2016 may have been one of the most divisive years in recent memory, but when I looked back on the movies that came out I began to realize that while there were certainly big duds among the crowd there was an abundance of quality movies that came out last year. Below is the list of a majority of the films that came out last year with my thoughts on them. Enjoy!
Ryan Reynolds gets a lot of credit for this one. He stuck around after his character’s horrific introduction and then incredible misuse in the first standalone Wolverine movie back in 2009 and kept pushing for this film to get greenlit. Self referential and winking at the screen knowingly, “Deadpool” is everything you want it to be if you know the crude character in the slightest. Violent, crass, and fourth wall breaking, this film is the best direct adaption of a comic character, possibly ever.
Captain America 3: Civil War
Proving that you can take two characters with idealogical differences and pit them against each other and actually have the story work (Looking at you, Zack Synder), “Civil War” isn’t just one of the best Marvel movies, it’s one of the best Superhero movies ever made. Captain America and Iron Man take opposite sides of a government mandate and string up followers on each side to punch each other until you cry when it gets serious (You know what scene I’m talking about). Captain America 3 is one of the few exceptional blockbusters from this year!
“Dr. Strange” continues to prove that Marvel can take any of their properties, no matter how Strange (Ba-dum-tss!), and make it work. Benedict Cumberbatch stars as Strange, a brilliant Neurosurgeon that has his hands crippled in an auto accident and ends up traveling the world and spending his last dollar in search of a cure. Instead he meets the Sorcerer Supreme (Tilda Swinton) aka the Ancient One, and begins his path of mastering the mystic arts of sorcery and otherworldly magic. What sold me for this origin tale is the third act, and how Strange solves his own villain dilemma. No Sky beams. No faceless army to beat into submission. No, here lies a creative solution that I will not spoil, but it’s well worth the watch.
Mel Gibson’s directorial return to cinema is not one to miss. Easily one of my favorite films of the year, this film changed my view on Andrew Garfield. The true story follows Desmond Doss, the first conscientious objector in wartime to receive the medal of honor for saving 75 men in the battle of Hacksaw Ridge, in WW2, without a firearm. The first half follows Doss’ battle to stick to his beliefs and to train as a field medic, without holding a weapon, as it was his belief not to kill another man. The second half depicts the battle, and well, hold onto your butts because it is relentless in it’s violence and horror. Gibson deserves a best director nod at the very least.
Star Wars: Rogue One
Who knew a film with a widely known ending could be this good? “Rogue One” is pure Star Wars fun. This film had a lot riding on it going into it’s opening. Would the first standalone Star Wars movie be a success? Would audiences care about a film with little to no recognizable faces throughout the runtime? As the first film in the franchise to focus more on the “war” than the “stars” Rogue One swiftly introduced us to a cast of rebels devoted to the cause. Jyn Erso leads the band of resistance as the daughter of the head engineer of the Death Star while the Empire puts the finishing touches on their shiny new superweapon. Each member of the team has notable moments throughout- Donnie Yen’s “Chirrut Imwe” is a blind, force sensitive, kung-fu martial artist with a deep belief in the power of the force- and an excellent example of this. The film goes to extreme lengths to recreate the dirty, lived-in world of the original series, from 3D printing toy model sections for digitally recreating star destroyers to the use of practical effects and some puppetry throughout. The film also breaks new special effects ground by reviving Peter Cushing’s Grand Moff Tarkin not simply just for a cameo, but as a character that has several scenes and deliberately pushes the plot forward. The film adeptly handles the mythology with caring hands and even fills in former plot holes, such as the infamous womp-rat sized hole in the Death Star, while also taking new risks, like the ending. Which I won’t ruin just in case you haven’t caught this movie yet-somehow. Darth Vader also has one of his best scenes ever put to film near the ending-right before the reveal of a youthful CGI Princess Leia who, in a timely sense, reminds us to have Hope. Rest in Peace Carrie Fisher.
Swiss Army Man
Easily the weirdest movie of the year, “Swiss Army Man” is an oddly beautiful one that combines emotional nuance.. with farts. I know, but trust me on this one. The best way I can describe this movie is that it’s about a suicidal man that teaches a dead guy that life is beautiful and worthwhile despite the hurdles of confusion and emotions that are thrown at us. Paul Dano’s character starts the film stranded on a small pacific island and is about to hang himself when he spots Daniel Radcliffe’s dead body wash ashore. He clambors down from his noose and inspects the corpse. He quickly finds that this void vessel is full of life, flatuence, and strange abilities-like farts powerful enough to propel him off his island. From there the film follows Hank (Dano) and Manny (Radcliffe) as they discuss life and its many complexities while they wander through the pacific northwest to try to find civilization. I know I’ll be on the lookout from anything that the Daniels (Directors & Writers of the film) make from now on, the special effects, soundtrack, and quirky nature of this flick was the strangest amalgamation put to film this last year and I can’t wait to see what they create next!
