Top 20 of 2016

— Here are the 20 films I've liked from 2016.

• The Arrival
• A Bigger Splash
• Deadpool
• Florence Foster Jenkins
• Hacksaw Ridge
• Hail, Caesar!
• Hell or High Water
• Hidden Figures
• Jackie
• La La Land
• Lion
• The Lobster
• Loving
• A Man Called Ove
• Manchester by the Sea
• The Meddler
• Miss Sloane
• Moonlight
• Nocturnal Animals
• Swiss Army Man

Eleven other films almost made the list: "Deepwater Horizon", "Dr. Strange", "Genius", "Hello, My Name Is Doris", "Fences", "Hunt for the Wilderpeople", "The Infiltrator", "Maggie’s Plan", "Sing Street", "Sully”, and "20th Century Women”,

Documentaries aren't included in my list, but these were my favorites during the year: "The Beatles: Eight Days a Week", "City of Gold", "Fire at Sea", "Harry & Snowman", "Kate Plays Christine", "Life, Animated", "Tickled", "The Music of Strangers", "Sherpa", and "Weiner".

Lion

— “Lion” had the potential to become trite but careful direction, a decent script, and spot-on acting elevated it to one of the better films of the year. It’s the story of Saroo, a 5-year-old Indian boy lost in Calcutta with no way home, surviving on the streets until he’s adopted by an Australian family. Twenty years later he sets out to find his lost family using Google Earth. Dev Patel does a remarkable job as the older Saroo living one life with another just out of reach, and I’d forgotten just how good Nicole Kidman can be—her performance is incredible. I wanted the film to be just a little shorter but I couldn’t find anything to edit that wouldn’t disturb the flow. It does an admirable job of dealing with issues of identity, family, loss, and culture. It’s well worth a viewing.

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[2016. 118 min. Directed by Garth Davis. Starring Dev Patel, Nicole Kidman, Rooney Mara, and David Wenham.]
http://www.rogerebert.com/reviews/lion-2016

The Family Fang

— What a curious film [DVD]! This is a little odd, even as it sits among its brethren in the “dysfunctional family” genre. Adult siblings come together when their parents go missing, the same performance artist parents who had referred to their children as Child A and Child B and used them as props and participants in some rather bizarre performance art—things like staged robberies and bloody killings so real that bystanders are convinced they’re real. As adults, both are stalled in their careers and there’s a possibility their parents aren’t really missing, just pretending to be to bolster their careers, which is nothing new since they always placed their art above their children who are, of course, both artists too (one an actress and one an author). Although the parents have less control now, the children are still not fully in control of their own lives. The relationships are clear—an over-the-top, dominating father, a wife who assists him, and children players for the father’s art—but becomes a bit unwound as it tries to end, and tries to raise questions about art and humanity.

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[2015. 105 min. Directed by Jason Bateman. Starring Jason Bateman, Nicole Kidman, Christopher Walken, Kathryn Hahn, and Maryann Plunkett.]
http://www.rogerebert.com/reviews/the-family-fang-2016

Passengers

— Not even Jennifer Lawrence could rescue this from mediocrity. It’s pretty enough and does what it does predictably, but compared to recent offerings like “interstellar”, “Gravity”, “The Martian”, and “Moon”, it’s not much of a story. That said, it’s rather far-fetched script and uncertain purpose just gets tedious. If you’re looking for sci-fi, check out “The Arrival” instead. If you’re looking for a love story, see “La La Land” instead.

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[2016. 116 min. Directed by Morten Tyldum. Starring Jennifer Lawrence, Chris Pratt, Michael Sheen, and Laurence Fishburne.]
http://www.rogerebert.com/reviews/passengers-2016

