Top 10 of 2016
Honorable mention: "The Beatles: Eight Days a Week: The Touring Years."
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- DirectorPablo LarraínStarsNatalie PortmanPeter SarsgaardGreta GerwigFollowing the assassination of President John F. Kennedy, First Lady Jacqueline Kennedy fights through grief and trauma to regain her faith, console her children, and define her husband's historic legacy."I never wanted fame. I just became a Kennedy." That's probably my favorite line from "Jackie," an art-house style drama that is currently the best film I've seen this year. Even if you don't have an airtight education on JFK's assassination and the politics surrounding it, this excellent film analyzes the status of American icons, especially ones who are involuntarily placed at history's most monumental moments. Jackie Kennedy is portrayed by Natalie Portman as dangerously unbalanced, but not without reason. The political dynasty she was a part of is yanked away from her in the form of gunshots, and there were signs of instability even before. Nationalism, the power of television, and the sexual revolution all rose while Jackie's life began to slip away, and this film covers all of it in potent subtlety. It also explores themes of faith, love, fortune, and fame without burying us in cliches. Portman masters the accent, eloquent style, and iconic charm of Jackie Kennedy effortlessly, and is appropriate in her dramatic "unhinged" moments. Each shot is articulately staged - perhaps just how Jackie herself would direct a movie - nothing is out of place. Other sweeping scenes of Jackie wandering about the White House and close detail to her outfits were beautiful. And the music matches the "drifting" quality as the protagonist "drifts" through the rest of her time in D.C. Director Pablo Larrain has crafted a film that is an exquisite reflection of the woman it represents, a woman who represents many of the thoughts and ideals when we think of American icons.
- DirectorDamien ChazelleStarsRyan GoslingEmma StoneRosemarie DeWittWhile navigating their careers in Los Angeles, a pianist and an actress fall in love while attempting to reconcile their aspirations for the future.Yes, I'll admit I'm one of the sheep enamored by this modern musical. And it's partly because there is just so much to appreciate on a visual scale. The film excels at long takes for musical numbers and dances, has an eye for bright colors and production design, and includes constant movement to keep the Hollywood fantasy alive. After all, director Damien Chazelle is crafting a dream in "La La Land." It's not just the happy-go-lucky flick that features two fine performances from Ryan Gosling and Emma Stone; it (like Woody Allen's "Cafe Society" to some extent) critiques the shallowness of L.A. and allows us to appropriately judge characters who choose career over substance, fun-filled dreams instead of lasting love. There's a hint of sadness behind all of "La La Land's" glamour, and that's the beauty of the film, and the plight of those who dream big. And let's not forget that the music is beautiful and sharply written to draw you more and more into the ideal fantasy world. After this and "Whiplash" (2014), I can't wait to see what Chazelle comes up with next.
- DirectorWoody AllenStarsJesse EisenbergKristen StewartSteve CarellIn the 1930s, a Bronx native moves to Hollywood and falls in love with a young woman who is seeing a married man.Hooray for Hollywood? Not really. In typical lighthearted Woody Allen fashion, "Cafe Society" brilliantly explores the deep consequences of the flighty and elite celebrity status. Taking place in the 1930's, "Cafe Society" focuses on Bobby (Jesse Eisenberg), a Jewish New Yorker who travels to Los Angeles to make a living in film, along with the help of his big-shot uncle (Steve Carell). Bobby's romance with Vonnie (Kristen Stewart) has all of the hints of a cliche/classic Hollywood romance, and all of the corny dialogue and awkward flirting is wonderfully intentional. The world painted here is one of false hope and no integrity. I'm not well-versed in Allen's earlier films, but this is by far his best since "Midnight in Paris" (2011), and he shamelessly puts himself in the film through Bobby's character. Heightening Jewish New Yorker stereotypes to explain where Bobby is coming from, the film has plenty of humor to go along with its warning message. The cinematography seems to be enhanced with gold and other bright colors to lure us into the dream, emphasizing the bold fantasy of L.A. and Hollywood. The film ends quite simply (as Allen's films tend to), but pieced together just right to pack the punch, eagerly showing us the shallowness of Tinseltown.
