2016 Cinema & Stadium Film Year-in-Review

2016 Cinema & Stadium Film Year-in-Review

This is one of my favorite times of the year, at least in terms of movies.  I get to look back at another year in film, remembering the ups and the downs.  In the past I have done this early the next year, but I've decided to delay a little longer for this year-in-review post for two reasons: 1) put it closer to the Oscars, which might make it feel more relevant/in the mood for anyone reading, and 2) it gives me a chance to see a few more films via Netflix that I didn't get a chance to see in theaters.

So, how was 2016 for moviegoers (or at least, this moviegoer)?  Well, it seemed a disappointment for awhile, but I mostly blame that on having to follow 2015, possibly my favorite year in film ever.  But eventually it improved in my mind, and I think it was a strong one overall.  Perhaps the theme of the year was animated movies: I saw more of them than I usually do, and they were all exceptionally good.  It was also another strong year for dramas, arguably the equal of 2015 in this regard.  There were also several very good superhero films, one of my favorite genres.  Actually, the worst I might have to say for 2016 is that there were a number of anticipated films that were merely decent or OK, but failed to live up to their potential.

For more detail, I'm pleased to present my year-in-review.  Readers of past years will be familiar with the format:  I'll start with my top ten films of the year (combination of my favorites and "objective" evaluation), followed by miscellaneous awards, and finishing with quick scores and blurbs for films that I saw on Netflix.  I have posted links to my reviews for movies that I mention below, and please also check out my annual companion post where I make my own Oscar-type awards.

Without further ado, here's a look back at 2016 in film, and feel free to comment!


Top 10 of 2016:

10.  Batman v Superman: Dawn of Justice (directed by Zach Snyder; starring Henry Cavill, Ben Affleck, Amy Adams, Jesse Eisenberg)

Wait, wait, wait!  Please don't click out of the review!  It might be jarring to see this in my top 10, particularly if you have only heard the rumors about it and, admittedly, perhaps even if you have actually seen it.  However, I have now seen this more than once and I do believe it is a great step forward for DC, Marvel's comic rivals who have a long way to catch up in the movie world.  It does a great job building on the events of Man of Steel, and it has an intriguing tone and visual style that distinguishes it from Marvel.  Affleck turned out to be pretty damn good, and it has a suitably epic feel - I mean, this is Batman against Superman, dammit.  I think the (jaded) critics got it wrong on this one, and it's worth a shot, if superheroes are your thing.

9.  Arrival (directed by Denis Villeneuve; starring Amy Adams, Jeremy Renner, Forest Whittaker)

I now have listed a Villeneuve-direct film in three of my four annual film reviews (for the fourth year, I didn't even see any films by him).  With Arrival, he is back with all the familiar strengths:  a strong, interesting premise (that's also unique to other modern offerings); strong, focused acting and script; and awesome cinematography and score.  This film shows not just the thoughtful, human potential of sci-fi, but also is a great example of art and entertainment intertwining.  Amy Adams is excellent.  I do wish that there had been just a little something to further connect the emotional and plot twists - if it had, it would easily be in my top 3.  Still, highly recommended for all.

8.  Doctor Strange (directed by Scott Derrickson; starring Benedict Cumberbatch, Tilda Swinton, Chiwetel Ejiofor)

The length and consistency of Marvel's winning streak is just mind boggling.  Not content to rest on the laurels of a few super-popular characters, they continue to extend into less conventional places.  Doctor Strange is the latest resounding success in this expansion.  Benedict Cumberbatch is another perfectly chosen actor, bringing just the right seriousness yet silliness, intelligence and, well, strangeness that you would expect from the Sherlock star.  The film has serious actors in spades, in fact, with Swinton and others giving us plenty to think about but keeping the pace quite brisk.  Oh, and I haven't even mentioned the amazing visual effects... Incredibly strong entertainment.

7.  Moonlight (directed by Barry Jenkins; starring Alex Hibbert, Trevante Rhodes, Ashton Sanders, Mahershala Ali, Naomie Harris)

I saw this film a few weeks ago, and even after reviewing it, I'm still not quite sure what to think of it.  I gave it an "A", yet here it sits below several movies I gave "A-"s.  The skill and artistry of the director, writers, actors, and so on is not being questioned here.  And the ambition is commendable, examining the coming of age of a fictional, gay black man.  I guess perhaps I just can't quite wrap my head around it as a unified whole, and instead keep seeing moments - powerful ones - in isolation.  In any case, the performances will stay with me, such as Mahershala Ali and Naomie Harris' opposing roles.  And certainly the three young actors playing the lead - each with the same (despite being denied watching each other's work) haunting stare into the audience.

6.  The Secret Life of Pets (directed by Chris Renaud and Yarrow Cheney; starring Louis C.K., Kevin Hart, Eric Stonestreet)

For the opposite end of the spectrum, this animated film is about as pure a shot of adrenaline and joy as you will find at the movies.  Naturally, this will hit most fully for pet owners/lovers, among whom I proudly count myself.  The cast of voice actors is just great; Louis C.K. might seem an unusual choice but is oddly appropriate as lead, Kevin Hart was born to play his ferocious/adorable funny, and a host of support joins the fun as well.  The script is deceptively brilliant, able to incorporate countless truths about pets (from dread of vacuums to interspecies rivalries) while having a totally gonzo plot that powers on non-stop until the very end.  Treat yo' self.

