Directors: Bob Persichetti, Peter Ramsey, Rodney Rothman
By Alex Watson
Spiderman has gone through multiple facelifts since Sam Raimi first thrust the web-slinger onto our screens in 2002. Spiderman: Into the Spiderverse might just be the boldest and best outing yet for this franchise. Giving not one but five different origin stories, this movie is able to successfully juggle these numerous characters often to hilarious effect. The animation here on another level and the effect is jaw-dropping, the Marvel universe has a fascinating new ace up its sleeve or Spidey suit in this case!
In another dimension of the Spiderman universe, Miles Morales (Shameik Moore) is a high school kid who is bitten by radioactive spider. Attempting to embrace his destiny as the Spiderman, Miles' life is further complicated after the villain Kingpin (Liev Schreiber) opens multiple dimension. Soon our hero comes into contact with a down on his luck Peter Parker (Jake Johnson) and several other versions of the famed hero.
So often superhero films struggle to manage multiple heroes and villains, this is definitely not the case in Spiderman: Into the Spiderverse. The movie plays it smart by focusing primarily on Miles because a character he's impressively layered. A graffiti and hip-hop loving young boy from the block thrust into a fancy prep school who has a dysfunctional relationship with his overbearing cop father (Brian Tyree Henry) and is in awe of cool uncle Aaron (Mahershala Ali), Miles is a hero who is relatable on many levels. His early missteps and freakouts regarding his newly attained powers are played for laughs expertly, such as when he gives fellow student Gwen Stacey (Hailee Steinfeld) an unfortunate new haircut.
Directors Persichetti, Ramsey and Rothman wisely opt to flip this origin story on its head by showing us a far different and less appealing side to Peter Parker. In his own dimension, the original Spidey became a down and out loser. Watching this new incarnation gives a new stream of belly laughs. However, these are quadrupled when the other versions of this character are introduced including Nic Cage's wonderful Spiderman Noir and John Mulaney's bizarre cartoon pig Spiderham! Together these characters blend together seamlessly yet Miles instantly feels like the outsider. The notion of taking a leap of faith is heavily emphasized and frequently we see our hero struggle to fit. While the three co-directors are able to keep the laughs in good stock, they are also able to inject a real heart and soul into proceedings. Often this picture finds moments of levity and heartbreak when we least expect them.
The real star of Spiderman: Into the Spiderverseis the animation itself. The colors and the crisp 2D feel make this the perfect way to bring this origin story to life. It's particularly effective during a thrilling ending as the multiple universes open at once and the space-time continuum is set to go nuts! Miles emerges as the true hero of the piece and this universe shows that Spiderman's identity goes beyond Peter Parker and how its what's behind the mask that counts. Of course, there is a loving tribute to the great Stan Lee who manages to sneak in one final cameo.
Shameik Moore is the perfect choice for Miles Morales and former star of the ill-fated Netflix show 'The Get Down' is pitch perfect. Able to channel the restlessness and sheer excitement of a young teen, Moore wonderfully captures a hero in waiting. While Jake Johnson is often a love-hate figure onscreen, there are few actors who could have played Peter Parker as such an endearing failure. His lazy yet surprisingly deep delivery shows a man whose clinging his one chance to make things right. Liev Schreiber makes perhaps the most perfect Kingpin Marvel has seen yet. Vincent D'onofrio made a thumping presence in TV's Daredevil, but Schreiber's growling voice gives this man a whole new level of chills.
Spiderman: Into the Spiderverse is one of the biggest surprises Marvel could have sprung on its fans. Funny, refreshing and memorable- Miles Morales is one character we would love to have a second outing!
After winning the Viewers Choice prize at the Toronto International Film Festival, Peter Farrelly's Green Book is a film which is Oscar assured. A touching yet utterly hilarious look at real and unconventional friendship, Farrelly shows how two polar opposites can attract. On one side a firm commentary about the mistreatment of African Americans during segregation, the other this is a movie about how courage can truly make a difference. With two stunning central performances, this picture is a powerful and endearing look at a difficult time in American history.