- DirectorDenis VilleneuveStarsAmy AdamsJeremy RennerForest WhitakerA linguist works with the military to communicate with alien lifeforms after twelve mysterious spacecraft appear around the world."Arrival" has pretty much been crowned the intellectual sci-fi of 2016, and its easy to see why. "Gravity" (2013), "Interstellar" (2014), and "Ex Machina" (2015) were all phenomenal because they brought something new to the table, and "Arrival" does the same by playing with the traditional narrative structure in a way that the others don't. We've seen non-linear stories in movies before, but this movie couples it with truly frightening suspense and personal journeys. Appropriately, Louise (Amy Adams) is given the most emotional attention while humanity is cynically viewed as a species that turns to violence and drama first. The technical side of the film boasts simplicity in its visual effects, as we see in one very well-done sequence of gravity distortion and the symbolism behind the alien's written "language." Denis Villeneuve is truly a visionary director with an eye for unsettling images and quasi-horror, as shown in two of his previous films that I've seen ("Sicario" and "Prisoners"). Combine his penchant for slow build-ups with a bass/horn-heavy score from Johann Johannsson, and you have some of the most terrifying scenes in recent film history. "Arrival" brings scary and thought-provoking together so well through both its story and images that it is an exemplary film to describe the term "sublime." Very few films can pull this off.
- DirectorAnthony RussoJoe RussoStarsChris EvansRobert Downey Jr.Scarlett JohanssonPolitical involvement in the Avengers' affairs causes a rift between Captain America and Iron Man.Ambivalence. That's the key word that makes "Captain America: Civil War" a successful installment to the Marvel franchise that was beginning to lose its edge. Last year's "Avengers: Age of Ultron" (Joss Whedon) came and went without much flair, and 2012's "The Avengers" was shameless fun at best. However, in the last 10 minutes of "Civil War," there's a speech given by Daniel Bruhl's character that really makes us question our consumption of CGI city destruction - something we eat up on a regular basis from many blockbusters. I have high hopes that the Marvel cinematic universe will continue to carry these heavy themes as they aim towards the masterfully dark edge of Christopher Nolan's "Dark Knight" trilogy (2005-2012). Directors Joe and Anthony Russo certainly have the talent to do it after coupling this with "Captain America: The Winter Soldier" (2014). Speaking of which, this is more of an Avengers film than a Captain America film, though Steve Rogers (Chris Evans) carries the first half quite well. Newcomers Tom Holland (as Spider-Man) and Chadwick Boseman (as Black Panther) are promising, especially Boseman, given his versatility from "Get On Up" (2014, Tate Taylor). In a fast-editing style where the visual aesthetics match the dire situations at hand, "Captain America: Civil War" is a powerhouse of a movie that flawlessly amps up the excitement for future installments. If you're going to get people excited for sequels, this is how you do it.
- DirectorDavid MackenzieStarsChris PineBen FosterJeff BridgesToby is a divorced father who's trying to make a better life. His brother is an ex-con with a short temper and a loose trigger finger. Together, they plan a series of heists against the bank that's about to foreclose on their family ranch.Is the Western genre fashionable anymore? That seems to be the deeper question asked (and analyzed) in this intriguing film. "Hell or High Water" makes an effort to portray the deterioration of America's "old west" on a surface level: billboards asking "In debt? We can help," and desolate emptiness in towns that once thrived with life. Gun-slinging and stand-offs were par for the course, but they are out-of-date, as Marcus (Jeff Bridges) frustratingly realizes as he goes into retirement from law enforcement. Therefore, when Tanner (Ben Foster) and Toby (Chris Pine) begin robbing banks like the "good old fashioned" days, it gives Marcus a chance to shine with the old glory once again. The concept of bank robbing is also closely tied with the overall corruption of corporate America, as it's an elaborate scheme to "get back" at banks which screwed families over. Bridges and Foster are absolutely spectacular, and Pine continues to broaden his horizons from the baseless and/or comedic roles he's more known for. Foster and Pine have great chemistry, and Pine's more mellow attitude gives Foster more room to stand out. The entire movie is intense and riveting despite its slow pace, and director David Mackenzie is smart to identify numerous clever juxtapositions while crafting some really great action sequences. Self-referential from a film-intellectual standpoint and wonderfully suggestive regarding crippled America, "Hell or High Water" is quite the revolutionary Western for the 2010's genre.
- DirectorTom FordStarsAmy AdamsJake GyllenhaalMichael ShannonA wealthy art gallery owner is haunted by her ex-husband's novel, a violent thriller she interprets as a symbolic revenge tale."Nocturnal Animals" grows on you - disturbingly and without letting go. Director Tom Ford sneaks in plenty of fantastic imagery into this elaborate thriller/revenge tale so that it can lead you along with every painful minute. The movie starts by playing with audience expectations, as we care more about the blatantly fictional characters that Susan (Amy Adams) reads about. Adams' character is forced to ask herself how long she can cloak herself in darkness, especially darkness that is further surrounded by pretentious art critics and displays of pointless grandeur. Susan has no respect for herself, hence her attraction to the art of body positivity; the opening of the film flaunts morbidly obese bodies shamelessly at the camera, and this is Susan's desired subject. She is fascinated by grossly unattractive people who have, however, no problem being themselves. As Edward's (Jake Gyllenhaal) novel tempts Susan to look deeper into herself, the connections become clearer, and this melodrama picks up speed in the best way. Adams is (as usual) wonderful here, but the major stand-outs of this film are Michael Shannon and Aaron Taylor-Johnson, playing very screwed up characters on opposite sides of the law. One of them is bound to grab an Oscar nomination. And I can't forget the score - this movie has some of the most hauntingly beautiful music I've heard in a while. Ford took notes from David Fincher (Gone Girl, Se7en) here, as the sinister aesthetic of "Nocturnal Animals" is so appealing and makes it a film well worth the time and effort to wrap your brain around.