5.  Hell or High Water (directed by David Mackenzie; starring Chris Pine, Ben Foster, Jeff Bridges)

This movie is a seemingly straightforward, relatively quiet western that contains depths and riches throughout.  About a pair of Texas brothers robbing banks, the script carefully constructs the background and reasons why as they criss-cross the state.  The brothers are an odd couple - including the actors, shiny Pine and rough Foster.  Just as intriguing (and mismatched) are the pair trying to catch them, Jeff Bridges and Gil Birmingham.  Through these characters, the robbed locales, and the sights along the way, a portrait of modern rural society takes shape - one both resilient and desperate. Full of tension, humor, wits, and relevance, this is a must-see.

4.  The Jungle Book (directed by Jon Favreau; starring Neel Sethi, Bill Murray, Ben Kingsley, Idris Elba)

I generally steer clear of reboots of classic children's stories, but I'm sure glad that I got to see this one.  I was intrigued by the idea of a CGI re-imagining of the tale (a favorite when I was young), complemented by some big name actors.  On both these counts, The Jungle Book is a smashing success.  The technology is astonishing and completely convincing (puts Avatar to shame), perfectly suited for the anthropomorphized animals.  The cast is phenomenal; Bill Murray as Baloo the bear, need I say more?  And the one real character on screen, young Neel Sethi as Mowgli, provides all the heart Disney could hope to offer.  Essential for families, and great for everyone else, too.

3.  Fences (directed by Denzel Washington; starring Denzel Washington, Viola Davis, Stephen Henderson)

Although it tells a relatively simple tale, Fences caught me off guard just as much as any other film in 2016.  I knew it was based on a play, but it soon became apparent that I could not let my mind wander for even a moment as the dialogue (sometimes monologues) persisted through the entire film.  This was far from a bad thing, as the script (adapted by Wilson himself) is great, truly breathing life and depth into the Maxson clan and friends.  And of course there are the performances, led by the towering duo of Denzel Washington and Viola Davis (already familiar with their characters from Broadway).  The specific experiences of Troy and his kin may be unique, but the relationships and truths it reveals are relevant to - and can teach - all of us.

2.  Captain America: Civil War (directed by Anthony and Joe Russo; starring Chris Evans, Robert Downey Jr., Scarlett Johansson, Chadwick Boseman, et. al.)

For all the ways in which it succeeds, this third Captain America film is one of the very best - if not the best - Marvel films yet.  It's really a third Avengers film, as all but Thor and Hulk are present, and it even juggles several new characters, notably the proud and strong Black Panther, who's also leader of his nation; and a humorous reintroduction of Spider-Man.  The action sequences are at least as good as we've come to expect from such films, including, appropriately, a superhero melee.  But it's the conflict between Steve Rogers and Tony Stark that takes center stage, one that has built over the course of films and now boils over, bringing a new paradigm to the franchise and obliterating the comfortable status quo.  It's everything you want in a superhero film.

1.  Manchester by the Sea (directed by Kenneth Lonergan; starring Casey Affleck, Lucas Hedges, Michelle Williams)

Usually my number one film of the year has a special advantage over the competition, whether a favored genre, or set of actors, or premise that is particularly interesting to me.  Manchester by the Sea benefits from none of these, and yet it gets the top spot because it's one of the best films I've ever seen.  Remarkably, there is nothing remarkable about the film at all - on the surface.  It focuses on a guy who has seen better days, but is otherwise perfectly normal, and is set in motion when he returns to his hometown to see to the affairs of his suddenly-deceased brother and his teenage nephew.  But over two hours and fifteen minutes, the actors, the script, and everything else about the film show how this man's past has shaped him deeply (both subtly and sharply) and how he - and by extension, we all - grapple with this in our everyday lives in order to keep moving forward.  There are moments of incredible emotion, to match anything else I've seen on film.  Yet the overriding tone is of wading through the normal moments, and how even the frustration, humor, and hope they bring can make a difference among the "bigger" stuff.  I doubt I have done the film justice here, but if nothing else please believe me that this is a masterpiece, and see it when you get the chance.


Honorable Mentions:  Zootopia, The Revenant, Finding Dory


Miscellaneous Awards:

Most Overrated Film of the Year:  Rogue One: A Star Wars Story (runner-up: The Lobster)
If it had been a wider release with anything remotely resembling box office success and mass popularity, The Lobster would easily be the winner here.  As it is, it's a critical darling with a 91% on Rotten Tomatoes (and many top-10 lists), while also being one of the dumbest movies I've ever seen. Cute premise... for a five minute SNL sketch.  But have everyone act and speak like robots and try to make Important Societal Commentary?  Please give me back my two hours.  On the other hand, I feel kinda badly naming Rogue One the winner; but it was the top-grossing film of the year and an 85% on Rotten Tomatoes, so I'd call that pretty highly rated.  It wasn't bad at all, but ultimately vanilla, somewhat pointless, and showed just how much Jedi and/or Skywalkers mean to the franchise by their absence.