Hunt for the Wilderpeople
Set in New Zealand, this film follows defiant city kid Ricky Baker (Julian Dennison) as he is placed into his newest foster care home to be raised by the jovial Aunt Bella (Rima Te Wiata) and grumbly Uncle Hec (Sam Neill). Written and directed by Taika Waititi (Helming the upcoming Thor: Ragnarok) this film is an excellent example of his ability to juggle wildly different tones with impeccable skill. The film ends up becoming a buddy roadtrip comedy, in a sense, between Ricky and Hec as they are chased in a manhunt throughout the wilds of the New Zealand bush that is in parts hilarious but also a touching and heartfelt showcase of friendship, family, and how to deal with loss. Between this and Waititi’s last film “What we do in the shadows” he has become one of my favorite directors to keep in mind. Seek this one out, you won’t be disappointed.
The Jungle Book
The latest adaption of Rudyard Kipling’s 1893 literary allegory of anthropomorphic animals was released by Disney last year in groundbreaking fashion. This was one of the rare times when a reboot or reimagining of a property gave new life to the material and improved upon various versions of the story. This iteration, directed masterfully by Jon Favreau, combined some of the most cherished musical numbers from Disney’s earlier animated classic with a dash of the darker nature and tone that came from the original tale. Photorealistic computer generated imagery breathes new spectacle into the century plus old story, each of the animals move and react in a beautifully realized digital jungle with a human actor as Mowgli (Neel Sethi) that physically interacts with the imagined world around him. Of course it would be remiss of me not to mention the stellar voiceover cast with the likes of Christopher Walken as King Louie, Scarlett Johansson as Kaa, Sir Ben Kingsley as Bagheera, Idris Elba as Shere Khan, and of course-the perfect casting choice, Bill Murray as Baloo.
Star Trek Beyond
The third movie in Star Trek’s newest revival of sci-fi films, “Beyond”, is a smaller film in terms of the scope of the adventure and thus feels more like a true ‘Trek’ episode than the previous films. While there is much to enjoy here, my only nitpick was some of the editing and cinematography choices during the action sequences, it was a departure from the sweeping glides of JJ Abrams whereas this seemed a bit clunkier and rife with shaky cam. The newest story takes place while the crew is on their five year deep space mission when they get stranded on an alien planet, the enterprize gets destroyed again, and thus the team is fractured into pairs where they must all work together to strive against the might of Krall, played effectively by Idris Elba. Simon Pegg pens the script here and you can feel his influence throughout in the playful pairings of the crew, Spock and Bones in particular was a great choice. The film leans a bit into nostalgia, and the revival series has earned it’s place among the canon to do so. It’s a bright future for the franchise and I can’t wait to see what they do next in “Infinity”… I mean, it might not be called that, but if they don’t name it “Infinity” they clearly missed an opportunity.
Kubo and the Two Strings
This stop motion animated epic from Laika Studios is one of their very finest work.Charlize Theron, Ralph Fiennes, & Matthew McConaughey throw their talent behind the voices of Monkey, the Moon King, and Beetle respectively and much of it works to great effect. Kubo (Art Parkinson from Game of Thrones) is our hero who must retrieve his lost father’s armor and weapons to defeat the evil Moon King once his hiding place is discovered. Akin to a Legend of Zelda set up, this adventure wisely relies on wit and humor with crazily intricate fight sequences throughout to craft an entertaining and solid flick for children and adults.
Oliver Stone’s newest film tackles the recent international affairs of Edward Snowden, the name known the world over for unleashing news of America’s sweeping surveillance program put in place by the NSA. These revelations that our government was spying, not just on other nations, but on our own citizens has changed the course of history and will have a lasting effect on policy and politics. Joseph Gordon-Leavitt effectively portrays the title character in a very true to life scenario. Shailene Woodley also stars as Snowden’s girlfriend, Lindsay Mills, and injects an authentic charm into the film, which is a role that I believe will net her more projects in the future. The film may lag in spots because of it’s devotion to reality, but it doesn’t make this tale any less fascinating or important.
