For the first time in my life, I made a concerted effort to watch all of this year’s Best Picture nominees for the Oscars before the awards are given out this Sunday. As a product of hundreds of hours of travel for work, much of it with Delta Studio’s in-flight entertainment, I watched more movies this year than I ever have before.
I tried to avoid any spoilers while still offering a synopsis, but I apologize if I ruin anything about any of these movies for you.
First, a few honorable mentions. I adored some of the animated films this year: Zootopia and Finding Dory once again proved the universal appeal of good family films, and Sausage Party was far more vulgar and entertaining than I thought it would be. Not normally a superhero movie fan, I enjoyed Deadpool, Captain America: Civil War, and Doctor Strange. Superhero movies are the most predictable blockbusters in the movie industry today, and I am slowly becoming a fan.
Anyway, here’s Wonderwall my list of top 12 movies from 2016:
New Zealand’s finest piece of cinema in 2016 comes courtesy of a dickhead kid named Ricky, who bounces from foster home to foster home until he eventually is sent to live with an older married couple in the middle of the mountains, far away from the world Ricky knew. Thanks to the purest, most loving character in a film this year–Ricky’s foster mum, Bella–Ricky eventually comes around to his new family, although Hec, his foster “uncle”, views him as no more than a distraction. Finally in the presence of loving family, Ricky opens up and reflects on less than ideal previous homes he had lived in. The meat of the movie consists of Ricky and Hec voyaging through the mountains together, slowly forging a tight bond. Their adventure is threatened, however, when the media hears of their endless hike and assumes it is a vile kidnapping ploy from Hec, which gains the two of them national notoriety. Hunt for the Wilderpeople melds the genres of adventure and comedy well, and it had me laughing hard at well-placed references to hip hop culture and Lord of the Rings.
I saw my friend Tim Collins refer to this as “neo-Western” and I love it. A story from rural Texas about two brothers who go on a spree of bank robberies, Hell or High Water takes the Western motif and applies it to modern day rural America. Too many jobs are gone, the bank is screwing you, and nobody is there to help except family. Jeff Bridges’s role as a near-retirement sheriff tasked with stopping the robberies centers on a work ethic too strong to concede to retirement and, in his eyes, to boredom. Bridges’s racially insensitive banter with his colleague, played by Gil Birmingham, is unfortunately believable, but the bond the two share is one of absolute devotion to their jobs and to each other.
10. Hacksaw Ridge
Andrew Garfield’s role as Desmond Doss, a conscientious objector turned army medic in this World War II film, deserves the plaudits coming his way. I had no idea that there were stories of conscientious objectors who still enlisted in the armed forces during World War II, but Garfield portrays Doss, a devout Christian with an unshakable commitment to God and his commandments, in a way that posits Doss’s participation as a logical, ordinary commitment to God and country. Upon enlisting, Doss refuses to carry a rifle, almost gets discharged from the army because of it, and then saves more lives than should be humanly possible in Okinawa. Doss is a true American hero, and I am glad to now know of his story. As a film, however, it was distracting to see Vince Vaughn in another serious role (I’m still not over True Detective season 2), and I wish they had given Doss’s wife, Dorothy, more depth, as she appeared one-dimensional throughout the film. Further, the idyllic nostalgia Hacksaw Ridge gives 1940s America is overdone and too patriarchal in my opinion. All said, though, I understand why it is a Best Picture nominee this year, even if I do not think it has a chance to win.
If there were ever a movie that I was predisposed to love, I, Daniel Blake is that movie. Set in Newcastle in the UK, Daniel Blake worked as a carpenter making decent money before injuring himself. to the extent that his doctor told him not to work until further notice. Knowing that he needs to make ends meet somehow, he applies for Employment and Support Allowance, one of the many social security (read: welfare) programs in the UK. The movie follows his voyage through the benefits system, where he becomes merely a number in the sea of folks who need a hand up. The most beautiful and heart-wrenching scenes in the film center on Blake’s unlikely friendship with Katie, a twentysomething single mother who still dreams of attending university. They battle through hell to find self-worth and dignity, but at every step the benefits system erodes who they think they are. Faced with impossible choices, Daniel and Katie make decisions they never thought they would have to make. It is likely that many of you reading this have not heard of this film, but I implore you to watch. This won Best British Film at the BAFTAs! Too few people have empathy for those quagmired in poverty, but I hope this movie convinced more to join our ranks in calling for reform to broken welfare systems around the world.
Similar to Hacksaw Ridge, man am I glad to have heard this story. Three kickass African-American women at NASA demonstrate an incredible work ethic and knack for pre-computer mathematics, tearing down barriers left and right as they challenge 1960s conventional wisdom on race and gender’s intersection in the workplace and society. As a math major myself, I consistently found myself appreciating calculators and computers more and more throughout the film. Hidden Figures reminds us how recently society viewed separate but equal as a genuine policy, but it confirms the voracity and inevitability of those on the outside earning respect the hard way. (Side note: I enjoyed seeing Mahershala Ali and Janelle Monae’s performances in both Moonlight and Hidden Figures. It provided continuity of positive role models in both films.)