Most Underrated Film of the Year:  Batman v Superman (runner-up: Popstar: Never Stop...)
I've already discussed Batman v Superman, so I'll just reiterate that I feel this was unfairly maligned by the critics, and I'd argue that this (and other factors) colored the popular reception of the film.  But I want to focus on Andy Samberg's hilarious comedy, Popstar: Never Stop Never Stopping.  It's pretty much a standard mockumentary, but a very well done one.  The critics liked it alright (77% on RT) but it completely bombed at the box office with less than $10 million (you almost have to try to do that).  There really weren't any breakout comedies last year, but this easily could have been one - had mass appeal yet was much more clever than its peers - if anyone had noticed it.

Most Disappointing Film of the Year:  X-Men: Apocalypse (runner-up: Ghostbusters)
Sadly, there were more than a few films that were in the running for this award.  While Ghostbusters was not a huge disappointment in terms of quality - it was a decent, fun film - it gets the runner-up because of the potential it represented not just for itself but also the industry.  They tried to adhere too closely to the original, and stifled the comedic creativity and brilliance of the stars.  Now, for a straight up disappointment in quality, none can match that of the newest X-Men.  Most of the films in this franchise have been very strong and have nuance and balance on the themes and characters to go along with the typical action.  Apocalypse blew up this heritage completely, not only losing the good but actively damaging the themes and characters while amping up - and numbing - the action.

Most Surprisingly Good Film of the Year:  Zootopia (runner-up: none)
There were plenty of quality films this year, I just couldn't pick a second that truly surprised me.  Of course, expectations are quite subjective and so I wasn't surprised when, say, Deadpool was good.  No, nothing other than Zootopia really sticks out to me for this category.  I thought I might Netflix it when I heard about it, but expected just a decent yet typical animated entertainment.  The great reviews (98% on RT!), though, grabbed my attention, and I headed to the theater during a slower time of the year.  So much of this film was inspired and written well, rather than a jumble of focus-grouped   trendy/irresistible bits.  The dialogue is Pixar-level - actually, even better than Pixar's own Finding Dory - with some creatively hilarious gags (sloths working the DMV? priceless) and clear yet not too on-the-nose metaphors to current issues.

Worst Film of the Year:  Green Room (runner-up:  The Lobster)
Fortunately, I didn't (directly) waste any money on them since I saw them on Netflix.  I've already mentioned The Lobster, a film that makes me wonder how no one in the cast or crew raised their hand and said, "what the hell are we doing?".  I understand not all films have to be direct and literal, but when your experiment is both blatant and obnoxiously clever-seeming, while being deadly dull and dry despite its uniqueness, you've got more problems than you can handle.  Having read a few reviews of Green Room, I was led to believe it was a thriller; a fairly violent one, but one featuring a great performance from Patrick Stewart.  Thriller my butt, this is a horror film, and a dumb one at that (granted, I hate the genre).  Lots of dialogue and build up that goes absolutely nowhere - much of it serving to just make things unnecessarily confusing - while at the center is a fairly simple crisis that falls out in the most bizarre and illogical ways.  Avoid at all costs.



Netflix Summary:

Eye in the Sky (A-):  A film that is both very suspenseful and comments wisely on the way we now conduct war (without taking sides).  Helen Mirren, Alan Rickman, Aaron Paul are all great... highly recommended.
Sausage Party (A-):  First, this is obviously not for all tastes - perhaps not for those who have taste in general.  But I admit it appealed to the adolescent in me, with hilariously clever, dirty (food-filtered) humor that blissfully does not hold back.
Don't Think Twice (B+):  A movie about stand up comedians, it's more a drama than a comedy.  Keegan Michael-Key shows his all-around talent in a very nice film about the dynamics of a group of friends and the ways that both success and failure can strain bonds.
Sully (B+):  Tom Hanks sure loves his historical dramas... he is of course very good, and the scenes of the crash itself are excellently done.  However, the drama following the crash is spoiled by Eastwood's (entirely unnecessarily) fictionalizing the NTSB into pathetic, clownish villains.
Popstar: Never Stop Never Stopping (B+): The ridiculous title of this film reflects its silly nature well and, as mentioned above, it deserved far more attention than its meager box office results.  It's just a lot of good fun, with a few truly hilarious parts.
Kung Fu Panda 3 (B+):  It doesn't seem like this franchise could sustain itself past two (or even one) film, but it retains its predecessor's high energy level and manages to bring a level of freshness and new ideas to the table.  Certainly a good family film, and a nice fun option.
Fantastic Beasts and Where to Find Them (B): I actually saw this in the theater and never got around to writing a review for it.  This is one of the bigger disappointments of the year, as the main characters aren't nearly as intriguing as Harry Potter and co. (actually a wide-eyed Muggle/No-Maj is the most fun).  Harry Potter fans should probably see it (and probably already have), but there are plenty of better options for those who aren't already fans.
Money Monster (B):  A conventional thriller with A-list stars that's becoming an endangered species. It comments fairly overtly on the financial crisis, big-banks-screwing-little guy.  That part isn't too satisfying, but Clooney, Roberts, and relative newbie Jack O'Connell are fun.
The Brothers Grimsby (B):  While it's no Borat, this is a good bounce back for Sacha Baron Cohen after the poor Bruno and flat-out bad The Dictator.  This is structurally a pretty standard action comedy, but with it's all his inappropriate humor that you either love or love to hate.
Sing Street (B-):  Yet another decent, coming-of-age tale about a group of friends, this one forming a band spontaneously.  I think I need to just stop watching this genre as it's all too familiar, to me.  The young actors are pretty good, and importantly it doesn't try to be too clever, a common pitfall.
The Huntsman: Winter's War (C+):  Decent action, and some pretty nice special effects.  Plus, Chris Hemsworth, Jessica Chastain and Charlize Theron altogether is impressive in a film like this.  Still, it's a pretty disposable adventure film.
The Magnificent Seven (C):  The cast - featuring Denzel Washington and Chris Pratt - is entertaining, yet even they are unable to escape the tedium of the script.  There are some nice moments courtesy of those stars, but it could have been much better with a little imagination.
Pride and Prejudice and Zombies (C):  Way too much pride and prejudice, not enough zombies.  Although it's interesting to have the mash-up be played matter-of-fact, it ended up exaggerating (for me) the promise of silliness, leaving a bitter taste of disappointment.
10 Cloverfield Lane (C):  So much build-up for so little - actually, make that too much pay off.  The hostage situation in John Goodman's bunker is decently executed, but it starts going downhill fast as she makes her escape, and what she finds outside - well, I wish they'd just kept it a mystery.
The Legend of Tarzan (C-):  Why bother?  Maybe those more fond of the character can/will enjoy this more, but to me there was little to keep my interest here.  And Christoph Waltz is completely wasted as the villain.
The Lobster (D-):  Already said all I want about this.
Green Room (F):  See above.


