So 2016 is finally over! Well, it was over 2 and a half months ago, but since I'm so picky I decided to wait until now to do this list, purely so I could see the films that I hadn't got the chance to see before the year was over. And wow, am I glad I did. Look, for all the franchise fanboys and average cinema goers out there I can understand why you saw 2016 as a bit of a bum year in cinema. It's true that the blockbusters of the year weren't quite up to par, with films like X Men: Apocalypse, Independence Day: Resurgence, and who could forget the outings of DC Superheroes in Batman V Superman: Dawn of Justice and the critically reviled Suicide Squad being the rulers of the box office. Even the better blockbuster films were decidedly "not great" and just kind of ordinary, with the disappointing highlights being Jason Bourne, Star Trek Beyond, Doctor Strange, The BFG and Rogue One: A Star Wars Story (yeah, I said it; there was wasted potential there). Therefore, if you don't go to the cinema much, effectively making these the films that you're choosing to see, I'm sorry; it was an upsetting year for you. However, for people like me who go to the cinema a scary amount, there was a hell of a lot to praise in independent film, foreign film, animation, and yes, even some blockbusters. So without further ado, let's get into the list. And remember, this is purely my opinion, so if a film that you love doesn't make it on to the list, please refrain from getting offended.
Honorable Mentions
Despite me making this list extra long this year (I know, 25 is a bit excessive), there are quite a few films that it makes me sad to leave off the list. Whether it was a well crafted, contained tension thriller like the surprisingly gripping if somewhat tonally inconsistent 10 Cloverfield Lane or the unpredictable and underrated if somewhat slightly cheesy The Invitation, or a solidly entertaining animated family film like the visually extraordinary Kubo and the Two Strings or the joyously vibrant Finding Dory, there was definitely a lot to get excited about. One film that I thought would be high on my list back in April was Captain America: Civil War, and whilst it is still a wildly entertaining film with some impressive emotional weight, I think that part of the praise I gave that one was resting on my biased inner fanboy. On top of this, there were quite a few highly acclaimed films that I simply didn't get to see, such as Fences, Jackie, Lion, Hidden Figures, 20th Century Women and more, so they won't be making an appearance. I personally really enjoyed Shane Black's The Nice Guys, a film that manages to be witty, engaging and fresh all at the same time, with a hilarious chemistry at the centre of it between Ryan Gosling and Russell Crowe. The two that it pains me the most to leave off, however, are Sing Street and Hell or High Water. The latter of which provided a sparky, nostalgic journey through a young boy's youthful naivety, and the former a throwback to old, slow westerns that found something gritty and remarkably cold in a simple narrative. But anyway, enough of that; let's get on with the list.
25) The Girl with all the Gifts (Dir. Colm McCarthy)
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In a world where The Walking Dead seems to be the definitive zombie "thing" of pop culture, The Girl with all the Gifts does what the famous AMC show has been struggling to do for years; it manages to actually provoke thought. Director Colm McCarthy, known for directing several episodes of British shows such as Peaky Blinders, Sherlock and even Doctor Who, orchestrates a film that presents the zombie apocalypse from a brilliantly social and political standpoint. It's not just a film about zombies, but rather one about discrimination, negative judgement, and learning to accept who you are in a world where your identity could be dangerous. Sennia Nanua is a child actor that should definitely be in the eye of many hollywood casting directors in the near future, as she steals scenes in this (which I should add is her debut film), at times showing more nuance and colour than some of her older, more respected supporting actors. I know this is not out in the US yet, as well as other countries, but if you do get a chance to see it I would suggest you do, as it really does breathe new life into the zombie apocalypse film.
24) Green Room (Dir. Jeremy Saulnier)
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Violent, chaotic and slick, Green Room is the intense story of a punk band that, after witnessing the result of a gruesome crime, get imprisoned in the green room at a Nazi sympathiser bar. What it does so well is manage to capture the idea of instinctual, terrifying human survival in a way that is eerily clean and sharp in terms of cinematography and camerawork. The performances are believable and relatable, even if some of the character's don't feel entirely whole, with the late Anton Yelchin showing real believability and conviction in the lead role, Imogen Poots proving that she can actually act as the mysterious Amber, Macon Blair showing multiple layers of depth as the vulnerable and submissive Gabe, and Patrick Stewart managing to be excruciatingly menacing and explosive as the villainous and intimidating Darcy. It's a film that is fantastically structured to give the most creepy, unsettling impact possible upon leaving, which is a real testament to the filmmaking, and if this was one that flew at all under your radar, catch it if you can, as it will undoubtedly make you shudder.