La La Land
Combining a love and devotion to Golden age Hollywood Musicals with modern sensibilities and new age ability “La La Land” is easily one of my favorite films of 2016. This is a film that was made by somebody that had something to say, and that is powerful. When a crew this dedicated to perfection comes together-it’s palpable. The amount of pure determination showcased in this film with all of the choreography, the dancing, the music, the acting, the lighting, it’s astounding how it all works! This film is about the push and pull of love of art versus the art of love, but more than anything else, it’s about hope and the pursuit of happiness. If you’re a creative person at all (and that can be applied to many, many, many variations) you will likely love this film. If you love film, you may even adore it. Even more importantly than that-you should see this movie, challenge yourself if you’re not a musical person, these are extremely human characters telling an incredibly relatable tale. This is masterclass filmmaking at it’s finest, so much so that Damien Chazelle will likely become a household name after this, and he’s earned it!
The Nice Guys
Critically underwatched, “The Nice Guys” is definitely one of my favorites of the year! Set in 1970’s L.A. Gosling is an alcoholic Private-Eye who ends up teaming with Crowe’s burly muscle with a heart of gold when they stumble upon a sprawling conspiracy while investigating the alleged suicide of a famous female porn star. This is hands-down the best script of the year and possibly the hardest I laughed at a movie all year, although “the Hunt for the Wilderpeople” gives that title serious competition. Directed by Shane Black in brilliant fashion, “The Nice Guys” harbours hilarity, a snappy script, and unlimited charisma between the leads to combine into a new classic.
As the second musically themed movie on this list, “Sing Street” shares similarities about love and risk, but it is also about family and brothers. Set in the 1980’s in Dublin, Ireland the story centers on Conor, a 14 year old boy that’s strained by the familial stress at home from his parents’ arguments about love and money after he’s sent to a rough-and-tough inner city public school. He eventually finds a cool girl named Raphina whom he invites to be in a music video for his band. Then he sets out to create said band. The film is full of optimistic heart and catchy tunes from the era as Conor and his newfound friends play music, engage in youthful rebellion, and fall in love. “Sing Street” shows us that music has the power to sweep us away from the turmoil of everyday life and transform us into something far greater.
Proving to be smarter than your average anthropomorphized animation, Disney’s “Zootopia” is a well crafted tale with timely lessons held within it. The story is about assumptions based on appearances, and how we (or in this case the animals of Zootopia) should approach diversity and challenge our reactions. The film follows Judy Hopps (voice of Ginnifer Goodwin), a small town bunny with big city aspirations. She desperately wants to be a police officer, which would make her Zootopia’s first bunny cop. Right away she is placed on meter maid duty but stumbles upon a case much bigger than expected by association of Nick Wilde (voice of Jason Bateman), a sly Fox that she encounters on her first day as an officer. From there the two reluctantly work together to follow the scent of foul play afoot. This is a wildly entertaining movie by Disney that has enough humor and stylish zany cartoon antics to keep children appeased with a story that adults can also appreciate. Also starring in the film as various animals are J.K. Simmons, Idris Elba, Kristen Bell, Alan Tudyk, Tommy Chong, and Shakira. Definitely check this one out if you missed it!
Toho Studios revived their radioactive giant once more last summer in Japan to soaring review scores while also becoming a box office home-run. This is a smart monster flick that utilizes the current political landscape in Japan as a foundation for tension as well as mindful social commentary. There is camp and visceral destruction to be had of course but, the film also deftly uses Godzilla as an opportunity to decide whether or not to use force when the country effectively has no military. The film casts a wide net on the scope of the film by showcasing how Godzilla’s very presence effects the lives of the people in Tokyo and surrounding areas. This does a lot to present the audience with an effective grasp on just how many moving parts would have to come into play under such an event. There are many conversations between leading personnel about the streams of red tape and hurdles they have to jump through just to get anything done. A lot of the plot rests on these debates. The film carefully considers the weight of taking action, of following procedures, and whether or not to choose independently. As an added plus this new Godzilla has a ridiculous range of destruction rendering abilities.
Ending an incredibly long creative journey for legendary film director Martin Scorsese, “Silence” is a long and thought provoking summation on religion, faith, and to what lengths two men of faith will go to spread the teachings of their religion. Set in the 1640’s this is the story of two Portuguese Jesuits (Andrew Garfield and Adam Driver respectively) who travel to Japan to retrieve their former mentor (Liam Neeson) who had been reported as denouncing his faith in public. Scorsese is one of the last great American film directors from an age when films took their time to tell you their story. Patience is important regarding “Silence”, but while it has a long runtime, the film rewards you with visual cinematic beauty. This is not in reference to any special effects, but rather classical imagery evocative of renaissance paintings, for much of the movie regards framing, movement, and staging in this manner. Andrew Garfield will find similar themes and ideas here in comparison to his most recent role in Mel Gibson’s “Hacksaw Ridge”. However while Gibson’s film had Garfield’s character utilizing his faith as a source of power-as the solution to his problems- the same cannot be said for Scorsese’s epic where Garfield’s character has to ponder whether or not his religious convictions are causing his problems. Adam Driver, still riding high from his villainous role in “Star Wars: The Force Awakens”, encounters a supporting role that isn’t quite as involved as Garfield’s, but is meaty with the themes that weigh on the shoulders of the story nonetheless. This a beautifully realized film, however you should measure your expectations for the type of story you’ll be encountering. If you are appreciative of the visual arts or the art of cinematography and directing in film then this is something you’ll likely enjoy.