La La Land

— This is one of the more tightly controlled films I’ve seen in a while—its kind of Wes Anderson meets Baz Luhrmann. The opening scene alone was worth it from a technical perspective—Any edits are so well done that it looks like a continuous camera shot. By the end of that first scene, you know you’re in for something different and fun. It’s essentially a love story and a story about dreams and reality. It’s also a contemporary musical that manages to have the feel of classic musical films and the technique and pizzazz of today. Since it’s a Hollywood story, Hollywood naturally is engaged in a love fest with it (remember “The Player”, “Singin’ in the Rain”, “A Star Is Born”, “The Artist”, “L.A. Confidential”, “Gods and Monsters”, etc.). The truth is, the first part of the movie was a little too much singing and dancing and not enough character development for me but that may just be me. Once everything got established, it really worked on me. Emma Stone and Ryan Gosling have great chemistry and, aside from one number at Griffith Observatory that was just too much, it really worked. I was worried about how the story might end but things unfolded exactly as I wanted, leading us to a place where memories and the present overlap and co-exist, and reminding us that there isn't just one right path in life. Given all the hype, I was expecting something great. What I got was something darn good. Our audience applauded and I did too.

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[2016. 1228 min. Written and directed by Damien Chazzelle. Starring Ryan Gosling and Emma Stone.]
http://www.newyorker.com/magazine/2016/12/12/dancing-with-the-stars

Manchester by the Sea

— This is one of the more complicated films I’ve seen lately and certainly it’s of a different mold. A man’s death brings his brother home to a small New England town by the sea where he learns he’s been named the guardian of his brother's 16-year-old son, a job he’s ill-equipped to handle. The plot sounds more like a Hallmark movie than a look at simmering dysfunctions and forgiveness. Casey Affleck is incredible as Lee Chandler, the main character who is barely able to function on his own, much less overcome the wounds of the past. Throughout the film there are plenty of flashbacks, letting the larger situation unfold, but there’s no real transition from present to past, just a new scene that takes a second to realize where we are in time. In fact, the past is splashed all over Lee’s present. There are plenty of places at which to chuckle or laugh, half of them slightly inappropriate but funny nonetheless, and there are small signs that Lee may be emerging from his despair as well as signs he may not. But instead of triumph, of overcoming what’s life throws at someone, it’s a film that looks at wounds that can’t be healed and things that can’t be forgiven, at irreparable damages. It’s also one of the better films I’ve seen this year. (I’d be remiss if I didn’t mention one scene, between Lee and his ex-wife as they meet in the street and the conversation veers into traumatic territory. It’s one of the most powerful scenes as much because of Michelle Williams abilities as Affleck’s.)

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[2016. 137 min. Written and directed by Kenneth Lonergan. Starring Casey Affleck, Michelle Williams, Lucas Hedges, and Kyle Chandler.]
http://www.rogerebert.com/reviews/manchester-by-the-sea-2016

Hacksaw Ridge

— Mel Gibson really works the patriotic and odd man out emotions as he tells the story of Desmond Doss, a conscientious objector and medic who saved 75 men from beyond enemy lines during one, bloody battle in WWII without ever carrying a gun. The film is technically well done and is cast well (Vince Vaughn may be the only odd casting choice). I would have really liked it except the blood and gore really is gratuitous, a few times the swelling music is too churchlike, and there are a few times when the Christian theme is a little too overt. All that aside, it brought tears to my eyes and was far better than I was expecting.

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[2016. 139 min. Directed by Mel Gibson. Starring Andrew Garfield, Sam Worthington, Vince Vaughn, and Teresa Palmer .]
http://www.nytimes.com/2016/11/02/movies/hacksaw-ridge-review-andrew-garfield-mel-gibson.html

Miss Sloane

— Jessica Chastain sure knows how to put the “power” in “powerful lobbyist” and without her and a very well written script, “Miss Sloane” wouldn’t be nearly as fascinating. She’s ruthless and stops at nothing to succeed at what’s she’s been hired to do. She leads lambs to slaughter, sacrifices her own, and knows what her opponents' next five moves will be. This is a formidable adversary but somehow she manages to get our sympathy in spite of her flexible ethics, raising issues about ends justifying means, the source of political stagnation, greed, loyalty, blame, and redemption. Aside from an ending that I found a little unsatisfactory, I liked the film a lot. Knowing my friends, I think they’ll either love or hate this one—Miss Sloane certainly isn’t a poster child for women in the workplace. (Oh, and having seen “Nocturnal Animals” the day before, it appears that bright red lipstick and extremely high heels may be indicators about a woman’s heartlessness.)

