fostering suspicion and mistrust of anyone not born in the United States, Brooklyn tells a story that brings the immigrant experience to life in a positive way. This is an important film, and one that is truly alive with joy and pain and a wealth of human emotion. I loved it. Click here for my full review.
20. The Jungle Book… [continued]
Coming out of the spectacular Rogue One, my excitement for all things Star Wars is riding high. Coming to fan the flames is this awesome new teaser for the remaining episodes of Season Three of Star Wars: Rebels:
Obviously the huge bombshell is the first animated appearance of Alec Guinness-era Obi-Wan Kenobi, and the tease of a long-awaited rematch with Darth Maul. But there’s a lot more than just that to get excited by. There’s Saw Gerrera from Rogue One, with Forest Whitaker returning to voice the character, a super-cool crossover. We see hints of what looks like an enormous space battle between the Rebel Alliance and a group of Imperial Star Destroyers. There’s Mon Mothma and Bail Organa and General Dodonna, and I think we get a glimpse of Wedge Antilles, too! I’m excited by the idea that these upcoming episodes will start to show us the assembly of the Rebel Alliance that we know from the Original Trilogy, and now also from Rogue One. It’s also cool to see more of Admiral Thrawn. (Is the show going to allow Thrawn to be defeated to easily? That’d be a letdown. But, on the other hand, I wonder… the opening crawl of the original Star Wars describes what we just saw in Rogue One as the Battle of Scariff as the Rebels’ “first victory” against the Empire. Is it possible that Rebels is going to show the Rebels LOSING this fight, and Thrawn coming out on top? That would be very interesting, and very cool…)
I am super-excited by this first full trailer for Spider-Man: Homecoming:
Holy cow that is a spectacular trailer. The reinvention of Spider-Man seen in Captain America: Civil War was phenomenal, and this strong trailer only makes me even more excited for Tom Holland to star in the role in his own film. I love how gently this trailer reminds you that Spidey is now firmly in the Marvel cinematic universe — doesn’t it just feel so perfect? I love the Avengers bank-robbers and WOW that show of Spidey and Iron Man together at the end was incredible. I loved the way the Civil War writers crafted the relationship between Robert Downey Jr.’s Tony Stark and Tom Holland’s young peter Parker, and I am so excited that this upcoming Spidey film will explore that dynamic further. It is super-cool that they got Mr. Downey Jr. to appear in this film. Also — is that Ganke as Peter’s best friend?? Ganke is a character created by Brian Michael Bendis as the best-friend of Mr. Bendis’ “ultimate” Spider-Man, Miles Morales. Have they co-opted the Ganke character to be Peter Parker’s best friend for this movie? I’m beyond excited … [continued]
Casey and Ben Affleck both earned my approbation forever with 2007′s Gone Baby Gone, a magnificent and heartbreaking piece of work. That film was Ben Affleck’s directorial debut and Casey played the lead role. If you haven’t seen it, go see it right now. I’ve been waiting ever since for either Affleck brother to be able to top their incredible work in that film. (Both have come close once or twice over the years, Ben with Argo and Casey with The Assassination of Jesse James by the Coward Robert Ford.) A decade later, Casey Affleck might have finally done it with his extraordinary work in the wrenching and deeply moving Manchester By the Sea.
In Kenneth Lonergan’s film, Casey Affleck plays Lee Chandler. When we first meet Lee in the film, he is working as a janitor on the South Shore (Quincy, MA), living a lonely life consisting of brief, mostly-terse interactions with his building’s tenants and picking bar fights. Then a call summons Lee back to his home on the North Shore, as his brother Joe (Kyle Chandler) has died of a heart attack.
I’d thought the early death of Lee’s brother would be the central tragedy of the film, but no, that’s not really what the film is about at all. Although the film takes its time in telling us why Lee is known around town as “that” Lee Chandler, we do eventually learn the heartbreaking details of what has turned Lee into such an empty shell of a person. It is this that is the defining event of the film, and the reason for telling this story.
Casey Affleck is simply remarkable in the role. He commands the audience’s attention in every moment that he is on-screen (which is almost the entirety of the film’s 137-minute run-time). As always, Mr. Affleck eschews movie-star histrionics, instead bringing Lee to life through a series of tiny, quiet moments and his gentle, almost mumbling line-delivery. With every small action or inaction, with his posture and the look in his eyes, Mr. Affleck fully inhabits this deeply broken man. My favorite moment in the entire film is the quiet scene in which we see Lee stuffing his clothes in a bag and then, almost reverently, carefully wrapping the three objects (I won’t tell you what they are) he picks up off the top of his chest of drawers. That’s the whole movie right there.
