2016 Top Ten

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‘We are Number One.’…and two, three and four, five and so on. It’s belated but I’ve finally found time to notch up my favourite 10 movies from last year. Surprisingly this was easier because there weren’t too many great films released in 2016! You could say most were Rotten! Ahaha…moving quickly on then to number 10….

…but quickly before that, here’s a few films that almost made the grade…The Neon Demon, Deadpool, The Witch, Moana, The Invitation, Captain America: Civil War, Eddie the Eagle, Midnight Special, The Girl with all the Gifts, The Danish Girl, Popstar: Never Stop Never Stopping then The Little Prince and Hush would have been on the list but didn’t gain theatrical releases so sadly, I didn’t include them.

So, in at ten –

10) GREEN ROOM…AND NOCTURNAL ANIMALS

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Enter the Green Room, a nightmarish small space in a neo-Nazi skinhead filled club. This movie brilliantly delivers on unsettling tension and dark turns as a band are menaced and killed. Full Review. Similarly, Tom Ford’s stylish Nocturnal Animals gives tension to the nth degree, the gritty story-within-a-story standing out as the best thing.

9) THE JUNGLE BOOK

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I don’t dislike the original Walt cartoon from yesteryear, but The Jungle Book isn’t my go to animation from them…so I was pleasantly surprised by this movie which looks incredible, the CGI landscape and animals are epic, Sethi as Mowgli blends into the darkly presented story very well and it zips along nicely as a well modernised tale. You wanna read my review-oo-oo? I know you do-oo-oo. Jungle Book

8) ARRIVAL

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Clever, gorgeous, intellectual, timey-wimey, language and love co-exist but with aliens. The story is always engaging, Adams’ performance is natural and affecting in her story that just happens to feature hovering space crafts and circular lingo. Arrive at my review.

7) ZOOTROPOLIS

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Fun but also incredibly on point about the very real politics of stero-typing and racial prejudice, this fluffy family flick is more in depth and smartly told than you’d think. Don’t be a sloth, quickly click on my review for Zootropolis.

6) 10 CLOVERFIELD LANE

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Dropped on us from nowhere, the Cloverfield world is expanded with this shift of genre as we get a claustrophobic thriller centered on relationships, mystery and danger instead of the found footage device. It was such a surprise and a fantastic film to boot. Tension kicks into overdrive, music is used so well and Goodman is a scary monster. Cloverfield

5) KUBO AND THE TWO STRINGS

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Laika have done it again by golly! This is such a rich and awesome stop-motion fantasy that goes over some very interesting and cultural textures whilst still featuring the humour and charm you’d expect. I want to see it again to just admire the work put into making this beautiful film. Kubo.

4) VICTORIA

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I am so so…so glad that I got to see this film. It isn’t just the sheer marvelling feature of shooting the entire movie in one-take but the performances are fascinating and believable, the story is engaging and you connect to the world as Victoria becomes involved more and more.

Well….we’ve reached the golden trio, the three musketeers, the tricycle of brilliance from last year. What’s in at number 3 then??

 

3) SING STREET

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Ah, what a charming and musically gorgeous film. The coming of age story is fun in itself but added with 80’s nostalgia, humour and songs, Sing Street becomes a movie to feel happy watching. I re-watched it recently and still found myself adoring every moment.

2) HUNT FOR THE WILDERPEOPLE

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Ricky Baker. Ricky Baker. A hero for the ages. This is a gem of a film with bittersweet moments, heartfelt tenderness, sharp comedy, coming of age and bonding adventures, randomness, lush locations and the ever reliable brilliance of Taika Waititi behind it all. Hunt the Wilderpeople down now…it’s so worth it if you haven’t seen it.

It’s here, Bully’s special prize. Iiiiiiin 1 –

 

 

1) THE HATEFUL EIGHT

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It had to be, as a Tarantino fan there was almost no question that this movie would hit the heights but it’d still have to be a good film and gladly it is. Three acts that all soar with incredible cinematic talent both behind and in front of the camera. Morricone on board for the score ensures the sound is perfect. Seeing it in 70mm also helped elevate the special sweeping look of this western blood soaked Quentin extravaganza. Dialogue, violence, humour and details are as crisp as ever and I loved every second. 8

Til next year…maybe…let’s see what 2017 has to give us hey?!

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Hunt for the Wilderpeople (2016)

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Laugh inducing and off-beat, this adventure comedy from the zany mind behind the similarly brilliant ‘What We Do in the Shadows’, is a brilliant film with great performances and a welcome tone of heart and an affecting pairing charging the story forwards.