23) Things to Come (Dir. Mia Hansen Love)
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There are quite a few things that I really adore about Things to Come, the story of a women who, after hearing of her husbands affair, goes through a journey of self re-discovery. Firstly, it's protagonist is an independent, socialist woman, and much of the film is about her breaking away from the typical "house wife" role, which, if done correctly, can be a truly progressive and influential thing, and it's done more than correctly here. Secondly, the performance of this character from Isabelle Huppert is honestly one of the best of the year. I haven't seen Elle yet, which also features an acclaimed performance from Huppert, but for me this is possibly one of her career's best, as she shows charisma, naturalism and likability, all whilst being honest, and not veering away from playing to the flaws of the character. Thirdly, it is lensed and edited with a sense of truly gorgeous subtlety, reflecting the quiet and smooth, but also dynamic and powerful nature of the main character. Overall, it's a triumph, and proves Mia Hansen Love to be an indie writer/ director that understands the languages of both humanity and film.
22) Manchester by the Sea (Dir. Kenneth Lonergan)
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Realistic and through this, moving, Manchester by the Sea is a devastating, yet uplifting film about guidance and support in the face of loss. It features Casey Affleck in the lead role, a performance that has been garnering overwhelming praise from critics and awards voters, and deservedly so. I do think that he will win the Oscar, and would probably completely agree with that, as he shows staggering honesty and heart-wrenching complexity as the lonesome and regretful Lee Chandler. But if anyone is the star of the show here it's writer/ director Kenneth Lonergan, who weaves and adapts a script that feels so familiar, whilst also becoming distant when it needs to. It's often rather quiet and calm, making the revelatory moments of turmoil all the more impactful. And who could forget the painfully telling sequence of flashback in the middle of the film?; a short film in itself that puts us fully in the place of Lee Chandler. It's often brutally legitimate, reaching out to the audience through stark juxtaposition that tells them everything they need to know about how the protagonist got to where he is, and through that, it's brilliantly meaningful.
21) Silence (Dir. Martin Scorsese)
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It's often thought that Martin Scorsese is one of the greatest American filmmakers of all time, helming such famous and beloved films as Taxi Driver, Goodfellas, Raging Bull and The Departed. In Silence he returns to discussions that he opened and explored in masterpieces like The Last Temptation of Christ and Kundun; deep spiritual debates that question the nature of faith and it's place in the world. And the depth of these debates is undeniably present here. The film follows two Christian missionaries who travel to a Japan where Christianity is outlawed in an attempt to find their mentor. Sometimes, it feels as though Scorsese is putting his own thoughts on screen, with the film's protagonist, played by Andrew Garfield, questioning whether his faith comes from a place of pride or submission. And whilst Garfield and co-star Liam Neeson do solid work (the accents are a little all over the place, let's be honest), the standouts are Japanese actors Issei Ogata and and Shin'ya Tsukamoto, who use the uniqueness of physicality and voice to portray two very different souls (one tortured, one driven mad by power). On top of this, the cinematography is breathtaking, with visuals that convey an ongoing, unsettling sense of serenity, even in the scenes of violent torture. It's epic in terms of scale and scope, but really quite intimate in terms of character and meaning, making it one of Scorsese's most personal works to date.
20) The Red Turtle (Dir. Michael Dudok de Wit)
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As someone who is a fan of the films of Studio Ghibli, it was interesting to see them take a departure from their usual fairytale fare to work with French filmmakers Michael Dudok de Wit and Pascale Ferran on The Red Turtle. It tells the story of a man who crashes and gets stranded on an island, and how his life continues from that point. What the films is really about, however, is life itself; how a cycle of ordinary life can occur in different environments to the ones we know. And through this, it is able to find beauty in atavism. Firstly, one has to recognise that it is just stunningly animated, with it's soft style allowing visual artistry to come in bucketloads. On top of that, however, one has to recognise the sheer ambition of it. The film has no dialogue, forcing itself to tell a story and construct layered characters through visuals and music alone, and somehow, it manages to hold it's substance very well. It just goes to show how much you can do through minimalism and the medium of animation.
