Top Ten Best Films Of 2016

It’s that time of year again. The nights are drawing in, the festive period is over, and every film critic is creating their best and worst list of the year. And here is mine.

Quick note, scores aren’t a factor on this list. These were just my personal favourites. Before we get going a few honourable mentions:

Love And Friendship

War On Everyone

Everybody Wants Some!!

And now…

10.

Ten is a tie because I couldn’t pick between them, Room and The Hateful Eight. I had no clue what I was expecting with Room, but I never though I would get a emotive family drama, focussing on the interactions of a mother and young son, with an Oscar-worthy performance by newcomer Jacob Tremblay. The shot when he first see’s the sky is still one that I think about regularly even after all this time. The Hateful Eight is a return to the old-fashioned QT, focussing on colourful dialogue with an array of interesting characters in a secluded location rather than the weird genre stylings of his last few films. Fantastic performances from Kurt Russell and Jennifer Jason-Leigh, with a perfect accompanying score by Ennio Morricone.

9.

I’m not a romance film person, but The Light Between Oceans lands itself on my Top-Ten List. Stunning performances by Michael Fassbender and Alicia Vikander (two of my favourite actors) and exquisite cinematography by Adam Arkapaw save the sometimes clichéd story and dragging second half.

8.

A Wild Western reset in the modern day, Hell or High Water was a pleasant surprise at the tail end of the summer. An actor defining performance by Chris Pine, backed up by powerful supports such as Ben Foster and Jeff Bridges. The story may seem like one you’ve seen before, but the modern trappings add a refreshing touch that separates it from similar films with much bigger budgets (I’m looking at you, Magnificent Seven).

7.

Nobody thought Eye In The Sky was going to be good. Even I saw the trailer and thought it looked pretty hackneyed. But the tense arguments, the shocking ideas of collateral damage in war and powerful performances by Helen Mirren, Barkhad Abdi and the late Alan Rickman really make this one stand tall. Here’s hoping for a posthumous Supporting Actor nomination for the latter actor.

6.

At number six, the Master Of Ultra-Violence, Nicolas Winding-Refn, is back with The Neon Demon. An odd mash-up of fairytale and the modelling business in Los Angeles, this is one you don’t want spoiled for you. Just go watch it, but be prepared for some jaw-dropping moments that you’ll be replaying long after the film is done.

5.

Modern horror usually doesn’t do anything for me. I don’t like being jump scared, I don’t seek it out for entertainment. But then The Witch came along, a film of no jump scares or silly noises, and it freaked the heck out of me. The endless tension building, the moody and ominous score by Mark Karven and the debut of lead Anya Taylor-Joy, The Witch may not be for everybody, but for horror fans it’s a must-see. A great directorial debut by Robert Eggers.

4.

It took over forty years to make, but High-Rise is worth the wait. A wide selection of great actors including Tom Hiddleston, Jeremy Irons, Elizabeth Moss and Luke Evans converge in an entertaining and slightly frightening orgy of sex, drugs and violence. High-Rise is the height of decadence and it’s a blast.

3.

Hell Or High Water was a Western through the lens of modern day. Our number three is a Western through the lens of horror. Bone Tomahawk was a sprawling 132 minute exercise in bloody torture and gruesome death and it was one of the my top picks for this year. Another one you don’t want spoiled for you, it’s a remarkable debut by writer, musician, cinematographer and director S. Craig Zahler.

2.

2016 has been a very good year for animation. With soon-to-be classics from Disney with Moana and Zootropolis, and Japanese efforts of When Marnie Was There and Your Name, animation buffs have been spoiled his year. But two films beat them all. Our number two is Laika’s Kubo And The Two Strings is an impressive stop-motion film with inflections of Eastern mythology and settings and a heart of gold underneath. Excellent performances by Rooney Mara, Matthew McConaughey and Charlize Theron, along with some near-perfect shot compositions, Kubo will be winning awards left, right and centre at this year’s Oscars.

1.