I don't want to finish on such a down note, so I'll finish with two more honorable mentions that are worth seeing (if you haven't already):  the once-hyped but now long-buried by controversy, The Birth of a Nation, and the way-hyped and very funny Deadpool.  So there may have been some disappointments and poor films, as there always are, but there were plenty of strong films released in 2016, too, and I encourage you to check out some of them.  I hope you enjoyed my year-end wrap up!
Here are links to my review of other films I saw in theaters but didn't mention in this post:

Jason Bourne (B)
The Nice Guys (B)
Keanu (B)
Hail, Caesar! (B)
Suicide Squad (B)
Masterminds (B-)
Star Trek Beyond (B-)
The Boss (B-)
TMNT: Out of the Shadows (B-)



Source:  http://statcdn.fandango.com/MPX/image/NBCU_Fandango/453/671/ManchesterbytheSea_Trailer.jpg

2016 Cinema & Stadium Film Awards

2016 Cinema & Stadium Film Awards

I want to take the opportunity, with the Academy Awards being presented this weekend, to describe what I consider the best performances of the year.  This is based, as always, only on films that I have actually seen.  I also include only films that were given a wide release in 2016 - which is becoming a murkier thing to determine each year, as many awards-hopeful films are given a limited release late in the calendar year and then trickle out across the country.  At any rate, I will present my awards in the same way I did last year:  my top five selections in the category, followed by an explanation of any of the Academy Awards nominees left out, then a brief recap of each of those performances.

Please also check out my 2016 Film Year-in-Review, where I list my top 10 movies of the year, miscellaneous awards (most disappointing/surprising/etc.) and quick review of the films that I saw via Netflix.  Enjoy!

Winners in bold
Runners-up underlined

Acting Awards

Best Actor:
Casey Affleck (Manchester by the Sea)
Leonardo DiCaprio (The Revenant)
Nate Parker (The Birth of a Nation)
Ryan Reynolds (Deadpool)
Denzel Washington (Fences)

Oscars nominees not listed:  Andrew Garfield (Hacksaw Ridge), Viggo Mortensen (Captain Fantastic) - haven't seen the films; Ryan Gosling (La La Land) - film released wide in 2017.

I'll start with an honorable mention nod for Tom Hanks, who turned in yet another impressive performance in a historical drama (following Captain Philips, Bridge of Spies).  Nate Parker not only starred in but also directed and wrote a film that was once a Best Picture shoe-in, The Birth of a Nation.  A controversy sunk the film's chances; I'm not going to weigh in on that, but the passion and skill of his performance I feel deserves recognition.  Ryan Reynolds may seem rather out of place here, but he was perfect for his role and his sarcastic, vulgar, hilarious superhero was a genre game changer.  Leonardo DiCaprio won the Oscar, and it's hard to argue given the grueling, determined physical nature of his performance.  I have seen few, if any, others like it.

I hate to start with a tie, but I really can't separate the outstanding performances by Casey Affleck and Denzel Washington in their films.  Affleck is unbelievably subtle and nuanced, playing a regular man with a devastating past.  His acting shows both his everyday, normal struggles and the way that the tragedy has affected all of it.  Denzel's performance seems quite the opposite, one of the most expressive, even explosive, I've ever seen.  Yet he has mastered the character and is in complete control, as he too reveals the complexity and depths of the soul.