19) Midnight Special (Dir. Jeff Nichols)
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Midnight Special is a film that I have gone though several phases with. When I first saw it I thought it was purely amazing; top 5 material. Then I watched it again and something felt slightly off, as if the characters were missing something. However, after watching it for a third time I think I finally understood my feelings on it. It's not actually a film that is particularly easy to decipher. The characters can appear empty and alienating if you watch it a certain way. However, after seeing it three times I can safely say that what it really is is a film about connectivity. We feel that these characters struggle to connect with one another as this is a part of human nature. The idea that the young boy, played wonderfully by Jaeden Lieberher, can connect so much more easily with the alien entities says so much about us as people. He doesn't feel like he can fit in with the human world in the same way that he fits in with the alien world. But on top of this, it's just really well fleshed out sci-fi with a lot of thought provoking ambiguity, so if that's your cup of tea, check it out.
18) Zootopia (Dir. Byron Howard, Rich Moore)
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Zootopia, or Zootropolis as it's known here in the UK, may appear to be just a laugh-a-minute family comedy, and whilst it is that at times (to enjoyable effect), it is also so much more. From where I'm standing, Zootopia actually provides one of the most insightful and accessible commentaries on social injustice that a film has given over the past year. It delves deep into ideas of prejudice and discrimination, depicting a city that turns from a fun, cultural place where animals live in harmony to a microcosm torn apart by hate. The adventure turns from a simple detective story to an inspirational attempt to unite people and bring them together. But serious social discussions aside, it's simply impossible to deny the intricacy and colour of the animation and voice work. The detail in the animation of the city is extraordinarily intelligent, accounting for animals of all shapes and sizes, and showing how it is possible for them to live and work together, and the voice work is gloriously expressive, with Jason Bateman and Jenny Slate having a heart-warming vocal chemistry as the two leads. On top of this there is so much more to love about it, from the hilarious humour that works for all audience ages to the quirky and original characters that make the film just so compelling. It's a family action-adventure film that is somehow one of the most important and relevant films of today.
17) Deadpool (Dir. Tim Miller)
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Probably the most blockbuster-orientated film on this list, I had my doubts about Deadpool. The comedy looked like it could feel dated or too uncomfortable, and the actual visual style of the film didn't look all that great to me. But none of that mattered by the time the actual film came around, as the pure energy of it was remarkable. Deadpool seemed to break all the rules of big budget filmmaking, whilst simultaneously satirically following them, and to triumphant effect. The film is loud, crude and carefree, and through this, it's a rebellious treat, taking jabs at the studio that distributed it, the cinematic universe of which it is a part of, and the superhero fatigue that we, as film fans, seem to be currently feeling. For fans of the character, it gave you everything you wanted, whilst making fun of you at the same time, as we see Ryan Reynolds give the most vulgar, truest form of Wade Wilson/Deadpool, in a role it seems he was born to play. And the gut-busting, self-referential and often wildly inappropriate jokes are non-stop, giving you a comedic experience you won't likely forget. Not surprisingly, it took a film that was not being dictated by studio executives to provide something fresh for the superhero genre. Hats off to Rhett Reese, Paul Wernick, Tim Miller and Ryan Reynolds. Jolly good job.
16) Julieta (Dir. Pedro Almodvar)
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If you have seen films like Talk to Her, The Skin I Live In, Women on the Verge of a Nervous Breakdown and Volver, you will know that master filmmaker Pedro Almodvar is one to blend realism with bizarre, fantastical and ethereal imagery. Surprisingly, Julieta doesn't really do this all that much. Instead, it focuses on the relatable and human relationship between a mother and a daughter. However, the relationship is broken, and over the course of the film we see Julieta's constant attempts to mend the past and find her estranged daughter. It's a flaw that we've seen in many tragic characters throughout the history of fiction. What makes Julieta so special is the craftsmanship of Almodvar himself. It's as if he orchestrates a charming and exquisite story of flawed humanity and then signs it with his name. He brings his signature style and skill, all the while managing to make the emotion feel as if it's coming from a genuine place, showing through the performances and direction the transformation that comes with grief and sorrow. And speaking of performances, it was Adriana Ugarte as the young Julieta that gave the truly magical performance here, showing a youthful woman changed by the family struggles that torment her. Definitely one of the highlights of the year for foreign cinema.