*A Monster Calls
Sigourney Weaver, Felicity Jones, Toby Kebbell, and Liam Neeson (as the Monster) surround Lewis Macdougall as Conor, a young boy dealing with familial illness, schoolyard bullies, and the trials of youth. This is an engrossing coming-of-age story that is awash in vibrant color, brilliant special effects, and dark themes that the film boldly never shies away from. The film seems to be partly fantastical in it’s cinematography and art direction while deftly weaving in a teary-eyed story of loss and growth. Keep an eye out for this one.
*Hell or High Water
A modern day Western in the skin of a bank heist thriller, “Hell or High Water” offers a tried and true formula that is ultimately satisfying on multiple levels. Toby (Chris Pine) and Tanner (Ben Foster) are two renegade brothers that start running multiple bank heists and subsequently getting rid of the evidence, then starting up the cycle again constantly keeping the cops at bay. That is, until Texas Ranger Marcus (Jeff Briudges) arrives on the scene looking for one last grand pursuit before retirement becomes his reality. The efficient pacing and solid character work here elevates this above mindless popcorn gunplay, comparisons have even been made to a more bombastic “No Country for Old Men”. If you enjoy the Western genre or a solid cat and mouse heist thriller; you’ll likely find much to enjoy here!
Written and directed by Tom Ford (a well established American fashion designer, this is his second film), “Nocturnal Animals”follows Amy Adams and Jake Gyllenhaal as a divorced couple that get caught up in a haunting romance thriller. The film begins with a passion-lost Amy Adams owning an art gallery and living in a mansion in L.A. while her current husband (Armie Hammer) flubs their planned vacation and she ends up reading a book sent to her that was written by her former husband, Jake Gyllenhaal. This opens up the story contained within the book, a film within a film if you will, in which Michael Shannon and Aaron Taylor-johnson also star as side characters. Eventually the book melds with elements of the modern day storyline to form a violent and dark thriller that has a mixture of revenge, love, cowardice, and art all intertwined together.
*The Edge of Seventeen
Not just another coming-of-age movie, “The Edge of Seventeen” wisely plays on the humor and emotional trauma of what it’s like to be a young woman in today’s world. The plot centers around Nadine, played with appropriate angst that endears sympathy by Hailee Steinfeld (True Grit), as her popular older brother starts dating her best friend. Ouch. That’s prime awkward Teen comedy/growth material. Woody Harrelson is also a supporting character here portraying Nadine’s History teacher who becomes a sort of venting partner/mentor throughout the film. A step above many in this genre; “The Edge of Seventeen” effectively reminds us of classics like “The Breakfast club”, “Sixteen Candles” and “St. Elmo’s Fire” particularly because it doesn’t hold back its punches and inserts some well respected honesty into the story.
Hailed as one of the most memorable performances from Amy Adams in a leading role, “Arrival” is the thinking man’s (Or woman’s!) science fiction film. This alien invasion starts the film as an elite team is brought in by the government to try to understand this possibly invading force. Adam’s character, Dr. Louise Banks, is a superb linguist joined by a welcoming physicist Ian Donelly (Jeremy Renner) as agents of the military, Colonel Weber (Forest Whitaker) and others, inform them with what they know. There are eleven other gigantic alien crafts besides the one floating out in the wilderness of Montana, the alien spaceships reside in plain view as solitary stone-like structures in Shanghai, Siberia, Sudan, and Sierre Leone to name a few. Their mission is multifacted. They must open a line of communication with the aliens quickly, before the Russians or Chinese do, while yet learning more about them than what they can learn of us, the military influence pressures this with overbearing intent. This film is delibreate, cerebral, mysterious, and tension permeates the dialogue throughout. Another exceptional entry from Denis Villeneuve, who also directed Sicario, cementing yet another director to keep an eye out for!
*Manchester by the Sea
After the death of his older brother Joe (Kyle Chandler), Lee Chandler (Casey Affleck) is shocked to learn that Joe has made him the sole guardian of his nephew Patrick (Lucas Hedges). Written and directed by Kenneth Lonergan, “Manchester by the sea” has been bandied about as the character piece that will likely skyrocket Casey Affleck to the top of many Oscar contenders lists. This is a painful yet powerful tale of the tragedies of life along with the nuances that accompany it. There is a palpable sadness that is true to life, it makes the experience fuller, and richer with humanity than it would have been without. This seems to be among the top awards contenders, showcasing unchained acting that feels authentic beyond measure.
