Top Movies of 2016

TOP 5 MOVIES OF 2016*

*Australian Release Dates

We got the panel back together. Again. 

5. Arrival 

I’ve never been much of a fan of alien encounter movies. There’s Alien, Aliens – and now I’m doodling on my notepad. It’s not that I don’t like the idea of alien-induced action and anticipation, I just tend to enjoy movies that possess a bit more thought. That said, as soon as I saw the trailer for Arrival – and noted that Denis Villeneuve (Sicario) was directing – I sent my long time movie date a message suggesting we go see this one.

Smart and sensitive instead of an action packed bonanza, Arrival considers (in-depth) what extra-terrestrial visitation and communication might look like. It’s in solving this puzzle – working out what the alien visitors are trying to communicate – that gives Arrival edge and intrigue. And when you throw in someone with Amy Adam’s depth and introspection (thank God she’s stepped out of Zack Snyder’s horrific DC universe!), you are left contemplating the importance of communication, culture and relationships. Plus, who doesn’t love the idea of a linguist heroine?

4. The Big Short 

I drank the Bernie Sanders, Robert Reich and Elizabeth Warren Kool-Aid in 2016. Can you hear Republican diehards screaming “socialist”? Yes, I believe the system is rigged, and that it ought to be called casino capitalism. What’s fascinating is that you don’t have to be a high-finance guru for McKay’s adaptation of Michael Lewis’ novel to strike a nerve. (As an aside, was anyone else surprised that funny man director Adam McKay – Anchorman, Talladega Nights, Step Brothers and The Other Guys – got this gig?)

What stood out about The Big Short is that it is bereft of a protagonist. In other words, all the players are invested in shorting the market. Sure, Mark Baum (a career best Steve Carell) comes close to snagging the tag, but when you think about it – he still works for a big bank and plays the game. Besides being witty and sneakily hilarious, this is the kind of movie that can hurt your head and heart. There’s no happy ending, no grand solution and, most significantly, no real changes are made.

3. The Revenant

Writing about The Revenant some ten months after seeing it at the cinema makes it difficult to recall everything that initially stood out. One memorable scene that remains in the forefront of my mind, however, comes early in the piece, just after we are introduced to Leo, his band of fur-traders and the Native Americans who are hunting the frontiersmen and searching for a missing woman. After witnessing an immersive and grotesque battle scene, where indigenous warriors attempt to ambush the fur-traders, take pelts and find Powaqa, one of the indigenous leaders approaches a contingent of French soldiers and attempts to trade pelts for guns and horses.

After being told that horses weren’t part of the deal, and that he should “honour” the original deal, the indigenous elder responds.

“You stand there and talk to me about honour?”

The camera stops circling the campsite and we look straight on at those dark, burdened eyes.

“You have stolen everything from us. Everything! The land. The animals.”

It’s a solemn yet powerful moment as it helps transport us into the cruel world of frontier America and force us to consider the plight of the indigenous people. It would be a shame if all that we take away from this staggering revenge odyssey is Hugh Glass’ desire to avenge the wrong done to him and his family.

2. The Jungle Book

I was nervy going into this one! There’s something about remaking childhood joys that makes me bite my nails, yank out my eyebrow hairs and get protective. (I’ll give you a moment to digest that.)  

Despite my protective manner, I loved this Jungle Book remake! From the brilliant blend of live-action and animation (could it get an Oscar nomination for Best Animation?), the politically diverse ecosystem and sprawling jungle, to the familiar musical flavour and faithful storytelling, director Jon Favreau clearly captured the heart and soul of Kipling’s stories and retained the musical joy Disney brought to the beloved story.

What I most appreciated were the voice actors who made this remake come to life. Given all that we know (and embrace) about Bill Murray, it’s clear that he’s the perfect fella to play the lazy hustler Baloo. Then there are the distinct voices that Ben Kingsley and Idris Elba bring to the pivotal characters of Bagheera and Shere Khan. But it is Scarlett Johansson as the enticing giant python Kaa, and Christopher Walken as the larger than life King Louie – a “gigantopithecus” – that spark a sense of wonder.

1. Spotlight

I hope that I'm not alone when I say that cover-ups of this magnitude make me sick. As a believer in Christ and someone who attends a local church, watching Spotlight and seeing how the Catholic Church in Boston covered up sexual abuse and molestation cases took my discomfort and anger to a whole new level. This is the kind of movie that forces you to ask yourself, as a believer, how your church operates and what oversight exists. Spotlight also asks you to venture past the front pages of the newspaper and actually walk with those who uncovered the cases, look into the eyes of the abused, and consider how the Catholic Church in Boston attempted to cover up these dreadful acts. 

