2016: A Year in Review

2016 was a sad year in terms of deaths as we said goodbye to legends such as David Bowie, Alan Rickman and Prince. It was also a devastating summer for DC as both Batman vs Superman: Dawn of Justice and Suicide Squad tanked with critics. However, we have emerged with one of the most competitive Oscar races in recent years and once more had it proven that The Avengers rule the roost of summer movies. Here are my highlights of another great film year.

Top 10

1. La La Land (USA.Dir: Damien Chazzelle)

Few pieces of cinema were as hypnotic as Damien Chazzelle's musical. Demonstrating the addictive highs and brutal lows of a relationship, our hearts went through the grinder. A modern musical classic, each song and dance number will leave you wishing life had more spontaneous moments. Emma Stone and Ryan Gosling made for an impossibly cute couple and together they made 2016's best on-screen pairing. Be prepared to go through the entire emotional spectrum and allow yourself to be entranced. Damien Chazzelle has proven himself in the musical category- what lies next? Comedy?

2. Manchester By The Sea (USA/Dir: Kenneth Lonergan)

Giving the picture only the runner-up spot was a tough one indeed.The sheer power of Kenneth Lonergan's film cannot be denied. Casey Affleck gives the performance of a lifetime which is a masterclass in suppression and grief. Forced into being a reluctant father figure, his character cannot be free of his past but cannot embrace the future. Lonergan's potent depiction of the how our ghosts can never truly leave us left audiences in bits. It also showed us the very meaning of family and how despite our differences, we are always linked together.

3. Arrival (USA/Dir: Denis Villeneuve)

After claiming my top spot last year, Canadian Denis Villeneuve is once more in contention. Delivering this year's smartest and most engaging thriller, this might be the closest example of the possibility of alien contact. A top draw performance from Amy Adams was the beating heart of Villeneuve's picture. Forging a bond with her alien subjects, Adam's Louise Banks felt like the one woman who was destined for this honour. Continually nerve-jangling as the ambiguity of this mysterious earth visit plays out. This picture has us wondering how alone we are in the big universe? Best start reading up on alien signs, it might come in handy if they should pay a visit for real!

4. Moonlight (USA/ Dir: Barry Jenkins)

The best-reviewed movie of the year, Barry Jenkins' movie was something very special indeed. His story a young boy navigating the tough roads of being a homosexual in a rough Florida slum was engrossing. The Brutality of youth and the harsh realities of growing up were painful brought forward as young Chiron gets the hard knocks education.  Mahershala Ali was the father figure all potential gangster dream of and Naomi Harris was the unbalanced mother all boys fear. Jenkins picture was a beautifully realised one and few pictures made better use of the carefully crafted camera work like this one. An unlikely but worthy story subject, Jenkins has finally arrived on the Hollywood scene.

5. Nocturnal Animals (USA/Dir: Tom Ford)

From fashion designer to Hollywood director, Tom Ford has had quite a ride. Nocturnal Animals was a blood pumping thriller from its bizarre opening of a fat, naked woman dancing with sparklers. Endless tense and sporting superb multiple interpretations, Ford's picture was one that played on your mind for days afterwards. Is the horrifying story of Texas revenge portrayed in Jake Gyllenhaal's book a reality? Or this is a sly dig towards his marriage to ex-wife Amy Adams? Frequently the lines between reality and fiction become crossed as Ford's two movies in one intertwine.


6. The Revenant (USA/Dir: Alejandro Gonzalez Inarritu)

Finally, this was the role that won Leo DiCaprio as deserved Oscar and this was quite possibly the most stunning visuals of 2016. Alejandro Gonzalez Inarritu's inspiring story of survival secured him back to back Oscars. Watching Leo's Hugh Glass being viciously mauled by a bear was hands down the most uncomfortable viewing experience this year had to offer. Literally, this explorer goes to hell and back multiple times and still keeps on crawling. Cinematographer Emmanuel Lubezki was the real star of this picture and his gorgeous photography makes even the worst hardship seems wonderful. You will not see a more committed performance than this one- worth the wait Leo!