I saw this all the way back in March, and since then it’ been at the top of my list of 2016. And still, nine months later, Anomalisa has stayed on top. An awe-inspiring dream of a film, written by Eternal Sunshine writer Charlie Kaufman and directed by Duke Johnson, I consider Anomalisa to be a perfect film. Mesmerising stop-motion, beautiful portrayals by David Thewlis and Jennifer Jason-Leigh and a story that is heartfelt and crushing, this will be one for the ages.

That’s been 2016, happy new year and may 2017 be a great one!

Why not read my look back at the bad stuff, The Worst Of 2016?

The Hateful Eight Review

Okay, I’m a few days late to this one. It’s been a hard week of university work. And seeing as everyone else is still concerned over Star Wars VII, I think I deserved a little time off. But I’m back now, with The Hateful Eight.

The Hateful Eight stars Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demian Bichir, Tim Roth, Michael Madsen and Bruce Dern and is written and directed by Quentin Tarantino. The film follows The Hangman (Russell) who is escorting The Prisoner (Leigh) to claim a bounty reward. They are snowed in a cabin with six other characters, where one character is lying in wait to spring The Prisoner free.

As usual, the acting is great. The eight main players are good, with Walton Goggins as The Sheriff and Bruce Dern as The Confederate being my favourites. Tarantino also gets amazing work out of the smaller roles, populated by Channing Tatum and Zoe Bell. Tarantino is known for getting actors to perform at their peak level, and they’re all doing first-class work.

Tarantino writes the script and while he still includes his usual screenwriting quirks, he manages to add some new features to his already over-stuffed screenplay. Gone are the overt references to genre cinema, instead we get a really tense, really moody and really thought-out film where the silences are just as good to listen to as the ten minute long conversations and Jackson soliloquies. Tarantino even jumps in and has some dialogue himself, narrating events after the film’s interval, and in between chapters.

The set-up could easily be thought of as Reservoir Dogs in a Western, but it’s a lot more complex than that. In Reservoir Dogs, we all know who the liar is, but in The Hateful Eight, Tarantino manages to keep it quiet until the very last minutes. Lines are drawn in the snowed-in cabin that the characters have settled in, with the barriers being Union vs. Confederacy, black vs. white and in the end, whether you’re a decent human being or not. Tarantino draws the audience in on these encounters, to the point where we’re pointing fingers in our mind, trying to figure out who the culprit is. It’s a film that you’ll probably want to watch twice just to see if you find all the clues that the director leaves out for us.

Ennio Morricone, famed composer of several Spaghetti Westerns, takes music duties and gives us one of most suspenseful soundtracks of all time. Taking cues from his tracks that didn’t make it into John Carpenter’s 1982 The Thing as well as reusing a track from The Exorcist II, Morricone’s music choices seem to be horror directed, which ends up being the major factor that makes the film so tense and enjoyable to watch. The film could almost be a companion piece to The Thing, as both feature Kurt Russell, Morricone, snow and clawing sense that nobody says who they really are.

The film starts with a beautiful long shot of snow-covered Wyoming. We see a small dot in the distance, a station wagon, and as it gets closer, Morricone’s music comes in and just like Jed Kurzel did with last year’s Macbeth, the music adds a tremendous amount to the scene.

Just like all of Tarantino’s work, the film has problems in its length. While it was novel to have an interval in the middle and definitely added to the second half of the film, it’s the first half of the film that really drags it’s feet. We spend half an hour with Russell, Jackson and Leigh (two chapters out of six) before we even get to the main stage of the film. And while some of Tarantino’s dialogue is good to listen to, I have to admit, it’s stuff that we’ve all really seen before and heard it better in his other films. But apart from that, there really is no other problems with the film.

When I first saw the trailer for The Hateful Eight, I wasn’t too thrilled. I thought that Tarantino had had his time and that this one wouldn’t be anywhere near as good as his older filmography. But soon enough, all my reservations were swept aside and I was watching one of Tarantino’s best films.

Score: 8/10 The score is pretty appropriate for the film. But in all seriousness, it’s been a long time that I’ve seen a film so suspenseful.

Now that you’ve finished The Hateful Eight review, why don’t you come look at the review of the rest of Tarantino’s films?