Like All The President's Men before it, what makes Spotlight stand out is its devotion to investigative journalism and the process The Boston Globe's Spotlight team took in uncovering the Catholic Church's suppression of abuse claims in Boston. We ride shotgun with the Spotlight team as a story about one former priest who allegedly molested children turns into a systemic issue that leads to the underlying question: did Cardinal Law know?

Director Tom McCarthy appears to have assembled the who's who of actors at the top of their game. Mark Ruffalo's stock continues to rise as the rambunctious Spotlight investigator, Mike Rezendes. But it's also the way these lead actors - Rachel McAdams, Michael Keaton, Brian d’Arcy James, John Slattery and Liev Schreiber - work seamlessly as a team to serve the story, rather than shoot for individual honors, that impressed me. 

What Spotlight also shines a light on is the depth of psychological trauma and abuse felt by individual victims and later by Catholics everywhere. There's no shying away from criticism, but it also isn't a movie that simply dismisses or attacks faith. Spotlight actually highlights the complexity of faith, religion and how church impacts culture, identity and society. This is best demonstrated by an ex-priest turned psychiatrist, who, when asked about how Catholics reconcile the abuse claims with their faith, responds, "My faith is in the eternal. I try to separate the two."

Sixth Man of the Year: Rogue One: A Star Wars Story

If I had to sum up Rogue One in one word it would be ballsy. Gareth Edwards’ salute to the original “rebel scum” exceeded my expectations and left me emotionally charged. Who would’ve thought a Star Wars movie would be this dark, gloomy and filled with uncertainty as to who would make it out alive?

What this instalment lacked in character development, it made up for in plot progression. In part, it felt like there was no time for character development (was that the plan?), even though Felicity Jones nailed the intense demeanour and pain that Jyn Erso experienced during her traumatic childhood. Weaving in and out of rebel outposts, the Death Star’s development and meeting the players who would help put the plans in Princess Leia’s hands consistently upped the ante and set a course for Scarif. It’s during this climactic heist/battle on Scarif (think Star Wars equivalent of the Maldives), where the Death Star’s plans reside, that Edwards’ aggressive plot progression shines brightest and leaves us feeling the depth of the rebellion and realising what sacrifices had to occur for the plans to reach Leia. In other words, this is a prequel which properly complements the movie that follows in its wake.

Disappointment of the Year: The Hateful Eight

Let me be clear, I didn't dislike The Hateful Eight. It just didn't meet my lofty expectations. Is this the risk you take when you become a fanboy? (Inglourious Basterds still ranks as one of my favourite movies of the 21st century.)

Whereas Basterds and Django took us on an adventure and challenged the way we see and think about the past, The Hateful Eight possessed a few staple Tarantino joys - meticulous dialogue, suspense and badassery - but didn't possess the plot or adventure that ties all these elements together. Maybe it comes down to how you define/want your adventure?

"Give me back my money, you swindler!" of the Year: Batman v Superman: Dawn of Justice

It's not often that I go into a movie with rock bottom expectations and feel I underestimated how bad it would be. There's absolutely nothing in this movie I found interesting or exciting. Heck, the showdown between Batman and Superman lasted, what, 5 minutes? Maybe a tad longer if you count the ridiculous "Martha" moment.

A question worth asking is whether Zack Snyder is the most overrated director in Hollywood. The dialogue was diabolical; what was Jesse Eisenberg thinking taking on a role that is one deranged psychobabble line after another? The plot was pathetic, so much for an earthshattering superhero brawl. Character development consisted of a moody Superman, vengeful Batman and a one-dimensional baddie. Thankfully, Amy Adams had Arrival still in the bag! Were the special effects decent? Probably. There’s something positive.

Here's the best thing about the movie.

Surprise of the Year: Zootopia

Zootopia ticks the three boxes I want animation movies to ✓.

1. Visually captivating ✓

2. Ageless humour ✓

3. Genuine depth ✓

Our introduction to Zootopia, alongside incoming police officer Judy Hopps (Ginnifer Goodwin), is nothing short of spectacular. When I saw the pristine water, sprawling metropolis and all the vast “Districts”, I was reminded of Thomas More’s Utopia.

Beyond the visual spectacle (doesn’t every animation put on a visual masterclass these days?), there’s a depth, intrigue and excitement to Zootopia that reminded me of Chinatown. Yes, Chinatown. Much like the classic detective mystery, Zootopia pushes the envelope and takes shots at societal and political issues. I don’t think animation movies pitched at children, but also rewarding for parents and adults, should necessarily lower the bar and shy away from teaching children that racism, xenophobia and prejudice exist and need to be thought through and intelligently opposed. It’s the manner in which Zootopia considers, processes and deals with these pressing issues that impressed me most, especially in a year that saw fear, distrust of the other and blind assigning of blame take centre stage.

A handful of movies to catch in 2017: Silence, Manchester By The Sea, Dunkirk, Blade Runner 2049, Star Wars: Episode VIII