Best Actress:
Amy Adams (Arrival)
Viola Davis (Fences)
Melissa McCarthy (The Boss)
Helen Mirren (Eye in the Sky)
Margot Robbie (Suicide Squad)

Oscar nominees not listed:  Isabelle Huppert (Elle), Ruth Negga (Loving), Natalie Portman (Jackie), Meryl Streep (Florence Foster Jenkins) - haven't seen the films; Emma Stone (La La Land) - film released wide in 2017.

Upfront: I'm pretty embarrassed by my record of moviegoing this year in terms of strong female leads.  I tend to skew pretty heavily toward male/action films anyway, but I had to go through my list of films a few times before I settled on my list.  That's not to say any of these are weak performances.  Margot Robbie gives a gonzo, highly entertaining show as the unhinged Harley Quinn; if only the whole film could have followed suit.  Melissa McCarthy is probably the most reliable comedic star right now, and her dedicated, hilarious performance elevates an otherwise weak film.  Helen Mirren is of course a great actress, and her dedicated, exasperated, yet troubled general is the foundation in an intriguing look at modern warfare.  Amy Adams is great in the strange new sci-fi film, and hers was an essential human element in the thoughtful affair.  Her character is quiet and withdrawn, acting as a vessel for the audience's amazement at alien life early before showing why, powerfully, only later.

Viola Davis is simply remarkable as Rose in Fences.  Being able to register at all, when seen next to Denzel's dominating, bravura show, would have been impressive.  However, Viola takes what could have been a passive, nurturing yet victimized character and makes her into a strong, loving, wise yet vulnerable and flawed co-lead.  She is both perfect when out of the spotlight - cooking, listening to her family - as well as the center of attention, the only person whose retorts could silence Denzel.


Best Supporting Actress:
Naomie Harris (Moonlight)
Gillian Jacobs (Don't Think Twice)
Kate McKinnon (Ghostbusters)
Alicia Vikander (Jason Bourne)
Michelle Williams (Manchester by the Sea)

Oscar nominees not listed:  Nicole Kidman (Lion) - haven't seen the film; Octavia Spencer (Hidden Figures) - film released wide in 2017.

My introduction to the Best Actress nominees applies here, too.  Alicia Vikander more than holds her own among the many allies of Jason Bourne, morphing fluidly between confident, overwhelmed, and scheming.  Alongside the uber-talented Keegan Michael-Key, Gillian Jacobs is a great complement, someone very funny but also quite vulnerable and compassionate.  In a film filled with hilarious women, SNL's Kate McKinnon stole the show in the rebooted Ghostbusters as she took hold of her zany yet fierce character.  Naomie Harris was responsible for perhaps more heartbreak and brutality than anything or anyone else in Moonlight, both an impressive and very difficult achievement.  The wayward mother of the main character, she still manages to convey an enduring love for her son.

Although her screen time is quite limited, Michelle Williams' appearances in Manchester by the Sea are so powerful that they reverberate throughout the film.  An ordinary woman in many ways, she shows her fierce love for her children even as she navigates a tumultuous young relationship with her husband (Affleck).  So when tragedy strikes, you can't escape the devastation she must feel, and can't look away when she finally reconnects with Affleck for a brief but powerful few moments.


Best Supporting Actor:
Mahershala Ali (Moonlight)
Jeff Bridges (Hell or High Water)
Tom Hardy (The Revenant)
Lucas Hedges (Manchester by the Sea)
Mykelti Williamson (Fences)

Oscar nominees not listed:  Dev Patel (Lion), Michael Shannon (Noctural Animals) - haven't seen the films.

I want to give an honorable mention here to Kyle Chandler in Manchester by the Sea; playing Affleck's brother in flashbacks, he is a strong foundation for a family without which many individuals understandably suffer.  His co-star and on-screen son, played by Lucas Hedges, is more prominent, and is very good for a young actor; his teenage antics can be believably insufferable, but mostly he is a young man trying to bury his pain.  Tom Hardy is good at the stark and brutal, and that certainly describes his trapper in The Revenant.  Mykelti Williamson is Denzel's brain-damaged brother in Fences, unrestrained yet appropriately played as a reminder of both his brother's responsibilities and grievances.  Mahershala Ali is sadly only in the first part of Moonlight, but his performance makes perfectly clear why he has such long-lasting effect on the main character.  He is tough as nail, yet utterly humbled and moved when confronted with a young boy's suffering.

For Jeff Bridges, his Texas Ranger hunting a pair of bank robbers in Hell or High Water wasn't entirely new (see: True Grit).  But damn, is he good at this.  On the edge of retirement and set in his ways - both in his operating procedure and his cultural attitudes - he is loyal enough to both his responsibilities and his partner to try to fight his worst tendencies.