Tony 'Lip' Vallelonga (Viggo Mortensen) is a bouncer at the Copacabana who is very quick with his fists. After the club closes for renovations, he needs work to tie him over for the next 8 weeks. Soon after a chance comes his way to drive renowned pianist Dr. Don Shirley (Mahershala Ali) on his tour of the Deep South. Needing someone to help him steer clear of trouble, the two at first continually aggravate and embarrass one another. As the trip progresses, both men will find a lasting friendship in the most unlikely way.
Green Bookis a movie that is dedicated to showcasing the unlikely feel of this friendship. When we first meet Tony, likable is not a word we would use to describe him. Unafraid to dish brute force with troublemakers and disturbers, Tony is little more than club muscle. While a loving family man to his wife Dolores (Linda Cardellini), he also possesses a racist streak which goes in line with his loud Italian family. One scene sees him drop two glasses used by black painters into the garbage, much to the disappointment of his wife. Meeting Don Shirley is something that not only broadens his worldview but busts it wide open. A multilingual, educated, world famous but conceited musician, Shirley's world couldn't be further apart from his own. Petrubed by Tony's bullish and unpolished manner, at first this turns into the road trip from hell. While in Kentucky, Tony forces his counterpart to feast on fried chicken because he makes the ignorant assumption all black man eat it. "You have a very narrow assessment of me, Tony!" gripes a bemused Don.
During this road trip, both come to slow admire the different qualities in each other. Shirley is almost seen as the authority figure in this trip- especially when he chastises Tony for stealing a 'lucky rock' from a roadside store or making him reverse the car to pick up a discarded soda cup. However, he slowly convinces Tony that using his fists will not solve every problem and to start using his head. While Tony on the surface is a dimwitted bag of muscles, his sheer street smarts and quick thinking help keep Don in one piece. Grudgingly he grows to admire his musical talents and his sheer determination to keep face in front the affluent Southerners who scorn his people at every turn. "It takes courage to change people's hearts." mentions bandmate Oleg (Dimeter Marinov). As a musician, Shirley's performances are a thing of rare beauty and Tony comes to see that only a man like him could make this so memorable.
Entering the Deep South gives this picture a slight tension as while he is given a warm welcome at the events and concerts he plays- there is still a notion that is simply tolerated. The title Green Book refers to a book given to African American travels to help them navigate this tricky region. Staying clear of provocation proves a sky-high task as Shirley's mere existence is a trigger to the locals. One night he strays out alone to a bar and Tony is called to rectify a difficult situation with hostile rednecks. Farrelly also shows Shirley as a man cast adrift between two worlds. Unaware of hit singers like Little Richard and Aretha Franklin, Shirley is too different from his own race and not accepted within the white race. Tony is the unlikely glue that holds the duo together and his fast-talking and unconventional fast acting also bring Shirley out his shell and make him more assertive. At its core, Green Book is a buddy film with a ton of heart and a stark realism and awareness of its surroundings.
As the Bronx born Tony Vallelonga, Viggo shows just why he is one of the most versatile actors Hollywood has to offer. Nicknamed 'Lip' due to his ability to talk bullshit and convince others to do things, his mouth is constantly running or shoveling large quantities of food into it. While in the beginning, he appears to be little more than a lunkheaded bruiser, Mortensen shows this characters intelligence and compassion towards his employer. Frequently able to get the bulk of the laughs, Mortensen once again is excellent. Mahershala Ali is also on dynamite form in the first post-Moonlight film. Effortlessly gripping in each scene, he gives Don a tightly wound feel that is a mask for his inner torment and loneliness. Ali once more confirms his status as one of the best upcoming leading men and this role matches Mortensen blow for blow.
Green Book is a movie that gives some real joy on screen and shows a maturity in direction by Peter Farrelly. Definitely an upcoming awards favorite.
Hidden Figures brilliantly brings to light the essential role played by three African-American women during the Space Race at NASA. A story previously unknown to the public, all three helped change the boundaries of both gender and race during their time at this institution. Director Theodore Melfi brings across as a heartfelt feel to this picture and wonderfully lets the story tell itself rather than going for an overblown approach. The work these three women did was nothing short of miraculous and John Glenn's now famous flight might have been a far different story if not for their actions.