I knew going in that this would be a somber movie and I was fearful that a two-and-a-half movie about grief, however well-crafted, would be a chore. But the genius of Kenneth Lonergan’s film is how alive it is. After two-and-a-half hours, when the credits rolled, … [continued]
Jim (Chris Pratt) and Aurora (Jennifer Lawrence) are members of a colony expedition to a planet, Homestead II, far from Earth. But something goes wrong and they two alone amongst the 5,000 cryogenically frozen passengers aboard the space ship Avalon are woken from their sleep 90 years early. As they wrestle with their fate of living out their entire lives alone aboard the ship, a series of cascading technical failures present a far more urgent crisis: if they cannot identify and repair the problem, they and the 5,000 sleeping passengers will die long before the Avalon ever reaches its destination.
That plot description, and all of the pre-release advertising and promotional material for Passengers, leaves out a crucial detail of the story. I guessed it from the film’s trailer (which I must have seen 10 times since the summer, it seemed to have played before every single movie I saw for the past several months), but the film doesn’t actually treat this as a surprise — this event is presented in a very straightforward manner in the film’s first act. I don’t want to spoil this for anyone since the filmmakers clearly prefer that audiences go into the film not knowing about this. However, it is difficult to discuss Passengers without mentioning this event because it is central to the whole story of the film.
So for now, what I can say is that Passengers is not the glossy, mass-appeal film starring two current Hollywood heartthrobs that it is advertised as being. This central event at the start of the film seems to be intended to spin the story into something far more complex and interesting. And yet, the film (directed by Morten Tyldum and written by Jon Spaihts) doesn’t seem at all interested in exploring those complexities. And so Passengers exists in an uncomfortable middle ground. The film looks absolutely gorgeous, and Chris Pratt and Jennifer Lawrence are certainly fun to watch. But the story remains superficial where it felt to me that it begged for something deeper, something more difficult. And this superficial, glossy telling of this story actually results in a film that was, for me, disturbing and uncomfortable in a way that I don’t think the filmmakers ever intended.
For those interested in treading into SPOILER TERRITORY, please read on!
All of the film’s promotional material suggested that something went wrong with Jim and Aurora’s cryogenic pods, alone among all the passengers on the Avalon. And yet that’s not the case at all. Jim (Chris Pratt) is the only one woken from the malfunction. After a year of living along on board the ship, he becomes obsessed with the sleeping Aurora (Jennifer Lawrence) — a beautiful … [continued]
In La La Land, Damien Chazelle’s follow-up to his marvelous and intense film Whiplash, Emma Stone and Ryan Gosling star as two young artists struggling to make it in Los Angeles. Ms. Stone plays Mia, a struggling actress working as a barista, while Mr Gosling plays Sebastian, a jazz musician who, soon after we meet him, gets fired from his demeaning (at least that’s how he views it) job playing popular ditties on piano at a restaurant. Mia and Sebastian’s first two interactions don’t go well, but when they meet for a third time, something sparks.
La La Land is a musical, a rare thing in cinema these days. A musical is certainly a retro style of film, and Mr. Chazelle leans into that, with aspects of the film such as the opening credits and the closing “the end” title card having the look and feel of Hollywood films from days gone by. I loved those touches, they work together to help set a tone for this film as something different, something set apart in style from so many of the other movies crowding our multiplexes these days.
The film also has an earnestness that feels retro in this modern cynical age. This is a film that wears its heart on its sleeve. Some might find that corny, but I found it to be enormously appealing. Ms. Stone and Mr. Gosling are able to sell the film’s big emotional beats completely, drawing the audience into their story.
The music in La La Land is great. Right away from the joyous opening number I was captured by the film’s effervescent tone, not to mention the extraordinary film-making skill on display as that complicated opening number, set in the midst of an L.A. traffic jam, appears to unfold in one unbroken take. That was impressive!
But La La Land works because, even if you were to take all of the wonderful musical sequences out of the movie, you would still be left with a compelling story. Ms. Stone and Mr. Gosling’s shared chemistry and movie-star wattage make you care about these two characters and their relationship. But more than that, I was taken by the film’s meditations on creative struggles, the hardship of the quest for artistic success, and the heart-rending soul-searching that must be done when one has to weigh giving up on one’s artistic dreams for a chance at more attainable every-day goals. Anyone who has ever tried to make art surely knows these struggles. I was captivated by the way in which Mr. Chazelle explored these issues on-screen.
Although I like them both individually, I was not that interested in Ms. Stone and Mr. Gosling’s prior two … [continued]