7. Hell or High Water (USA: Dir David Mackenzie)

This tale of Texas revenge was a brilliantly smart one. Appearing as your standard bank heist thriller, the true genius of British director David MacKenzie's film won't be immediately apparent. Linking up with Sicario writer Taylor Sheridan, the result was a wonder story of brotherly love and bank robbing. Chris Pine and Ben Foster might have been the stories conscience, but Jeff Bridges calm and assertive Texas Ranger was what stole the show. Equally heartwarming and thriller, this picture also had a lot of laughs for good measure. Do not read up on this film before viewing because the revenge tactic is a beautiful one that raises a middle finger to the real crooks.

8. Jackie (USA/ Dir: Pablo Larrain)

Few first ladies were more iconic than Jackie Kennedy and Natalie Portman's performance as the former Mrs Kennedy was a mighty one. Pablo Larrain drags his audience into a wife's worst nightmare and Portman shines brightly bringing her trauma and distress forward. Afraid of JFK's legacy being cast aside while the grieves, Larrain makes full use of Jackie's determination to see his final send off being memorable. Rarely do biopics like this feel like genuine reconstructions and you will like an unwanted guest watching her cling to her husband's lifeless body during that fateful day in Dallas.

9. The Hateful Eight (USA/ Dir: Quentin Tarantino)

Movies like this one remind us of what a great writer QT can really be. His tale of eight mysterious strangers cooped up during a heavy snow story was one that always kept us guessing. In its 70MM glory, watching the blood splatter was a thrilling experience and it lets way to a magnificently claustrophobic feel. After the script was previously leaked, it seemed like this project had hit a dead end. Never one to take things lying down, Tarantino thankfully resurrected this from the dead and this tale of continuous side switching might have been lengthy- but it never once got old. Try listening to Samuel L Jackson's 'Black Dingus' story without squirming!

10. Gleason (USA/Dir: J.Clay Twill)

Rarely does a documentary picture get under your skin quite this like one. The tale of former NFL player Steve Gleason being diagnosed with ALS will ensure there are no dry eyes in the house. A humorous and forever spiritly subject, Gleason refuses to let his declining body beat him down. Facing the prospect of not seeing his newly born son Rivers grow up, Gleason is determined to make the most of his time on earth and together with his incredible wife Michel, this duo puts up a good fight. All throughout Steve battles with his fears, but always seem to find a joke in-between. His tear-jerking interview with Pearl Jam's Eddie Vedder is one of the impassioned moments this picture has to offer.

Best of the Rest

11. The Birth of a Nation (USA/Dir: Nate Parker)

Overshadowed by the controversy of director Nate Parker's past, the tale of former preacher turned slave rebel Nat Turner was a jarring one. Showing the violent and often poor living standards African-Americans were forced into, this picture was a racially charged timebomb.

12. Christine (USA/ Dir: Antonio Campos)

The suicide of Christine Chubbuck shocked TV audiences back in 1973, Antonio Campos brought us one of this year's most tragic bio pictures. Rebecca Hall was finally given a role to sink her teeth into and as the fated Chubbuck she showed us a fame desperate woman struggling to connect with people.

13.The Innocents (FRA: Dir Anne Fontaine) 

Shocking yet beautifully stark and uplifting, Anne Fontaine's tale of a Belgian nurse tended to a convent of raped Polish nuns hit home hard. A viciously honest performance from veteran Polish actress Agata Kulesza was what gave the picture its bite. Especially when she what homes she really gives the newly born babies.

14. The Nice Guys (USA/Dir: Shane Black) 

Not many directors in Hollywood can give the hard and funny approach like Shane Black. This story of two vastly different private eyes thrust into each other paths was a belly full of laughs. Russell Crowe and Ryan Gosling together made for a wonderful awkward pairing- please give these guys a sequel!

15. The Witch (UK: Dir: Robert Eggers)

Possibly the scariest and most unorthodox tale of the year, Robert Eggers movie was a psychological masterstroke. Making full use of Ye Olde English and the Puritans setting, Eggers continually found ways to mess with our heads and refused us the closure we so desperately need. Always be wary of buying black goats in future!

Male Star of the Year: Ryan Gosling

We couldn't get away from Ryan Gosling this year as he dominated our screens. Hopelessly goofy and clumsy in The Nice Guys (don't let this guy into a bathroom stall alone) and sporting his trademark charm and suaveness in La La Land- Gosling is the man to beat in Hollywood right now. Few actors have a presence like this man and can hold our attention no matter what the film. Gosling is a man who likes to find ways to keep surprising us- keep it going buddy.