Posing as a genre B-movie thriller, yet proving to be much more, “Green Room” offers an offbeat and intelligent addition to the horror/thriller genre. Punk rock band, “The Ain’t rights” are roughing it out, low on money, gas, and energy when they hear of an odd opportunity in the backwoods of Oregon- playing a show for Neo-Nazis. Reluctantly they accept but end up accidentally witnessing a brutally violent act. The club’s owner, played with a fiendishly fun and elegantly evil performance by Sir Patrick Stewart, quickly mobilizes his cronies to get rid of the outsiders. The rest of the film delves into murderous fun full of dark humor, expertly crafted tension, and a wicked good time. With the exception of his role as Chekov in “Star Trek Beyond” this is Anton Yelchin’s last starring role, and its one that’s worth watching if you’ve been craving a unique and violent genre flick.
Requiring an acutely acquired taste, “The Lobster” will most undoubtedly be a rare viewing opportunity for most. Despite its drab color scheme, muted and bleak, or the nature of its droll adaption of society, this film creates a truly unique effort. In the near future being single has been outlawed. If found to be single, you’re quickly transferred to a prison/hotel of sorts, with strictly enforced rules, where you must meet another single participant and become a couple within forty-five days or you’ll be transformed into an animal of your choosing. The film isn’t a straight up comedy, but there are many moments throughout that elicit laughter, particularly for the absurdity of the scene itself. It acts as a social commentary on how society can pressure people into finding soulmates so much that it leads to reckless choices, however the film flips this ideology by applying this radical treatment to people who are happy being single. The films stars Colin Farrell in the lead role (an uncharacteristically oddball choice for the actor), and Rachel Weisz, Léa Seydoux, Ben Whishaw, John C. Reilly, Olivia Colman, Angeliki Papoulia as supporting characters.
The latest film from Jim Jarmusch “Paterson” is about Paterson (Adam Driver) who lives and works as a bus driver and would-be poet, with his girlfriend Laura (Golshifteh Farahani) in the town of Paterson, New Jersey. If you’ve never seen a Jim Jarmusch film, you might say, “Wow, not a lot happens in this movie”, welcome to his style. This is, much like his filmography suggests, a repetitive rumination with beauty and comedy meshed in-but here it excels beyond previous efforts because of the performances and the ideology of the story. Paterson is about everyday life and trying to create art inbetween shifts at work, and the different ways people approach this. His girlfriend Laura, for example, treats every day as a new art project and switches from country music singing to another skillset or genre altogether. Paterson writes art, but Laura lives it. Jarmusch doesn’t play favorites with each character’s personal style either, both are presented as different approaches from different perspectives, no right or wrong here. Charmingly mundane, “Paterson” is a collection of very human moments, where Paterson will overhear bus passengers tell tales, catch up on the love lives of the barflies at the local bar he frequents, banter with bartenders, and passes by a late-night laundromat where Method Man (as himself) is rapping about the 19th-century black poet Paul Laurence Dunbar. It’ a pretty Zen film and a lovely change of pace, check it out for something new!
One of the freshest horror films to come out this year, “The Witch” delivers it’s scares with proper skill and serious commitment. In a dread filled, puritan embellished flick set in New England in the 1600’s, this film has an unreal amount of dedication to the correct period piece way of life. Not only does the film boast proper spoken English for the period, it is also regionally specific to that time, with Carolinian prose for these Calvinist settlers. Realism is key in this setting, because in this world, the supernatural does exist. There really is a witch out in the woods plaguing the town, and how the film builds tension versus how it unravels it’s secrets will grip you until the credits.
“Moonlight” acts as a series of one act plays all centering on a character in three specific periods of his life: as a child, as a teenager, and as an adult. Accordingly, three different actors perform as Chiron during these eras of his life (Alex Hibbert, Ashton Sanders, Trevante Rhodes). This all makes sense as it is an adaption of the play “In Moonlight Black Boys Look Blue” by Tarell Alvin McCraney. Told in these particularly powerful stanzas is the story of Chiron and his path in life as he attempts to understand society and more closely, himself. Witnessing Chiron’s progress is both thrilling and agonizing as he tackles manhood and the issues he faces because of his sexuality. Being his second film, Barry Jenkins crafts a story that is very specific yet it has an inclusive nature of universality among its scenes without ever weakening the value of whose story is being told. The nature and meaning of manhood is the most primed focus here. How tough are you supposed to be? How cruel, or tender? How brave? And how are you supposed to learn? These are all pondered on and exemplified throughout the film. As powerful and challenging a look at life as you will ever come across, “Moonlight” is more than deserving of its award season buzz.