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[2016. 132 min. Directed by John Madden. Starring Jessican Chastain, Gugu Mbatha-Raw, and Mark Strong.]
https://www.theatlantic.com/entertainment/archive/2016/12/miss-sloanes-washington-is-rotten-to-the-core/510131/

Nocturnal Animals

— “Nocturnal Animals” is a more ambitious story than Tom Ford’s earlier, wonderful film “A Single Man”, but you can recognize Ford’s hand from the beautiful photography and design. In a way, it’s three stories that seem to overlap in time and fact so it’s purposely a little hard to keep track of whether you’re seeing the current day Susan (Amy Adams) with husband Hutton (Armie Hammer) living the wealthy but unsatisfied life in L.A.; fictionalized Laura (Amy Adams) and Laura’s husband Tony (Jake Gyllanhaal) as depicted in the novel recently written by Susan’s first husband, Edward (Jake Gyllanhaal) and dedicated to her; or Edward and Susan’s real, past life. It has the feeling that you’re watching the director watch the action so you feel a little removed from the actors but I like that. It’s also helpful since parts of the film are pretty dark and each story’s characters are littered with psychological issues and some disturbing images, including the first, odd scene with a group of obese and aging naked women dancing on platforms as part of an art opening. Everything about it is sharp and exacting which sometimes leads to the technique taking center stage, but mostly it’s a thriller of sorts. It’s still creeping into my thoughts a day later and I know I’ve seen a good but unsettling story of either revenge or redemption, and maybe both.

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[2016. 116 minutes. Directed by Tom Ford. Starring Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Tyalor-Johnson, and Armie Hammer.]
http://www.rogerebert.com/reviews/nocturnal-animals-2016

Fantastic Beasts and Where to Find Them

— Eddie Redmayne is just a really likeable actor and he does a very good job in this film. For those of us who read the Harry Potter books as they were released and as Harry grew, we were ready to get away from the confines of Hogwarts. “Fantastic Beasts” pulls witchcraft and wizardry out of Hogwarts and all the way to 1920’s New York City where American and European wizarding can meld. It’s a fine tale with some likable fantastic beasts, made a bit long as it introduces us to lots of characters, most of whom we assume will be part of the 5-film series. I saw the 3-D version and was impressed that David Yates spared us wands poking at our eyes or all kinds of horrible things flung at as by the Obscurial/Grindelwald. Instead, he managed to resist being infatuated with the technique. It’s a good film—enjoyable, entertaining, well done, and a springboard to more coming.

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[2016. 132 min. Directed by David Yates. Starring Eddie Redmayne, Katherine Waterston, Alison Sudol, Dan Fogler, and Colin Farrell.]
https://www.theguardian.com/film/2016/nov/20/fantastic-beasts-and-where-to-find-them-review

Loving

— This sensitive film tells the story of Richard and Mildred Loving, an interracial couple who lived in 1958 Virginia. When Mildred became pregnant they drove to Washington, D.C. and were married but then were arrested back in Virginia and found guilty thanks to Virginia laws prohibiting interracial marriage. Having pled guilty, they were forced either to leave Virginia or live in hiding. In 1964, Mildred wrote Attorney General Robert Kennedy about the unfairness of their situation and he referred the matter to the ACLU. Three years later their case had made its way to the Supreme Court and the landmark ruling struck down anti-miscegenation laws. The film is textured and, given the story, surprisingly quiet and undramatic. The Lovings don’t really want to be in the limelight so their actions are mostly reserved. Atmospheres are established and there’s a general tone that carries throughout the action. A glance, a grin, or a light touch are used to convey emotions and the elements all work well together. The film is at its best as it establishes their story until the ACLU becomes interested in their case. Luckily, that’s about the first two-thirds of the film. When Nick Kroll enters the story as the ACLU attorney, he shatters the subtlety with his performance. In spite of Kroll, the main characters manage to retain dignity instead of righteousness and depict love instead of anger.

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[2016. 123 minutes. Written and directed by Jeff Nichols. Starring Ruth Negga, Joel Edgerton, and Will Dalton.]
http://www.rogerebert.com/reviews/loving-2016