7. Sing Street
It’s a simple premise: Boy changes schools, boy meets girl, boy creates band to impress her. Yet Sing Street offers so much more than that. This movie musical about Irish high school boys starting a band from scratch in 1985, influenced by bands like Duran Duran and The Cure, offers youthful idealism in the face of difficult lives. The main character, Conor, finds solace with his brother in music while his parents fall into divorce, and his love interest, Raphina, believes in her chance to become a model in spite of living in an orphanage. The sweet courtship between Conor and Raphina, always via the avenue of music, feels like a junior version of La La Land. The music written for Sing Street deserves more recognition than it received. As much as I love La La Land, I think one of their Best Song slots should have gone to Sing Street–Drive it Like You Stole It is a Back To The Future-inspired banger.
Tragedy never loses its grip on Manchester by the Sea. Casey Affleck plays Lee Chandler, a Bostonian janitor who grew up in Manchester but who is called back to his hometown–and his past–when his brother passes away. Suddenly tasked with taking care of his nephew, Lee struggles to find his footing back at home. Through excruciating memories and interactions with his ex-wife, we learn why Lee left Manchester in the first place, and we begin to understand his tough situation after his brother’s death. Affleck’s acting is worthy of the Oscar buzz he is receiving, but I hope it goes to Denzel instead.
5. Fences
August Wilson’s screenplay-turned-movie centers on an African-American family in 1950s Pittsburgh. Denzel Washington plays the father, Troy, a former Negro Leagues baseball player who never got the chance to follow Jackie Robinson into the big leagues and carries a profound distrust of any positive changes in race relations. Rose, played by Viola Davis, is married to Troy and together they try to raise two sons while battling between the optimism of youth and the pessimism of experience. The strength of Fences comes from its acting. I would love to see Denzel and Viola both win their respective Oscars, as their scenes together produced exasperated dialogue on what it means to be content, to be a man, and to love another person. I think I am higher on Fences than most, but I walked away viewing it as a stark critique of unrealistic patriarchal expectations on both husbands and wives, both in the 1950s and today.
4. Moonlight
I watched Moonlight expecting a gut punch; instead, what I got was constant claustrophobia, repression, and a fear of threats coming from any direction. Barry Jenkins’s story puts the viewer in the shoes of Chiron, a gay, African-American child with a drug addict mother and an absent father in a rough area of Miami. As we watch Chiron grow, we learn to interpret the world as he does: full of unpredictable adults, patriarchal social codes drenched in fake masculinity, and a constant desire to be quiet and unseen. The scenes with Chiron and Mahershala Ali’s character Juan in Chiron’s elementary days beautifully illustrate the complexity of what it means to be good in areas as rough as their neighborhood in Miami, and Chiron’s Juan-inspired appearance and lifestyle as an adult highlights the impact one good person had on his life.
3. Lion
Dev Patel and Sunny Pawar are my favorite before and after actor pair in a movie that I have seen in ages. Patel, who I first came to know through his role as a techno-utopian reporter on The Newsroom, and Pawar, the most unbearably cute boy in Hollywood, play the true story of an Indian boy named Saroo who was separated from his family at a young age and then adopted by an Australian couple, going on to live a relatively standard Australian life. I will not ruin the ending, but Lion excels at portraying the depth and complexity of race, identity, and what it means to be family. Nicole Kidman plays Saroo’s adoptive mother beautifully and left me admiring the selfless nobility of adoptive parents all around the world. Of all of the movies I saw this year, Lion moved me the most.
2. Arrival
This sci-fi story centers on a university linguistics professor, played by Amy Adams, who painstakingly starts from scratch to learn how to communicate with aliens who mysteriously appear on Earth in several different locations. Fully engrossed throughout the whole movie, I loved how the dynamics of global politics, science, and linguistics competed against each other to create a plausible view into what could actually happen if this situation came to pass. Many sci-fi films cut corners and make assumptions about what would happen if aliens came to Earth, but Arrival focuses on the most basic task needed when aliens arrive: finding a way to communicate with them. On top of the intriguing plot, Arrival utilizes clever narrative structure and storytelling to create a blindsiding climax that sends your thoughts racing. As someone who loves movies like Inception, clearly I found Arrival compelling. Besides, with the discovery of Trappist-1 and its surrounding exoplanets coming to light today, maybe Arrival is more relevant than we thought.
1. La La Land
I watched La La Land first out of all of the Best Picture nominees, and in my mind nothing came close to topping it. I know it is in vogue to hate on La La Land for overly romanticizing Hollywood, for a boring middle, or for receiving as many Oscar nominations as Titanic, but no movie this year stuck with me more than this one. On the drive home from the theater, I had to look up the music and blast it in my car. I listened to the soundtrack nonstop for weeks, and, contrarian opinion here, but I enjoy the first three songs (Another Day Of Sun, Someone In The Crowd, and A Lovely Night) more than the two nominated for Best Song (City of Stars, Audition).
La La Land captivated me. The scenery, the simplicity, the single-colored dresses and outfits that painted the optimistic glamour of Hollywood–all of it led to two hours of pure enjoyment. I had never really seen Emma Stone in much before this, but her relentless adorableness won me over as soon as she requested Gosling’s character’s band to play I Ran by A Flock of Seagulls. Of course, the simple romance runs into issues as Gosling suspends his jazz piano dream to play in a techno-jazz-funk band, but I thought the ending scene deserves a ton of credit. I will not ruin it for those who have not seen it, but it conjures so many questions of what it means to be successful, happy, and content.
Damien Chazelle brought back the movie musical, and I thank him for it (even if he does seem a bit obsessed with jazz).