15) Your Name (Dir. Makoto Shinkai)
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Your Name is an anime film that I actually only saw really recently, and I'm incredibly glad I got the chance to see it, as I was really quite touched by it. It follows two Japanese teenagers; one a boy who lives and thrives in industrial Tokyo, and one a girl who longs for the magic of the big city. When they start to miraculously swap bodies, a bond is created between them that seems to transcend the boundaries of time. Slightly cheesy music choices aside, it is an unpredictable and beautiful film that explores youth and love in a way that is undeniably vivid and alive. Firstly, the animation is invigorating and striking, with each frame telling its own story, either abstract or genuine. Secondly, the narrative structure is played with in a way that is satisfyingly refreshing and original. Without spoiling anything, the film depicts a moment of revelation at the end of the second act, which is structured exactly right to give the most effective emotional impact. Thirdly, the two lead characters and their central relationship is just gorgeously put together, and feels ultimately real to the audience. As someone who doesn't tend to watch much anime or anime cinema, I can honestly say that this has definitely gotten me interested.
14) The Witch (Dir. Robert Eggers)
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In an age of jumpscares and gore porn, The Witch showed us how to do horror right, taking the lore of old England folktales and turning them into a smart, cinematic, suspenseful and boldly creepy work of art. It's often the perfect example of how to build and drop tension, suggesting at dark and dangerous things to come, but replacing that with something entirely unexpected. The performances also match the film's ominous and sinister tone, with Anya Taylor Joy being the most likeable character, a young girl in fear of what's around her, and Kate Dickie being wonderfully threatening and unsettling as Taylor Joy's mother, making you feel deeply uncomfortable whilst also showing seriously impressive levels of nuance that make you wonder whether she's in on the whole gruesome affair. Then there's the cinematography, with dull, grey tones that give off a sense of moodiness and melancholia, and the 16:9 aspect ratio that makes the trees appear to be looming over everything, watching the film's horrific events take place. If you're a horror fan who's tired of the conventional, formulaic nature of the modern horror landscape, check out The Witch, as it will chill you to the bone.
13) High-Rise (Dir. Ben Wheatley)
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For the mixed reviews that this film received, I really thought it was an impressively masterful thriller with a lot to say about the British social hierarchy. Through it's surrealism it finds something chaotic and insane in the idea of the aristocracy and a revolution against it, as we watch the lower class people from the bottom of the high rise building rise up against the people in power, and the rich and powerful's increasingly mentally corrupted ideas on how to stop them and assert their authority. Critics were divided, as whilst some saw it as a masterpiece, others thought it was simply too frantic, odd and confused to be worth anything. A part of me does think that this is extremely frantic and odd, but that same part of me also kind of thinks that that's the point of the film. It's gradually exposes the irrationality of certain political ideals, eventually leaving you feeling like you're a part of the lunacy that is occurring on screen, and when a film has that effect on me, I know it's done it's job.
12) Swiss Army Man (Dir. Daniel Scheinert, Daniel Kwan)
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I was almost put off by Swiss Army Man before seeing it, as whilst it did look dramatically interesting, it also looked as though it could be being weird for the sake of being weird. And trust me, it is weird, but it's also thoroughly engaging, meaningful and exceptionally energetic. Another film that gained a mixed reception, it tells the story of Hank, a man who, at the point of suicide, finds a corpse on a beach, played by Daniel Radcliffe. After discovering the corpse he finds that it can do an abundance of purposeful jobs that could help him survive, henceforth making it the swiss army man. As their friendship grows stronger and more supportive, we watch the corpse, named Manny, learn all about life, love and everything in between, and the resulting film is an original, individual and outstanding piece of work. Daniel Radcliffe gives what is perhaps his best performance yet as Manny, showing whole-hearted charisma, despite being given the role of a corpse. His chemistry with Paul Dano's Hank is consistently endearing, as the two go through a series of varying emotions that threaten at times to tear them apart, and at others to pull them even closer together. Altogether, it's a truly eye catching portrait of two men and their purpose in the world, and an extensive and emotional journey through this.