Female Star of the Year: Amy Adams

November was very much Amy Adams month and she gave us a big one-two combo. Both roles showed what sets her apart from other performers in this game and Adams gave two very different performances. Smart and assured in Arrival and filled with regrets and doubt in Nocturnal Animals. Adams is a true chameleon in every sense of the word- hopefully, 2017 will finally see her rewarded at awards season.

Best Director: Tom Ford- Nocturnal Animals

After impressing us with A Single Man, many wondered if there would be a Tom Ford follow up. With Nocturnal Animal's he gave us one hell of a return and his fascination with the ugly side of life was impossible to look away from. Visually jarring and heart racing, Ford has emerged from the fashion world as a major talent behind the lens. You can only wonder what his next opening scene will feature? A one-armed man directing traffic on rollerskates?



Scene of the Year: Arrival- First Contact

Gripping from even before Louise Banks (Adam Adams) and Ian Donnelly enter the spaceship, going into the unknown made audiences eyes bulge. Making full use of Johann Johansson's blasting soundtrack, Denis Villeneuve is sending us deep into the heart of darkness. What lies beyond the white screen? And will they get out of this ordeal intact?

Fierce Creatures: Review of Nocturnal Animals

Nocturnal Animals

Director: Tom Ford

By Alex Watson

In just his second feature, Tom Ford has created something remarkable with Nocturnal Animals. A psychologically jarring piece, the ugly side of marriage and revenge is uncovered. Injecting multiple stories into a film can often be problematic. Ford makes each different chapter so essential to the film's feel. With riveting turns from both Jake Gyllenhaal and Amy Adams, this is one of cinematic experience that will leave you thinking for days.

Susan Morrow (Amy Adams) is a wealthy yet troubled owner of a Los Angeles art gallery. Her marriage to philandering husband Hutton (Armie Hammer) is failing and she questions her passion in life. One day she receives a manuscript from her ex-husband Edward Sheffield (Jake Gyllenhaal). The book entitled 'Nocturnal Animals' is a disturbing and possibly true account of revenge. The more she reads, the more Susan finds herself revisiting her old marriage and the harsh way in which she ended it.

Nocturnal Animals is a revelation because storywise because it seems impossible that all fits together. Beginning with an almost vulgar title sequence of a plump naked woman dancing with sparklers- Ford's intent to shock is clear from the start. Throughout the three different narrative's, all have their own unique factor to keep things interesting. When we first meet Susan it is made apparent that although she is rich and successful, her personal life is a mess. Constantly she lives in fear of turning into her domineering mother (Laura Linney) and is questioning her life choices. When she gets Edward's manuscript, which strangely is dedicated to her, Susan is reinvigorated. The novel tells the story of Tony Hastings (also Gyllenhaal) who while driving through West Texas one night is rammed off the road by Ray Marcus (Aaron Taylor-Johnson) and friends. This sequence is one of the most disturbing and tense imaginable as the lives of Tony and his wife and daughter (Ilsa Fisher and Ellie Bamber) are in the balance.

This whole manuscript appears to be a retelling of the bitter end to Susan and Edward's picture perfect marriage. They married as idealistic grad students against the wish of Susan's mother. Soon after it was revealed that Edward was little more than a dreamer and wasn't the strong person that she needed. Edward's bitterness towards their eventual divorce is laid out plainly in his book. Tony is a weak man who struggles to protect his wife from the clutches of death. Later in the book, he hooks up with unorthodox Detective Andes (Michael Shannon) who is determined to see justice. Revisiting her old life leads Susan to some hard truths. Although Hutton is the strong-willed husband that she always wanted, he is also just a playboy with a ring. The art that she has believed in for some many years has lost all value to her and now she is simply keeping up appearances. Edward has perhaps morphed into the successful and daring writer she always hoped, but why has he approached her?