Other Awards

Best Director:
Barry Jenkins (Moonlight)
Kenneth Lonergan (Manchester by the Sea)
Anthony and Joe Russo (Captain America: Civil War)
Denis Villeneuve (Arrival)
Denzel Washington (Fences)

Oscar nominees not listed:  Mel Gibson (Hacksaw Ridge) - haven't seen the film; Damien Chazelle (La La Land) - film released wide in 2017

Although he will likely be remembered (and perhaps awarded) more for his acting, Washington did a superb job adapting Fences for the big screen, maintaining pace and intrigue throughout despite having just one set and near-constant dialogue.  Anthony and Joe Russo pulled off another difficult feat, producing a wildly entertaining movie that defied genre conventions, pushed the MCU's story forward, and somehow juggled a ridiculous number of characters.  Denis Villeneuve continues to be one of my favorite directors, going in yet another entirely new direction with a more thoughtful and culturally-relevant sci-fi film than I've seen in years.  In taking on a film about a young gay black man that has no plot, Barry Jenkins took perhaps the biggest risk of them all.  But instead of being boring or cliched (or worse), Jenkins made something challenging, haunting and artistic.

The director, Kenneth Lonergan, of the best film of the year, Manchester by the Sea, deserves much credit for creating a film that is strong in so many different ways.  He got an amazing amount of nuance and power from his entire cast, from Affleck, on down, which played ordinary people and could not rely on any of the usual actorly "red meat".  Despite a simply story (to go with the ordinary people), Lonergan paced it perfectly, letting the audience feel the ebb and flow of emotion just as his characters did.  Of course, perhaps it helped that he was working from such an amazing script (oh, he did that, too).  With all the investment, it ended up coming together perfectly in a wonderful film.


Best Screenplay:
Jared Bush and Phil Johnston (Zootopia)
Guy Hibbert (Eye in the Sky)
Kenneth Lonergan (Manchester by the Sea)
Rhett Reese and Paul Wernick (Deadpool)
August Wilson (Fences)

Best Visual Effects*:
Doctor Strange
Fantastic Beasts and Where to Find Them
The Jungle Book
Rogue One: A Star Wars Story
Star Trek Beyond

*honorable mention to The Revenant (Emmanuel Lubezki) for absolutely amazing cinematography.




Source:  http://akns-images.eonline.com/eol_images/Entire_Site/2016022/rs_600x600-160122150806-600-oscar-statue_copy.jpg

John Wick: Chapter 2

Score:  **** out of ***** (A-)

Directed by Chad Stahelski
Starring Keanu Reeves, Laurence Fishbourne, Ricardo Scamarcio, et. al.
Running time: 122 minutes
Rated R

Long Story Short:  Chapter Two continues the tale of John Wick, picking up just about right where the original left off.  Keanu Reeves once again does a good job of making Wick into a legendary fighter.  The film wisely builds on the previous entry by emphasizing the mythology of its world and - most importantly - somehow increasing both the quantity and the quality of its action scenes.  For fans of action films, this is a must-see.


John Wick (Reeves) has unfinished business.  After recently coming out of retirement (in the first film), the former hitman storms the headquarters of a Russian mob to retrieve his stolen '69 Mustang. Once this is accomplished, John hopes to gather the remnants of his life and settle back into a quiet peace.  However, a crime lord named Santino (Scamarcio) soon pays him a visit, demanding that John repay him a debt.  John is reluctant, but his former employer in the Continental tells him that he has no choice.  Soon he finds himself on his way to Rome to carry out one last mission; but he finds that for a man of his lethal talent, truly leaving his old world behind is not as simple as abiding by the rules.

John Wick: Chapter 2 has a solid core cast, with a number of familiar faces in supporting roles.  Keanu Reeves once again leads as the title character, a hitman whose reputation precedes him wherever he goes.  Reeves is not exactly a top-tier actor, but the role is perfect for him, and he is just as entertaining as in the first film.  He is a man of few words, communicating instead through his perpetually distant, often grim expressions, his precise movement, and of course his fighting.  Rather than empathize with him, the film asks the audience to regard Wick as a fighting deity with human characteristics.  Although only in the film for a few minutes, Laurence Fishbourne gets to reunite with his Matrix co-star, and he clearly relishes his role as a shadowy, cast-off gang leader, taunting a desperate Wick.  Ian McShane plays the Continental's leader with a feel of cool authority and wisdom.  Ricardo Scamarcio is not a great villain, but he's OK (importantly, he brings plenty of henchmen to dispatch).  And Common is very good in a small role as Wick's rival, producing intense stand-offs and energetic, bone-crunching brawls.  Finally, there are a number of brief but notable roles, both new and recurring: Lance Reddick as the cool Continental concierge, Ruby Rose as a fiesty, crude, mute bodyguard, and Peter Serafinowicz as "the Sommelier", essentially Wick's Q.

The sequel to 2014's surprise action hit is a worthy follow-up, one that does not try to copy the formula of the original yet also accentuates some of its strengths.  John Wick introduced us to the hitman in a plot that was surprisingly personal - even including a puppy.  Chapter Two acknowledges all that briefly at the beginning, but then focuses and expands on two other elements from the first: its alternate world and gonzo, ruthless action.  Taking place in the present, the Wick films imagine an extensive network of criminal organizations and free agents, all revolving around an organization that has its HQ in the Continental hotel in the middle of NYC.  They make and enforce the rules of the "game", and the building itself serves as a hub and safe space.  This mythology lends crucial specificity and creativity to the events.