- DirectorPeter BergStarsMark WahlbergMichelle MonaghanJ.K. SimmonsThe story of the 2013 Boston Marathon bombing and the aftermath, which includes the city-wide manhunt to find the terrorists responsible.This film defines patriotism: coming together as a nation in the face of tragedy and terror. "Patriots Day" is a visceral approach to the sensational story that many of us remember holding our breath for. Just like the tension we all felt in April 2013, this movie builds exceptionally well and invites viewers to feel the heroism and tragedy in a potent mix. The bits of cliche exposition in the first 20 minutes or so actually help the film succeed: every individual person has a part to play. And there is a surprising amount of comic relief - perhaps meant to balance the intensity and remind us how valuable it is to keep each other in check through solidarity. Mark Wahlberg excels in his best role for quite a while: he's not just returning to his Boston roots and playing "tough guy," he opens up and reveals a potent vulnerable side. Also, Alex Wolff gives quite an interesting performance as Dzhokkar Tsarnev, portraying the young terrorist as a foul-mouthed, pot smoking punk just trying to be "the man." It's a very stunning juxtaposition with the media's portrayal (either liberal or conservative). Unafraid to tackle the gritty social issues that go along with terrorism, Peter Berg's film is essential viewing for Americans and film lovers alike, and inspires an inherent sense of national pride in all who view it.
- DirectorMartin ScorseseStarsAndrew GarfieldAdam DriverLiam NeesonIn the 17th century, two Portuguese Jesuit priests travel to Japan in an attempt to locate their mentor, who is rumored to have committed apostasy, and to propagate Catholicism.Describing "Silence" as "heavy" would be an understatement. Martin Scorsese tackles perhaps every existing question on the concept of faith in God through the brutal source material (Shusaku Endo's 1966 novel); two Jesuit priests attempting to evangelize in 15th century Japan. There are many powerful allusions to Christ himself, both visual and thematic, and through all of them Scorsese never stops questioning the motives of both the early Church and the Japanese government. Should faith be something kept silent? Is God "always there?" Can compromise exist? In addressing (but not explicitly answering) these questions, Scorsese once again reminds us that he's a vicious director, allowing the torture and terror room to shock appropriately, but still leaving just enough to the imagination. The overall effect is one where audience members themselves (especially those of faith like myself) question their integrity in the face of savage opposition. Plus there's little to no original score, reflecting the film's poignant title. It's also incredibly well-acted on all fronts: Andrew Garfield knocks it out of the park in another devoutly Christian role ("Hacksaw Ridge" being the earlier), and Japanese actors Yosuke Kubozuka and Issei Ogata excel in their complex performances. While it is a mammoth of a movie (two hours and forty-one minutes), Scorsese is at his cinematic best and constructively questions the basis of faith and morals.
- DirectorMatt RossStarsViggo MortensenGeorge MacKaySamantha IslerIn the forests of the Pacific Northwest, a father devoted to raising his six kids with a rigorous physical and intellectual education is forced to leave his paradise and enter the world, challenging his idea of what it means to be a parent.Well, this movie certainly does its name justice. An outrageous study of parenthood and gross American commercialism, "Captain Fantastic" is one of those rare, hidden gems that has strong coming-of-age elements and extra sharp writing mixed together. Viggo Mortensen delivers quite well as a father intent on raising his six kids in the forest based on a quasi-hunter-gatherer lifestyle, and George MacKay is incredible as his eldest son who realizes how fleeting his life has been. It's really a wonderful ensemble with all of the wacky kids in tow as Mortensen leads them (resentfully) into the secular environment due to a family emergency. On one hand, we cheer Ben (Mortensen) on as he encourages his kids to read deep literature and know the Bill of Rights by heart. On the other hand, he denies them the chance to be socially functional in the modern American society, which does loads of psychological damage as the movie progresses. There's not a moment where the film isn't enjoyed and yet you're questioning your own beliefs and morals in comparison to Ben's. There's compromise, there's grey areas, there's sadness, and there's joy in all of the misadventures of this estranged family. It reminds me of one of my favorite shows: "Shameless" (Showtime, 2011-present): but the jungle edition.