11) Nocturnal Animals (Dir. Tom Ford)
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The second film from writer/director/fashion designer Tom Ford, Nocturnal Animals provides all the same style and matching substance as 2009's A Single Man, whilst also being tonally completely opposite. He this time sets his sights on the neo-noir thriller genre, telling the story of a failed marriage and the manuscript that acts as a metaphor for the tension between the couple involved. What is most genius about the film is the amount of obvious intellect and skill in the writing. Tom Ford seamlessly ties three separate stories together; each one providing us with something profound about the film's lead character, played effortlessly by Amy Adams. The story within a story manages to feel both believable, making you wonder at times if any of it happened in the real lives of the characters, and like a fictional construct at the same time, thus distinguishing reality from fantasy. It is left, much to the satisfaction of the audience, open to interpretation, ultimately allowing you to decide the fate of these characters, and opening up discussions about what the film's meaning truly is. But even ignoring all of that I can still tell you one thing; it's incredibly well made.
10) The Handmaiden (Dir Park Chan Wook)
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Park Chan Wook's The Handmaiden brings us what is, in my opinion, his best film since Oldboy; a visually sublime and narratively elaborate period piece about sexual desire, exploitation and corruption. It follows a young Korean girl named Sook-Hee who is hired by a con-man to defraud a rich and important Japanese woman named Lady Hideko. What happens when she enters Hideko's home, however, is a story of twists and turns, as Sook-Hee struggles to decide which side she is on. Park Chan Wook's film does not only thrill from start to finish, managing to be unpredictable whilst always being thorough and allowing it's plot twists to make sense, but it also provides an invigorating re-capturing of the Victorian era in Japan through stellar visuals and dialogue. The performances are enticing and enigmatic, with the standouts being Min-kee Him as Lady Hideko and Tae-ri Kim as Sook-Hee, both of whom show true skill and nuance in the roles. It's absorbing and irresistible, making it one of the must-see foreign films of recent years.
9) Toni Erdmann (Dir. Maren Ade)
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Toni Erdmann is a German film that mixes excruciatingly cringe-worthy, yet hilarious comedy with some seriously elemental and visceral emotion to make for an experience that is both overwhelmingly funny and quirky and breathlessly poignant at the same time. It is elevated by a magnificently original script by Maren Ade, who tells the story of an independent female business consultant who's estranged father is making bizarre attempts to reconnect with her through dressing up in a black wig and some false teeth and pretending to be a rival business consultant and life coach named Toni Erdmann. It's a delightful story that has so much to say about the importance of care in the relationships of those closest to you, and the dialogue is always witty and character driven, never falling to blind or lazy exposition and always feeling useful and fun, with enough honesty to keep the message prominent. What is perhaps the best thing to take from Toni Erdmann, however, is the performance of Peter Simonischek, who plays the father character. The performance is drenched in relatability, whilst also having a consistently larger than life comedic delivery, and really is one of the most unique I've seen all year, which only reflects the quality of the film itself.
8) Under the Shadow (Dir. Babak Anvari)
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Set during the Iran/Iraq war, Under the Shadow is a horror film unlike any other I've seen in a long time. Where the aforementioned The Witch dealt with the old-fashioned suspense of English folklore, Under the Shadow deals with the paranoia that comes with living in a warzone. After their apartment block is bombed, a woman named Shideh and her daughter Dorsa start to feel increasingly anxious as they fear that supernatural spirits have invaded their home. It calls back to old Roman Polanski films like Rosemary's Baby, but has it's own modern edge, pulling influence from modern horror in a way that is progressive and imaginative. At it's core, it's a politically driven film, dealing with the mental state that war can leave the common person in. We see how Shideh is affected by the war, with much of the frightening, metaphysical imagery acting as metaphor for her own wartime tribulations. At an hour and a half it's not a long film, but still one that will both provoke thought and leave you deeply unsettled, and I personally think it's exquisite.