Ford's fascination with the dark underbelly of humanity is what gives Nocturnal Animals its wonderful edge. Tony's descent from being a mild mannered coward to a bloodthirsty hound is utterly believable. Paralleling Edward's anger towards his unexpected life turn, both characters are filled to the brim with an unshakable sadness. Susan feels cold reading this story, but it also expands upon her regrets over the way their marriage ended. When the brutal act of betrayal is revealed, suddenly the content on Edward's novel become frighteningly clear. As Tony hunts down Ray, it feels like a Tiger slowly crawling out its cage. Tom Ford fills the air with unspoken hatred and these are some of the most memorable scenes imaginable. There is such raw emotion involved with this picture, it will make us all revisit past breakups and question our motives. Visually Ford's direction is a treat throughout. With such ease, he drags his audience into this world of pain and makes us unable to look away.

Amy Adams gives another mesmerising performance as Susan Morrow. On the one hand, she is a successful and confidence woman, but Adams gives her a deep anguish beneath her perfect appearance. Jake Gyllenhaal is marvellous twice over, as Edward, he is a headstrong idealist who is unable to read between the lines. Playing Tony, he is the loving family man being taken to a dark part of the soul. Gyllenhaal excellently embodies the movie's painful voice and gives a turn of such believable emotion that he steals every scene. Michael Shannon shows why he is one of the most capable supporting actors around. As Andes, he makes the most of his screentime. A detective with nothing to lose, Andes is concerned with procedure and would rather see Tony's enemy dead than go free. Aaron Taylor-Johnson is also suitably creepy as Ray and resists the urge to go OTT. This is one villain whose death we pray for.

Nocturnal Animals is one of the most unforgettable experiences that you might see this year. Tom Ford waited seven years for his return and his wonderfully crafted tale of revenge has been worth the wait.

Close Encounters: Review of Arrival

Arrival

Director: Denis Villeneuve

By Alex Watson

Opening to an overwhelming hype, Denis Villeneuve's Arrival is an intelligent thriller and a breathtaking visual experience. A smart and thought-provoking script by Eric Heisserer fuels the picture and leaves the audience second-guessing.  Villeneuve cranks up the tension early on and gives his film and a great dramatic edge. For a film of this genre, there is a highly emotional feel which will capture the hearts of adults everywhere.

When 12 mysterious spacecraft arrive on earth, naturally humanity assumes the worse. Dr. Louise Banks (Amy Adams) is a world-renowned linguist who is approached by Colonel Weber (Forest Whitaker) to make the first contact with the species. Teamed with scientist Ian Donnelly (Jeremy Renner) they must assess whether the aliens intentions are hostile or peaceful. Fighting the clock both Banks and Donnelly must uncover why the aliens are here, what they find will change both lives.

Arrival is a slow burning affair as Villeneuve builds up the suspense to the first encounter. Banks is teaching a linguistics class when the aliens first arrive hovering over a field in Montana. She has previously assisted the army translating Farsi documents so when Weber arrives she already has security clearance. We learn that every 18 hours the aliens ship door randomly opens. Other scientists have attempted contact but are unable to make any sense of the bizarre ramblings. When Ian and Louise first step inside the ship, our stomachs tighten. Set against Johann Johansson's foghorn-like score we see a pair of tentacled creatures behind a gleaming wall. When the humans first speak, the aliens just throw back what appears to be random signs. Through Louise's intelligence, it begins to transpire that these signs might mean something else entirely. Nicknaming their cephalopod friends Abbott and Costello, both attempt to forge a relationship. Taking both linguistic and scientific approaches, Louise and Ian are split on what the signs could suggest?

Things are complicated by other nations perceiving the aliens messages as threats. China led by General Shang (Tzi Ma) are refusing cooperation. Other nations are also panicking about the discoveries they have made and wish to engage the aliens in warfare. This ticking time bomb threatens to disrupt the peace on earth and could lead to something potentially dangerous. Agent Halpern (Michael Stuhlbarg) is intent on following directions to the letter and his short-sighted approach is derailing all progress made. Louise is convinced that when the aliens tell them to "Use Weapon" it is a phrase that is misunderstood. Intercut with scenes from her past where she reminisces about the daughter she lost,  this ordeal is emotionally taxing on Banks.  As you will learn through Villeneuve's picture, not everything is as it appears. The bond Louise forms with Abbott and Costello is genuinely moving and you get the sense that her involvement here was meant to be. Around all the military and government personnel, she is the only one able to see the bigger picture.