Katherine Goble (Taraji P. Henson), Mary Jackson (Janelle Monae) and Dorothy Vaughn (Octavia Spencer) are all employees of NASA. All feeling frustrated by the lack of advancement for both women and African-American's, each will take liberties into their own hands to get their voices heard. Space Director Al Harrison (Kevin Costner) is concerned with the upcoming space flight by John Glenn (Glen Powell). With the world watching, all of these three women will combine to launch one of the most anticipated moments in history.
The strength of Hidden Figures come from the toughness of each of the three leads. All are brilliant and brave in their own ways, Katherine is a mathematical genius whose gift is frowned upon by her all male superiors including insecure Paul Stafford (Jim Parsons). Dorothy is the defacto leader of a team of 'Computers' who is repeatedly denied promotion despite being overqualified. Sharp-tongued Mary while encouraged to be an engineer is denied due to silly technicalities. Melfi presents each of these characters with great authenticity and doesn't succumb to the urge to phone in the message. Set against the era of segregation, their battle isn't just in the workplace, it's all around. Thankfully the people around them are not presented as outright racists. Characters such as Kirsten Dunst's snooty Vivian Mitchell are ones bound by tradition and protocol.
Against the clock with the space race, the US is losing ground to the Soviets once Yuri Gagarin goes into orbit. Al Harrison is a boss that at first is concerned only with the job, once he gets wind of Katherine's ability with numbers it makes things a whole new ball game. All on her own at first, she receives a cool and hostile welcome. The only coloured bathroom she can use is half a mile away at her old building. She looks destined for obscurity until both John Glenn and Harrison see that the importance of this mission hinges on her. His defence of her isn't one where the sparks fly and no passionate speeches are given, just a quiet assurance that her qualifications are essential. Mary is also fighting her own battle because her wanted promotion depends on her taking advancement courses at an all white school. Mary is someone who doesn't need people fighting in her corner, through using her own words and her natural instinct is able to overcome anything.
Hidden Figuresis a tribute towards those who refused to be confined to the shadows. Battling prejudice throughout, each member shows their spirit and determination when times get hard. Dorothy in particular comes across as a real hero when she learns to program IBM machines better than the men who built them. It is impossible to think of John Glenn's flight without their involvement. Katherine's maths is by the far the element that makes the difference because although Stafford arrogantly states his math is perfect and tries to black out key 'classified' information, Katherine repeatedly sees the flaws. The men in their lives are also quietly brilliant with a wonderfully romantic turn by Mahershala Ali as new lover Jim Johnson. Playing both father figure to her three daughters, Jim is the rock she needs and this story is one that gives this picture a sweet feel.
Three magnificent turns are what makes this picture so potent. Taraji P.Henson is Oscar worthy as the brainiac Katherine. Giving her a silent determination, Henson gives a turn that has both heart and great charm. By far the strongest character of the bunch, this could open new doors for this actress. After impressing as a surrogate mother in Moonlight, Janelle Monae is a force of nature as Mary Jackson. Gifted with a quick wit and even quicker tongue, this woman is unafraid to go it alone when it comes to her dreams. Octavia Spencer could well be up for supporting honours again with another tough and frank turn as Dorothy. Authoritative whenever she is on screen, this kind of role is second nature to Spencer. Kevin Costner is also impressive as boss Al Harrison and shows how memorable he can be with the right type of part.
Hidden Figures is a picture that stands out on its story alone and is one that could see some love when it comes to awards season.
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?
Never before has finding your own identity been so painstakingly realized and director Barry Jenkins picture Moonlight is a movie that lives up to its big festival hype. Emotionally heart wrenching throughout, this movie makes the most of its unique premise and shows us both the pains that come with both youth and adulthood in unflinching detail. We observe life through the eyes of one person through three different ages and Jenkins makes us unable to look away for even a moment.
