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?

My Darling, My Blood: Review of Manchester By The Sea

Manchester By The Sea

Director: Kenneth Lonergan

By Alex Watson

Very few pictures have channelled grief better than Kenneth Lonergan's Manchester By The Sea. Casey Affleck is outstanding as a man afflicted by his past and now forced to play guardian. A highly charged emotional feel is what makes this outing so memorable. Lonergan after impressing with his 2000 piece 'You Can Count On Me' once more is able to show how deep family roots go. Coping with your grief can be a crippling experience, but all throughout we hope for our hero to find his way back.

Lee Chandler (Casey Affleck) is a janitor in Boston who is unable to move on from a tragedy that has scarred him for life. One day he learns that his brother Joe (Kyle Chandler) has finally died from congestive heart failure. At his will reading, Lee learns he has been made guardian to his 16-year-old nephew Patrick (Lucas Hedges). Forced to temporarily stay in his old hometown, he must contend with the painful memory of his past, particularly when he comes into contact with ex-wife Randi (Michelle Williams).

Lonergan's excellently slips and out of the present day and the glimpses we get of Lee's previously life are profoundly affecting. Lee is a man of very few words and struggles to personable with the tenants he serves. While he is a very capable worker, his lack of empathy and constant silence have lead to complaints. He also possesses an extremely short fuse and seems to slug anyone for the slightest of reasons. When a businessman glances at him in a bar, hell soon breaks loose. The happier times of old are a faint memory and Lee is shown to have been a happy man back in his old days. Scenes of him playing with Patrick on Joe's fishing boat radiate joy. When his brother was diagnosed with heart failure, this more than likely lead to Joe's ex-wife Elise (Gretchen Mol) becoming an alcoholic and abandoning them. Though a loving and playful family man, the heartbreaking tragedy that meets him fully explains his descent into solitude. One unfortunate error leads to something no parent should ever have to deal with. The scars of this event hang on Lee's face throughout and Lonergan does a wonderful job of showing his discomfort.

Arriving back in Manchester, Lee feels out of place among his family immediately. The bitterly cold sea breeze and snow covered scenery echoes painful memories of his past. Unprepared for the shock of assuming guardianship of Patrick, Lee is barely keeping afloat. His nephew is a popular teen who is a hockey star, in a rock band and trying to sleep with two different girlfriends. The conversations between the two are the real power of Lonergan's film. Slightly aloof and unable to force a connection at first, the dialogue sounds genuine and has a fantastic strain to it. Patrick willingly uses his uncle as a Taxi service while keeping a brave face on this tragedy. Playing the role of surrogate Dad causes Lee to feel out of his comfort zone. Frequently he spurns the nice offers made to him by others and delves back into his reclusive side. Lucas is dedicated to keeping his father's boat going, Lee doesn't appear to agree and think they should just rent it out.

While the pair might not be fast friends, they are still the only people who can heal each other. One touching scene comes when Patrick finally begins to experience grief and Lee refuses to let him be alone. While his uncle might not always be the most clued-in person to his needs, he knows when to recognise pain. Lonergan's movie isn't about happy reunions or families solving their differences, it's about people dealing with suffering the best they can. Lee might never shake the problems of his past, but he still shows a genuine desire to know Patrick. Running into Randi is like being hit by a freight train. While she insists that she still loves him and regrets the way their marriage ended, Lee cannot bear to be reminded of the life he left behind. This brief encounter has such power that it may shatter our hearts into pieces. All the way through Manchester By The Sea there is tension whenever Lee gets worked up. More likely to use his fists than use logic, some ugly scenarios rear their head. Lonergan's movie is about how families connect with each other, how blood is thicker than water and how human's deal with emotion.