Although Villeneuve lets his audience down slightly with a polarizing big reveal, the sheer amount of adrenaline during the final act makes up for it. With time against them, Louise has to resort to a bold piece of thinking to save the day. What follows is a poignant moment of discovery that changes everything we know. The realization of what is to come is heart rendering but also hopeful. Arrival is a love letter to the value of language and reinforces Louise's belief that this is "the cornerstone of civilization" Smartly Villeneuve expresses what power the values of words carry and how we need to understand the meaning behind them. Bradford Young's cinematography deserves credit too. His stark and gloomy photography gives this picture a hypnotic effect. During the first contact scenes, it's like looking a new and scary vortex of beyond. Denis Villeneuve is becoming one of the strongest talents in Hollywood and gives hope that his Blade Runner 2049 will give us the sequel we have always wanted.

One of the Hollywoods best talents, Amy Adams is having a career year. Along with Nocturnal Animals, Adams is very much the name on the lips of awards shows in 2016. Here she puts in a strong and ambitious turn as Louise Banks. A clever and fast thinking personality, Louise can see what no one else can. Adams also handles the emotional weight of the character well and gives her a depth that serves her well in the closing stages. All throughout there is no doubt that somehow she is connected to her alien counterparts. Jeremy Renner gives a solid supporting turn as Ian, a scientist who initially scoffs at her language beliefs. However, this is very much Amy Adams' picture.

Arrival is a spellbinding experience which will change what you think about alien encounters. Denis Villeneuve is a director who always finds a way to audience heart rate increase. Expect big things for Blade Runner 2049.

Eyes Like Saucers: Review of Big Eyes

Big Eyes

Director: Tim Burton

By Alex Watson

Tim Burton makes an overdue appearance on Closer to the Edge this week. His last effort Dark Shadows, was met with a somewhat mixed response due to what seemed to be a confusing approach to his normal zany humor. This week he depicts the real life battle between real life husband and wife Walter and Margaret Keane over art that stunned 1960's California in his movie, Big Eyes.

When Margaret Ulbrich (Amy Adams) flees her marriage and relocates her daughter to San Francisco, she quickly falls in love with charming painter Walter Keane (Christoph Waltz). But soon she finds herself trapped in a nightmare when her beloved Big Eyes paintings are passed off as Walter's own work! Although her life in now financially lucrative, Margaret is living the ultimate lie.

Big Eyes is a sound and well made effort by Tim Burton but sadly it lacks his trademark humor and as a result hardly feels like vintage work by this man. The story is one that easily appeals to Burton's nature in that it is about two people finding something wonderful in an era where female art was typically frowned upon. In fairness, the script by Scott Alexander and Larry Karaszewski does succeed in capturing the snobbishness and the sexiest feel of the times, but doesn't feel nearly meaty enough to make any sufficient ground.

Centrally the relationship between Walter and Margaret is the element that fires the movie and when we first meet him, there is a massively cute feel and it isn't hard to see how exactly he sweeps the lady off her feet. When the cracks inevitably appear, we gradually clue in that this man is little more than a silver tongued trickster. Through his deceit he has now forced Margaret into a corner she will have trouble fighting out of! The potential conflict and controlling nature of their relationship never fully convinces and at times the antics boarder on cartoonish, such as Walter chasing mother and daughter through the house with matches! This feel gradually derails the film and shortens its ability to rise up.

The problem with Big Eyes seems to be that the story is lacking in a key function because it feels uncertain whether it is a comedy, a drama or both? Burton shows touches of his old self such as a borderline terrifying sequence when Margaret sees her painting come almost to life in a supermarket! However, there is not enough of his trademark to elevate this film to where it needs to be. Also although throughout the film we see Margaret painting her large eyed portraits, we never fully learn what has inspired her to paint in this style apart from being told "The eyes are the windows of the soul" 

Amy Adams does succeed in giving an honest and emotionally relevant portrayal of Margaret Keane. Through her soft spoken and gentle nature, she makes it thoroughly convincing just how this woman was duped into living a life of duplicity. One of the more consistent actress of today, Adams shows how she can single handled change a film for the better. Disappointingly the movie is let down by an over the top and almost hammy performance by the normally excellent Christoph Waltz. Although he succeeds in the manipulating side of Walter, his cringing cross examination of himself on the stand gives Burton's film a bad after taste.

It may not be Burton's great piece of work, but Big Eyes is still a movie that is worth viewing because it is incredible how one lie can define the course of somebody's life.