7) Hunt for the Wilderpeople (Dir. Taika Waititi)
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Hunt for the Wilderpeople is New Zealand born writer/director Taika Waititi's fourth feature film, and in my opinion, it's his best. He outdoes himself here, crafting a film that is not only endlessly fun and unconventional, but also heartwarming and tender. It tells the story of a rebellious foster kid named Ricky Baker, who is adopted by nature-loving farmers Bella and Hec. However, after Bella's untimely death, Hec and Ricky venture out into the New Zealand bush to find a new life. Soon, they are being pursued by not only the police, but the sinister social services, lead by social worker Paula, a villainous and dedicated middle aged woman who believes in one simple ideology; "no child left behind". It sounds ridiculously entertaining, and it is, but it's also so much more. As Ricky and Hec try to outrun the system, they become increasingly fond of each other, developing a relationship that is transparent and accepting, as they both learn so much about life, community and how to be gangsta. It's an absolutely riotous and note perfect ode to adventure, and is one of the most refreshing films I saw all year.
6) I, Daniel Blake (Dir. Ken Loach)
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In 1966, Ken Loach made a TV film entitled Cathy Come Home, in which he explored poverty in Britain, and the ignorance that the government shows towards it. In 2016, Ken Loach makes the profound statement that not much has changed in I, Daniel Blake; a distressing and heartbreaking look at the people living on benefits and the torment they go through every day. Daniel Blake is a simple, but strongly opinionated man living in Manchester. He shows kindness towards a single mother named Katie and her two children, who had to move from London to Manchester to find more affordable housing. It is this relationship that becomes so telling, as Daniel sympathises with Katie, trying to direct her on the right course even though he's unsure of where he's going to end up himself. We see him go through painful trial and error as he attempts to acquire the health benefits that he is due because of his heart condition, and this eventually leads to an act of societal defiance that is so astoundingly inspirational, followed by an ending that is so excruciatingly heartrending and tragic, making for one of the most poignant and relevant films of the past few years.
5) American Honey (Dir. Andrea Arnold)
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American Honey is the hypnotic and arresting story of the dispossessed youth's desperation to achieve the American dream, and what their naivety leads them to get caught up in along the way. It's a beautifully realised film with simply terrific performances from the likes of Sacha Lane, Riley Keough and Shia LaBeouf, who really steals the show as the short-tempered and unpredictable Jake. He shows why he is still so present in the media; not just because he's a crazy person who does crazy things, but also because he has astonishing skill as an actor. That being said, the person who is really to thank from this coming of age masterpiece is writer/director Andrea Arnold, who once again uses the 4:3 aspect ratio to great effect. Where she used it to represent entrapment and oppression in 2009's Fish Tank, she uses it to bring out a sense of limited scale here, showing the sheer amount of vast land America has to offer these young dreamers and how difficult it is for them to reach it, whilst also allowing for deep rooted intimacy between the audience and the characters. Overall, I love it, and if you give it a chance, I'm sure you will too.
4) La La Land (Dir. Damien Chazelle)
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Okay, I'm basic. Look, I wish I could tell you that I think La La Land is overrated, and doesn't deserve all the hype it's been getting, but I can't. La La Land is a timeless and wonderful musical that harkens back to the days of Singing in the Rain and The Umbrellas of Cherbourg, whilst still feeling like it is convincingly taking place in modern day LA. It offers both cinematic spectacle in the musical numbers and crushing honesty and bittersweet sentiment in the drama. It is dazzlingly shot and edited, with both the technical filmmaking and scenes of musical wonder choreographed to perfection by director Damien Chazelle. It holds masterclass performances from Ryan Gosling and Emma Stone, who share a delightful chemistry that is both warming and truthful and remain engaging throughout the film's run time, even though they are practically the only two on screen. Ultimately, it's a film about whether you choose love or ambition, ending with a scene that not only sums up the whole film in a cinematically exhilarating way, but also rounds it off perfectly, giving the necessary finality to these arcs and themes. I don't care how much backlash it's getting; I think it's magnificent.