Starring, and directed by Denzel Washington “Fences” is an adaption of the 1987 Pulitzer prize-winning play by August Wilson. This isn’t the first time Washington has played around with the material though as both he and Viola Davis, also starring in the film adaption, were awarded Tonys for their 2010 revival of the Broadway play. The film, set in the mid 1950’s, is about Troy (Washington) and the inner workings of his family, through thick and thin. There may be temptation to limit Troy to his outwardly friendly demeanor at first, however upon peeling back the layers we see a man who is far more complex than is first realized. Bitter that Jackie Robinson broke the color barrier years after he was able to play on the national stage, Troy barks harshly at his children who dream of being musicians and college football players undercutting their hopes with a dark realism that the world has not changed as ideally as they would like to believe. Troy’s wife Rose (Davis) battles him verbally as the film progresses and enters into a monologue at the end that will ensure her name in the best supporting actress nomination. Intense and raw acting paired with brilliantly impactful dialogue, this is definitely among the best performances from this year.
The story of Ray Croc, founder of the franchised McDonalds, is a story-as the trailers say- of persistence. Michael Keaton looks to soar in this grimy power grab of a film about the rise of McDonalds through shear determination.. and slimy business tactics. This is the tale of how a wily businessman took an idea and made into one of the most profitable and globally recognized property of the twentieth century. The supporting cast is also excellently rounded out by Nick Offerman, John Carroll Lynch, Linda Cardellini, and Patrick Wilson.
Independence Day 2: Resurgence
This sequel tries so very hard to outdo it’s much loved predecessor, and fails in alomst every regard in that attempt. It’s worth a watch just for Jeff Goldblum’s antics, but make no mistake, much of this film was a mistake. The biggest issue, it seems to me, is that the film tries to balance two very different tones that don’t mesh well. While attempting to recreate that 1990’s big budget take on Sci-Fi and Aliens in all it’s explosive glory, the film wanders near that attitude, but then veers into our post “Dark Knight” world where dark and brooding close-ups reign in measured and overly serious bits. I say, if you’re going to do weird, go full weird. Don’t wander between tones like that, it shows indecision based on fear and profit margins, not the inherent joy of fighting off an alien invasion that we should be getting from this movie. Honestly, with “Collateral Beauty” and “Suicide Squad” now on Will Smith’s filmography, he’s shown a willingness to take on terrible films. He could have done something this film- and it would have benefited greatly from his presence just as “Suicide Squad” did.
The idea here is somewhat brilliant, take an animated Disney style 3D animation focused on food products-but show them swearing constantly and point out all the sexual innuendos possible. There are enough puns here to sink a ship, and some of that is acceptable and pretty funny at times, however the problem with this flick is that it’s overly excessive with this idea. A swearing hot-dog can only induce so many giggles after all. That and there is some heavy handed themes against the ideas of the most popular religions, which I get-but again, it was a bit excessive.
Alice Through the Looking Glass
Through the studio inspired paradigm of throwing everything at the wall to see what sticks, “Alice through the Looking Glass” is jam packed with colorful candy cane vomit. Decent visual effects can’t cover up a general lack of comittment to the characters and plot because it seems they have forgotten how to focus on telling a good and whimsical tale. From the opening Alice is now a swashbuckling adventuress that returns to feminist-viewpoint-squashing victorian era London to shove aside a former admirer before jumping through a mirror to land back in Wonderland. There’s something wrong with the Mad Hatter (who seems to have overgrown his original place in Carroll’s stories to appease fans of Depp’s first outing as the character.) and Alice strives to help him sort it all out. While the pace seems to want to rush along a breakneck pace to keep you from noticing the near underserving of the well known characters, you can’t help but become aware of this as the runtime wanes on. Even a time travel sequence can’t hide the workman like response to try and recreate Tim Burton’s first take on the world, and his missing presence can be felt.
Chris Pratt and Jennifer Lawrence star in this futuristic sci-fi romance as two passengers on an intergalactic voyage that are awakened 90 years too early. There are aspects about this flick to be admired, it’s not downright bad, it’s just lackluster. There is a twist that is revealed way too early in the film that could have been played for far more benefit if certain elements had simply been told in a different order. Other than that both Pratt and Lawrence are fine in their roles but they were clearly not challenged by the director to dig deeper or find the center of these characters because both seem to act exactly how you would expect either celebrity to act, they played into their own archetypes and the romance never feels fully developed, there is a false charm to it. Personally, I believe this is one of the few movies that I would have preferred as a book where the author could have the time to develop the characters better.