Casey Affleck gives the performance of a lifetime as Lee, a man being forced back into an old world before he is ready. A stark and emotional turn, Affleck is able to make the most of his character's imperfection. Lee is a quiet and introverted man who doesn't thrive on social interaction. Forced to become a father figure again is one that takes all his might and every minute wears on him. This is his finest work since 'The Assassination of Jesse James by the Coward Robert Ford'. Affleck gives the strongest performance of this year and is rightfully odds on favourite for Oscar glory. Lucas Hedges makes for great support as Patrick. While a ball of teenage energy, his amazing ease at accepting his father's death shows his character strength. While Lee might frustrate him, Patrick also recognises that he needs an authority figure right now. Michelle Williams could also be in contention with a whirlwind supporting turn. From the moment she enters, her presence is earth shattering and Lee's ghosts are brought to the surface. A powerful turn, Williams makes full use of her limited time on screen.

Manchester By The Sea is a powerful masterpiece by Kenneth Lonergan. Families might stray, but our hearts will always stay connected.

In The Heart Of The Sea: Review of The Finest Hours

The Finest Hours

Dir: Craig Gillespie

By Alex Watson

If you are looking for a middle of the road rescue thriller then The Finest Hours may just be the picture you are looking. This picture is a solid effort from director Craig Gillespie that offers some decent thrills to mask its lack of depth. The efforts of four men to save dozens in a little known but frankly remarkable rescue make for a great subject, it's just a shame it's in the wrong hands. Although it entertains well, this picture will be unlikely to stick in your mind after the credits roll.

Bernie Webber (Chris Pine) is a member of the Coast Guard in Chatham, Massachusetts but he is soon brought into an event that could have fateful consequences. The oil tanker 'The Pendleton' has been split into two in the rough ocean and the surviving crew led by Ray Sybert (Casey Affleck) are clinging on for dear life. Despite feeling a reluctance, Bernie along with other crewmen Richard Livesey (Ben Foster), Anthony Fitzgerald (Kyle Gallner) and unprepared Seaman Ervin Maske (John Magaro) go forward into the great unknown.

The need for survival is one aspect that is made obvious in The Finest Hours and smartly Gillespie opts to keep his heroes low key. Bernie is an ordinary and slightly nervous guy who is set to marry his sweetheart Miriam (Holliday Granger) but by Coast Guard Regulations he has to ask permission. Sadly although we like the guys in the boat, we never properly get to know them. There is a talk of a failed rescue mission that put strains on several community members but full details are never really disclosed. Likewise with the men of the Pendleton, Sybert and co fit the usual ship stereotypes with the unsocial leader and the gruff and tough veteran (Graham McTavish). Gillespie fails to understand that to connect with a drama like this we need to our crew.

After a lot of back and forth huffing by commander Cluff (Eric Bana), the crew is sent out into hell, despite the locals assurance that they will not return due to the harsh conditions. The men's bravery is something to admire and as Bernie denotes "They say you have to go out, they don't say you gotta come back!" Gillespie invests too much of the movie back on land watching the men spout their nautical speak when the picture is crying for something larger. The men of Pendleton, however, have an equally bleak task of keeping a heavy ship from sinking below. Gillespie's enthusiastic camera work glides through the different layers of the ship and we get the sense that time is being borrowed.

At sea is where The Finest Hours feels most comfortable and the action here gives events a real spark. Heading into choppy waves and surrounded by 60 MPH winds, the task seems impossible but through the excellent cinematography by Javier Aguirresarobe, it gives sufficient thrills. Their tiny boat battles continuous rolling waves while the Pendleton struggles to keep their heavy wreck afloat. Even though they keep getting told to give up, Bernie and co show a strength that is heartwarming. It seems incredible that a 36-foot boat was able to achieve such a task when on other days it could have perished. Gillespie keeps us well entertained but this kind of heroism deserves more fitting treatment.

Chris Pine again proves to be a capable and likeable lead as Bernie Webber, although this time he is free of the cocky heroism we have to expect from him. Playing his character as a troubled but coping sailor, Pine is able to stamp his characters authority when most needed. Though this role doesn't feel like one that tests his ability. As the emotionally vacant Sybert, Casey Affleck is by far the standout performer. Unattached from his crew because he needs to act not argue, Ray resorts to erratic measures to assure safety for his men and through Affleck he feels most believable lead of the bunch.

Craig Gillespie does a solid job on The Finest Hours but unfortunately, he is unable to raise this past being the standard Disney thriller. In places, this story entertains but it is not one of the memorable efforts you will see in 2016.