Those events are, broadly speaking, pretty standard action, but in build up and execution, extremely well done.  The first battle involves little shooting, and Wick gets battered in hand-to-hand fighting and car chasing just as much as he dishes out.  This is a fun, often humorous start, and it allows the action to evolve from there.  There is a big build up to the next fight,  and suddenly John Wick slips naturally and effortlessly into the legend that everyone else fears.  Things escalate up to Wick fending off hitmen himself, and includes extended sequences of both shoot-outs and intense hand-to-hand combat.  Much of the fighting style was introduced in the first film, but Chapter Two ramps it up not only in sheer quantity but also in the brilliance of its choreography.  No shaky cam or confusingly quick edits here - the action may happen fast and furiously (eat your heart out, Vin Diesel) but every part of the battle is captured beautifully and interestingly on screen.

***

John Wick: Chapter 2 is an excellent start to the year in the action genre.  The film is a perfect complement to the original: it doesn't attempt to copy, but rather bring more depth and quality to select elements, and then set up the franchise for an interesting new direction in a (likely) third film.  It makes me want to see the original again soon, and puts John Wick among the titans of the genre: James Bond, Jason Bourne, Ethan Hunt.  Keanu Reeves deserves credit for solidifying the Wick persona.  Equally important is the new style and excellent quality of action as well as its interesting background.  Note that, if it wasn't clear already, this is extremely violent, more so than the other three franchises I just mentioned.  If you can handle it, though, you are unlikely to find a better action film any time soon.



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The Founder

Score:  **** out of ***** (B+)

Directed by John Lee Hancock
Starring Michael Keaton, Nick Offerman, John Carroll Lynch, Laura Dern, et. al.
Running time: 115 minutes
Rated PG-13

Long Story Short:  The Founder brings the story of the McDonald's restaurant's rise to fame to the big screen.  Michael Keaton shines as Ray Kroc, the man who took the concept and made it huuge.  With him as the focus and a slightly satirical tone, the film manages to balance the nastiness within the story with plenty of humor and optimism.  Recommended for all.


In the 1950s, traveling salesman Ray Kroc (Keaton) bounces around the casual restaurants of the midwest trying to sell his milkshake machines.  He is increasingly frustrated with the grind, but is surprised to one day receive a large order from a joint in southern California.  He drives there himself and finds an entirely new kind of business, called McDonald's.  Instead of servers on skates slowly delivering food to a gruff crowd, he finds long lines of families receiving clean, delicious meals - astonishingly quickly.  McDonald's brother owners Dick (Offerman) and Mac (Lynch) proudly give Ray a tour, showcasing their efficiency and high standards.  The businessman in Ray is ecstatic, and eventually convinces the brothers to allow him to franchise their restaurant.  His wife, Ethel (Dern), is supportive, happy for her husband's renewed enthusiasm.  But she does not realize that McDonald's has taken hold of her husband like none of his previous ventures, and it soon drives him to both amazing success and profound personal change.

The Founder features a cast of familiar faces which give the film a vivid, interesting set of characters.  Michael Keaton plays Ray Kroc so well that it is difficult to imagine another actor more suited to the role.  As foreshadowed by the playing of a motivational record, Keaton constantly displays the persistence of his character; in the beginning, this makes the struggling Ray a sympathetic underdog, but it transforms him into a cold, ruthless corporate dictator by the end.  All along the way, Keaton gives a physical performance, particularly in his rhythm of speech, slight accent, and facial expressions, that embodies Ray's natural salesmanship.  But he also shows an intensity of thought and emotion in pivotal scenes both with others and alone.  Dick and Mac McDonald, played by Nick Offerman and John Carroll Lynch, are fun characters, though much less developed.  In some ways they are almost charicatures, with Mac as the optimistic, friendly half and Dick as the gruff, get-to-business half.  Offerman in particular is suited for his part - almost too closely, as it is difficult to separate him from his Parks & Rec Ron.  Laura Dern is great in a small role, a supportive yet savvy, knowing wife; she is perhaps the most tragic character, suffering in silence.  There are several other decent roles, including the seductive wife of a business partner (Linda Cardellini) and a scheming adviser played by B.J. Novak (The Office).

The Founder is a strong drama focused on its title character, both enhanced and limited by a larger-than-life, almost satirical style.  Keaton's performance as already mentioned is outstanding, and serves as, well, a solid foundation for the film.  Although there are colorful characters around him, it's his film, and wisely so.  The events are of course based on those that actually occurred, but they are often presented in a slightly mocking, satirical tone, as if the film is almost pretending to be an advertisement for McDonald's.  This gives the film a unique tone, and allows flexibility in the script, which alternates somewhat (and somewhat effectively) between realistic, serious dialogue and quiet observations, and more dramatized scenes which include semi-fantasy images of the restaurant.  It also allows for a good dose of quality humor, while further pushing forward Ray's point of view.  However, the style choices also restrict the subtlety and nuance that is possible; the few and best bits of this come from Ray's wife Ethel.  Characters not named Ray can seem almost plot devices; even the McDonald brothers are fairly simple symbols of hardworking America getting screwed over.  The film has a sense of inevitability for its overall direction and even individual plot points, particularly Ray's courting of Joan (Cardellini).  Still, after a film full of outsize characters, romanticizing business, and humor, there is a lasting feeling of disquiet brought forth effectively at the end.