*Gods of Egypt
While this whitewashed take on Egyptian mythology is saturated in bad CGI and immense overacting-It can be a good time in the right setting. Nikolaj Coster-Waldau (Jaime Lannister) as Horus, Gerard Butler as Set, & Brenton Thwaites as ‘mere mortal’ Bek play as the lead characters in which Set usurps Horus’ rise to power among the Gods. Horus then unites with Bek to undo Set’s ravenous power grab. Although, admittedly the story doesn’t really matter here as this movie doubles down on the ridiculous aspects as much as possible. For example, the Gods are physically much larger than mortals, but not to a gigantic amount, reaching roughly around ten feet tall making pairings of the mismatched characters outright silly from the beginning. Geoffrey Rush, Chadwick Boseman, & Elodie Yung also all star in this film. This is unequivocally the best “so bad it’s good” movie of the year.
It’s a credit to this film’s creative team that this wasn’t down in the “Ugly” section of films that came out this year, it wasn’t horrible, it just wasn’t all that great. Pitched as a female led revival of the Ghostbusters franchise, this straight up recycle of the first Ghostbusters was largely just “okay”. The worst I heard about the film was just that it wasn’t really quite as good as the first and that some of the jokes fell flat. Now, just because something isn’t as good as we would have liked doesn’t mean it deserves the hate it got. Personally, I say if Paul Feig wants to make a sequel, let him-he might be able improve upon the franchise now that they’ve wandered knee deep into the material and know what works and what doesn’t. They should probably ditch the “Answer the call” tagline though, doesn’t seem to make much sense.
*Teenage Mutant Ninja Turtles 2: Out of the Shadows
While the sequel quelled some of the problems with the initial outing, these corrections and changes were not enough to make the “Michael Bay-ification” of the turtles worthwhile. The additions of Bebop and Rocksteady alone will assuage nostalgia for some older fans of the material though it cannot cover the sugar coated glean of issues plaguing most of the film. Movies like this can be fun and intelligently made, just look at any Marvel Studios movie, this one just lacks enough wit and charm to merit any further iterations, although we’ll probably get one anyway.
An adaption of Roald Dahl’s literary children’s classic “The BFG” sits on the bad list not because it is necessarily terrible, it’s here because Steven Spielberg made it-and it’s somewhat lackluster. The story is about a small girl and a giant (Mark Rylance) who set out to stop evil man eating giants that have begun to invade the human world. The visual effects are efficient, and there is some merit to the film, but when Steven Spielberg steps up to the camera we’ve all come to expect the cinematic “magic” that is so often associated with his work, and there isn’t much to feel here.
Sequel/prequel/threequel “Xmen: Apocalypse” unfortunately fell from the heights that “Days of Future Past” set it up for. The film is overloaded with an over reliance on special effects, to the point that it’s trying to cover for a weak and baseless villain who unfortunately falls prey to cliche. However the film isn’t straight up awful, there is fun to be had here at times, but the shortcomings outweigh the few strengths available to them. Which is a shame, because the cast is great, they were simply under-served by the film around them. Magneto’s (Michael Fassbender) story is really the only one that has good motivation, everyone else’s is either sub-par or passable. However the biggest failure is most definitely the wasted opportunity of Oscar Issac as En Sabah Nur aka Apocalypse. He is resurrected and begins his world domination with a fairly poor plan and almost no characterization. Besides the multitude of characters (which can be done intelligently ie Civil War), weak excuses for destruction, and lack of reasoning as to why killing off humanity would make the world a better place-the film has entertaining moments, but they’re simply not enough. To quote Jean Grey (Sophie Turner from Game of Thrones) after viewing “Return of the Jedi” in the movie, “The third ones always suck”.
What do you do with a character whose former motivation was regaining his memory, now that he remembers everything? Well, you end up with “Jason Bourne”. This is a film that has a magnetic lead in Matt Damon, and an effective director in Paul Greengrass, but it cannot shake the fact that they are working with seriously thin material. More of the same and yet nothing new. This latest Bourne flick has him chasing down the mystery behind his father’s association with the Black Ops Treadstone program. The typical character archetypes of past Bourne iterations are present; the shifty middle-aged intelligence chief, the female CIA agent who eventually believes Bourne’s actually a good guy, and a fierce opposing assassin. The shaky cam fight sequences are back too, which isn’t a good thing in my opinion, especially while shot in the dark. There might be a good fight scene happening, but the audience is just listening to two guys trying to kill each other in the dark. This is passable summer diversion, just don’t reflect too long on the films that came before this one, lest you realize this lesser Bourne for what it is.