3) Arrival (Dir. Denis Villeneuve)
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Arrival is the intelligent and scientific fifth film from director Denis Villeneuve, a director I have greatly admired since I saw Prisoners a few years ago. In this he proves himself to be an auteur director, as he orchestrates an almost operatic, yet often subdued film all about language, communication and the messages we pass to one another. It's mindblowing in how it plays with the audience's perception of the narrative, experimentally showing you one thing and later revealing that it's something else entirely, hiding in plain sight. Furthermore, Amy Adams has the ability to convey more naturalism in one single facial expression than perhaps any other actors or actresses have over the past year. As someone who wasn't a big fan of Adams before, I can say that she has been somewhat of a revelation to me this year, giving two of the best performances of her career. However, where her stylised approach in Nocturnal Animals worked well to serve the film, her conviction in Arrival transcends the confines of just the piece, and she gives a truly historic performance. Finally, it's the vision of Villeneuve that really ties this together, as he takes what he is given in terms of source material and the remarkable script that adapted it, and makes it entirely his own. Bring on Blade Runner.
2) Paterson (Dir. Jim Jarmusch)
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I have to say that I am a huge fan of Jim Jarmusch's directorial efforts. Whether it be in Stranger than Paradise or Down by Law, he always seems to find something legitimate and all-encompassing in the mundane simplicities of life. The film that shows this perhaps more than any of his other recent works, however, is Paterson; a poetically inconsequential story of one man and his cyclical, steady life. That man is played by Adam Driver, whose soothing tones and and effortless relatability make the character extremely memorable and excellently outstanding. His girlfriend is played energetically by Golshifteh Farahani, who provides the perfectly lovable, if somewhat liable counterpart to Paterson's life. All of this is put together with Jarmusch's signature artistic skill, as he finds beauty in the little things; the raps of a man in a passing laundromat, or the overheard bus conversation between two men about "their women". We see entirely from Paterson's perspective, picking these mini-virtues up as he does, and seeing and hearing what he selectively sees and hears. The mundane quiet allows the more moving and busy moments to have even greater impact and satisfaction, making Jim Jarmusch's newest film a near perfect and wholly mesmerising return to form.
1) Moonlight (Dir. Barry Jenkins)
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I literally just saw Moonlight a few days ago, and maybe it's number 1 because it is so fresh in my mind, but maybe it's because this movie absolutely floored me. This, to me, is not just the best film of 2016, but possibly the best film of the past 6 years altogether, since the new decade began. Why? Because it doesn't need to be big, spectacular or epic to be poignant, moving or groundbreaking. It doesn't need to throw CGI in your face, or present a series of scenes of heightened Oscar-baiting emotion. All it needs is the simple story of one boy's journey to manhood, and through this, it can be one of the deepest, most open and boldest films to grace our screens over recent years. Barry Jenkins, a writer/director I was not previously familiar with, proves himself to be one of the most progressive and passionate directors working today, as he crafts a film about identity, and how this is affected by the landscape around you. We see the protagonist go through three stages of identity, from 'Little' as a young boy, to 'Chiron' as an ignored and disregarded teen, to 'Black' as the hood influenced black male stereotype that he becomes in his adulthood. It's backed up by a beautiful score of piano and strings by Nicholas Britell, who captures and provides background to the moods of these characters gorgeously. It also includes an abundance of brutally committed and believable performances from the likes of Ashton Sanders and Trevante Rhodes as two of the iterations of the main character, Naomie Harris as his painfully flawed, drug addicted mother, and Mahershala Ali as the heartfelt and gentle, but power and money orientated Juan; the father figure to Chiron in the days where he's seen as Little. There's so much to it that it would take hours to analyse, and that's why it's the film that's going to be studied in film schools for years to come, as well as simply my favourite film of 2016.
So what do you think? What's your favourite film of 2016? Agree with my list? Are there any that I missed out? Let me know down in the comments and if you liked this article and want to see more like it go to creators.co/@garwoodreviews for more. There, you can also check out reviews of most of the great films mentioned today, so be sure to have a look at those. See you in the next one, but until then, bye bye.