***

The Founder is a strong film, and well worth seeing not just for the quality but also for bringing something new to the table - and an interesting origin story for the ubiquitous restaurant.  It has its share of flaws, largely as a result of limitations of the very style that makes it interesting.  But Keaton's performance might itself be worth taking a look at this film.  Over the next few weeks, I'll be watching some much different movies; although the series of dramas I've seen over the past few months have been outstanding, I'm looking forward to something a little more lighter.  You don't need to rush out to the theater to see The Founder, but I recommend it to any audience for at least a home viewing (Netflix, on-demand, etc.).




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Moonlight

Score:  ****1/2 out of ***** (A)

Directed by Barry Jenkins
Starring Trevante Rhodes, Ashton Sanders, Alex Hibbert, Mahershala Ali, Naomie Harris
Running time: 111 minutes
Rated R

Long Story Short:  Moonlight meditates on the life of a young black gay man and the ways in which both hard life circumstances as well as unexpected blessings shape him.  Taking place over three periods of the main character's life, three different actors do a great job not just with continuity but in convincingly developing him.  Even as it tells a relatively simple tale, the film will leave you with plenty to think about.  Highly recommended.


A young boy (Hibbert) known as "little" to his peers is chased through a rough neighborhood in sunny Miami.  A drug dealer, Juan (Ali), sees him go to hide in an abandoned apartment and gets him to come out.  Little refuses to speak, not even his name, and so Juan feeds him and gives him a place to sleep for the night.  The boy returns home the next day, but soon finds Juan again and the two become close.  They spend entire days together, learning how to swim and sitting quietly.  Years later as a teenager, Little - real name Chiron (Sanders) - continues to be bullied at school.  He becomes friends with Kevin, but his tormentors force them apart, and Chiron is arrested when he lashes out against them.  Further along in his life, Chiron has taken the nickname "Black", given to him by Kevin, as he falls into the drug dealing of his former mentor and friend.  Now living in Atlanta, Black is haunted by - and still pulled back to - his tumultuous upbringing.

Moonlight features a fairly small cast, with a few supporting characters surrounding Chiron at each of three stages in his life.  The film's focus, first and last, is the gay, black lead character, and so it was essential to find not just three excellent actors but also three who shared many characteristics.  Fortunately, this mission was accomplished.  Young Alex Hibbert is perhaps the most impressive, acting as naturally as I've seen anyone of his age.  Heartbreakingly, he is already quiet and withdrawn as a consequence of his home life and treatment by other boys, and Hibbert's performance pulls you in immediately.  Sanders is very good as well, as teenage Chiron.  He effectively captures the awkwardness of his years combined with further awareness of being gay in society.  This is where Chiron shows the most emotion, but whether in anger or joy, his pain is quite evident.  Finally there is Rhodes who plays the oldest Chiron, further hardened and emotionally crippled by this point that the ability to clearly feel his raw, unresolved inner conflict juxtaposes strongly with his powerful adult physique.  All three actors share the same haunted stare, a chilling symbol that reaches through the years - revealed in under two hours.  The supporting cast is quite strong, too, particularly the great roles for Mahershala Ali as the fatherly drug dealer, Naomie Harris as Chiron's ruined mother, and Andre Holland as an adult (in more ways than one) Kevin.

Moonlight is first and foremost a character study, one that is presented with an interesting mix of realism and abstract artistry.  Taking place over three distinct, brief periods of Chiron's life, there isn't exactly a plot, but more a developing understanding of Chiron over time.  This is done largely by several themes running through all three periods and symbolized by various people in Chiron's life.  The two most influential forces in his life are his broken home life and his homosexuality.  While his mother is tragically incapable of properly raising him (although the undeniable mother-child bond is evident in many moments), Chiron ultimately embraces the lifestyle of his long-gone mentor Juan despite the painful memories it must bring.  Kevin offers a brief but powerful glimpse of what it could mean for Chiron to embrace his sexuality, but this too is taken from him; although in a sense, he unconsciously pushes this happiness away, too.  The way this all is depicted is primarily through ordinary life moments, with particular focus on several of Chiron's crucial relationships.  Fortunately, the pace never falters much, with the changes in time period keeping things fresh.  Even as the film eschews any false dramatic devices, it still filters sounds and images creatively to show their impact on Chiron.  At the end, we get another look at Little, standing at the edge of the ocean and then staring back at us, with eyes through which we have seen a lifetime.

***

Moonlight is yet another great film in the running for Best Picture at this year's Oscars.  It is a powerfully intimate film - in that it is so focused on the main character in every way - and took me a little while to grapple with how I felt about it.  Well, I still am, to tell the truth.  It can feel a little bit too limited in some ways, particularly as it doesn't have any plot, yet at the same time almost too full, as it deals with such big issues including the devastation of drugs, and the experiences of African Americans and homosexuals in modern society.  However, above all Moonlight does an excellent job of illustrating an intriguing, genuine-feeling character via outstanding performances and very good, subtle filmmaking.  A powerful, valuable film to watch, whether in theaters (first came out months ago, but I think my theater got it as part of the Oscar lead up) or at home.




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