*Legend of Tarzan
Another year and another reboot of an ages old property. Granted this Tarzan adaption attempts to be weightier than most of its predecessors, it doesn’t do much else to warrant this revival. With a capable cast and hints of Tarantino glory, this is a reteaming of Christoph Waltz and Samuel L. Jackson after all, the film begins with Tarzan returning to the Congo after having lived in London for some time as John Clayton III aka Lord Greystroke. His reason for returning to the jungles of the Congo? He’s told of a Belgian plot, led by Leon Rom (Christoph Waltz), to conquer the land and subjugate it’s people. This news comes to him by way of American diplomat George Washington Williams (Samuel L. Jackson), and it isn’t long before they travel, along with Tarzan’s Wife (Margot Robbie), to the African continent together to foil it. David Yates attempts to distance this film from some of the more unsavory aspects of the character’s past, ie being a white savior to the African countries and peoples along with the way Jane is typically presented, and he succeeds on some parts. Particularly when Jane is captive and spits in Rom’s face upon him mocking her and attempting to stir a scream, when she responds fiercely “Like a Damsel?”. There are fun aspects to the film, however it’s hard to get past the past when it comes to transforming Tarzan into an eighteenth century superhero of the jungle.
Batman V Superman: Dawn of Justice
Two of the most iconic superheroes of all time come together in a fury of fisticuffs. Sounds like fun right? Wrong. Long, muddled, and a flawed understanding of the characters leads this film straight to the dump. At least the ultimate edition straightened out that Lois Lane scene at the beginning of the film. #Martha
With a tagline like “Worst. Hereos. Ever.” you’d think this film would have a fun edge with a sassy commentary on the tropes and themes of modern superhero flicks. Wrong again. 1 & 1/2 acts of introducing characters set to outrageously overplayed hits, the only saving grace here is that Will Smith and Margot Robbie make the film worth a watch, but not much more.
There was a hope among many that “Assassin’s Creed” could break the video game to film adaption curse. It most definitely did not. This film is overly loud and so frantic you can barely tell what’s going on at times. The hyper fast editing style also didn’t help, there may be good choreography in this film but you wouldn’t know it as the camera cuts away from the action so many times to get sweeping location shots that add nothing but more confusion. Michael Fassbender is an extraordinary actor but maybe he should choose his projects more carefully after this because his “I’m Crazy” sequence alone was so over the top and out of place I literally mouthed “What the hell is going on?” in the theater. The story only takes a barebones structure of narrative from the games and dashes the rest of the rich stories available to them. Particularly curious was the choice to make Fassbender’s ancestor a near mute, with “devoted to the cause” being his only character trait and motivation. Ezio Auditore had charisma, layers, and purpose. No one in this film came close. Oh Ubisoft, maybe next time?
A remake of one of Hollywood’s golden age classics is already enough to boil some viewer’s minds just at the thought. A couple of visually interesting scenes cannot save this trainwreck from the graveyard. Morgan Freeman’s dreadlocks and an overly butterflys-and-cake-frosting ending send this movie into the abyss of unwatchables.
Not only did this sequel not need to happen (Nor was anyone clamoring for it), it retroactively makes the first movie worse. The comedy sensibilities of the first film do not work 16 years later, and it shows. The first movie worked for its time, but it’s a different world now. Cringeworthy at best, Ben Stiller- what happened?
A half baked and eye rollingly bad cash grab for an action figure with no notable name recognition (At least for me, and I grew up in the 1990’s!), “Max Steel” isn’t even “laughably bad”-good, it’s just bad.
Who knew Kevin Spacey needed money this bad? At least, that’s the theory I have for why this movie even exists. Kevin Spacey stars as a daredevil businessman who rushes to get a cat (which he hates) for his daughter for her birthday, and is thus somehow turned into that very cat. This is an entirely forgettable, debasing, poorly written, with hamfisted acting abound, slog of a movie. Please, for your own good, do not waste your time on this one.
*The Fifth Wave
Generic and middling in plot with forgettable tropes that are overly familiar to this sub-genre of films, “The Fifth Wave” is another bad effects and teenage-love-triangle-riddled bland movie. Maybe this film will be the end of the Young Adult (YA) dystopian films. We can only hope for so much.
While some of the performances here are fine, Will Smith in particular, this film resides on the ugly list for how it was marketed versus what the story actually is. I won’t ruin it for you, but just know that the story is morally deficient and that there’s a reason it was buried under the latest Star Wars film.
*For one reason or another I did not get to see this film (yet), or simply wasn’t all that interested but thought it was worth mentioning. I have collected a general sense of the film through the marketing, reviews in video or written form, and the general consensus from word-of-mouth experiences through secondhand accounts. Some of these may receive individual reviews if I find them interesting enough to write about after an initial viewing.