This picture traces the life of Chiron (Alex Hibbert, Ashton Sanders, Trevante Rhodes), a gay drug dealer through three different ages. A bullied young kid with an abusive crack addicted mother (Naomie Harris), at first he finds a father figure in dealer Juan (Mahershala Ali) and a friend in Kevin (Jaden Piner, Jharrell Jerome, Andre Holland). Throughout growing up Chiron is often bullied for his size and for being homosexual. Struggling to stand up for himself and find his real persona will lead the young man down a slippery slope.
Starting with Chiron running from three bullies who pick on him daily, Jenkins wastes no time in showing the problems this boy faces. Juan at first is a kind and encouraging figure in the boy's life in parallel to his mother Paula who is capable of being immensely loving to incredibly abusive in a heartbeat. When they first meet, he struggles to get the young man to talk and invites him to eat dinner with his talkative girlfriend Teresa (Janelle Monae) Often staying in this dealer's luxurious house, Chiron has a feeling of security compared to his harsh life living in poverty at his dingy mother's place where he is often 'entertaining' or on drugs. There is a touching scene early on when Chiron asks Juan what a homosexual slur kids throw at him means and Juan follows up with a talk about finding his own path in life. While Juan provides him with a blanket from the abuse, there is also a big issue of him dealing the very drug that afflicts his mother. While catching Paula smoking crack, he berates her for his irresponsibility while she follows up with mocking for being the one causing it.
The middle chapter of Moonlightis by far the most poignant as it shows the harshness of teenage life as Chiron is a lonely, vulnerable teenager beaten up daily by bully Tyrell (Patrick Decile). This sequence is also the first showing of his changing sexuality as while Kevin has grown into a popular and boisterous teenager, one night at the beach will create a life changing moment. Jenkins and cinematographer James Laxton handle this scene masterfully and under the darker and more night washed tones, this moment is one of the standouts. There is also a growing risk of violence in Chiron and the abuse both at home and daily at school are a source of constant tension. Jenkins makes every second like a ticking time bomb and when Kevin is forced to inflict a brutal beating on his friend, that feels like the straw that breaks the camels back. The groundwork is laid and the scared little boy formerly called 'Little' will evaporate before our very eyes.
Chiron has turned into a copycat version of his former father figure as the movie goes full circle in chapter 3. Jumping forward a decade, Chiron is now a muscle-bound dealer where the gold chains and earrings. Going by the street name 'Black' (a name Kevin gave him previously) he commands the respect denied to him in high school. Underneath he may be the same lost and affected boy which is shown in an emotional scene with his mother in rehab who although scolds him for becoming what she feared acknowledges that she ruined her own life. The real game changer comes when Kevin calls him out of the blue wanting to meet, in an instant Chiron is floundering, speechless and digging up emotions thought lost. The use of music during this finale is well used by Jenkins as 'Hello Stranger' by Barbara Lewis strikes up. Hard truths are revisited and Chiron is forced to face the person who he really is, never before have these type of characters had this kind of emotional depth. While Jenkins might not transgress into sentimental territory, the raw power of his script shines through. Photographer James Laxton is one of the true stars as his ever-changing cinematography from sunny and shiny to a neon-lit Miami night provide the movie with its feel.
The triumvirate of young men playing Chiron are equally excellent, Alex Hibbert is the shy and curious young Chiron who although sheltered from harm is aware of his surroundings. Ashton Sanders is the lost and angry side to this character and his performance is the one that will tug at audience sides as he comes across a young tiger who is poked one too many times. Trevante Rhodes is very much the character muscle but it able to convey Chiron's vulnerable side masterfully during the final act. Naomie Harris is also a revelation as his addict mother and each time she enters the fray we hold our breath. The extent of her addict and the unpredictability that comes with her persona is expertly portrayed by Harris. Mahershala Ali and Janelle Monae make for a fine pair of surrogate parents in the early stages of Jenkins' movie and together they give a loving and protective feel to the story.
Moonlightis deservedly the best review movie of 2016 and currently it will serve as a front-runner for awards season. Barry Jenkins emerges a real talent to watch and his unlikely premise is one of the strongest offering we could have wished for.