Young trouble-maker Ricky Baker (Julian Dennison) is offloaded to a couple out in the New Zealand bush. Not wanting to risk heading back into the arms of Child Protection he makes a break for it but ends up lost in the forests. He’s soon found by ‘uncle’ Hector (Sam Neill) and the pair of them have to stick together as the media begins hunting them in belief Hec has kidnapped the boy.

It’s an amazingly funny movie, if you’re not laughing you’re easily grinning from ear to ear at the splendid antics going on in front of you. It helps that the Kiwi accent adds a hilarious tone to the words being spoken, but of course it’s the script that ensures we get to watch an excellently paced movie with plenty of comical dialogue, farce and buddy-like adventure hyped up like a live-action ‘Up’.

Taika Waititi writes and directs this film with a great eye on the details of making the dynamics between Hec and Ricky an engaging thing to see play out. The lush greenery of the landscape they inhabit for the majority of the feature is both stunning yet it can also be alarming, as seen in the couple of well added moments of danger. Yet the way Waititi writes, with Ricky in particular, helps the movie bound along with an effortless energy and humour. Waititi also acts brilliantly in a small yet superb role as a confectionery jabbering minister.

It’s a blessing that you never really know where this film is going, or where it may end up. This unpredictably of circumstance and action helps keep the movie interesting. The film is made up of ten chapters and each one zips along nicely with the always guaranteed comedy but with the thankful addition of building the dramatic bond between the lad and his new uncle father figure. You really feel these two characters grow, change and learn and that’s a sign of a very well told story.

Sam Neill is so great in this, the gruff and bearded exterior is well performed as he demonstrates what a knack he has for the great outdoors but he gets to show a softer side, what with his relationship with the kid and his weakening side of being unable to read. Julian Dennison easily steals the show, his facial reactions in every scene are priceless and he walks with such a wannabe gangster swag that his character feels very much authentic. Rhys Darby shows off mega crazy very well as he dons a bush suit and conspiracy theories spew from his character. Rachel House deserves a mention too for her dead-pan serious portrayal of the stern Child Protection lady Paula, notably when appearing on a NZ morning TV show.

The truth of life and the way the world works for people and espicially this child Ricky is done extremely well. The mixture of cracking comedy, investing emotion and charming wackiness makes for a wonderful thing.

8/10

Kubo and the Two Strings (2016)

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Stop-motion. I just adore it, the way it looks, moves and tells a story is fascinating and a story such as this rich and mythical tale is enhanced even further thanks to the brilliant Laika Studios.

With an eye for telling stories, Kubo (Art Parkinson) is sure to adhere to his mother’s guidance of being home before dark. This is because his mum’s sisters (Rooney Mara) are out to steal an organ from him and stop his quest for 3 important pieces of armour. Kubo must keep going with the protective Monkey (Charlize Theron) and the excitable warrior Beetle (Matthew McConaughey).

Marc Haimes and Chris Butler have woven such a fantastic screenplay from the magical and Eastern flavoured story by Haimes himself with Shannon Tindle. Together, they ensure what we get is a brave and fully engaging adventure to follow. The narrative is driven beautifully and is heavily shaded with moments of sadness and a deepness into beliefs, memories and hope.

Laika, as they’ve proven with their other 3 releases, are leading the way for stop-motion features. This is no exception, the more papery filled imagery giving a great texture to the scenes as origami creations come to life, a fluffy monkey runs through the landscapes and twisted, evil witch-like sisters float like angelic harpies. Everything looks incredible and the little moments where items or faces flicker give it that truly lovely stop-motion effect that I marvel at.

It must be mentioned also, that the fight sequences in this movie are spectacular and knowing that it’s done in stop-motion is just a feat to behold. The effortless movements and the quickness involved between characters as the battles take place easily rivals and overtakes live action fight scenes. In contrast to the snappier points, the softer scenes have a melancholic aspect about them as we feel the weight of Kubo’s quest on his shoulders.

What I enjoyed most was the clever story-telling, it’d be easy to call them twists because things come to light but in a way they’re not exactly shocking. I’d use the word revelations instead, because as the plot progresses we learn more, whether it’s about characters or the object of Kubo’s adventure being the armour he needs to find. Everything all neatly fits together to make a smart and well thought through film about big topics like kindness, family and humanity.

Art Parkinson gives Kubo a bouncing enthusiasm, no more felt than we he delivers his stories to the villagers, but he makes sure that his protagonist is three dimensional and makes Kubo brave, vulnerable and believable. Charlize Theron is great as the guardian monkey, getting time to shine as she delivers truths and guides our hero along the way. Matthew McConaughey sort of sounds like George Clooney but with his recognisable drawl that is lifted with excitable glee as he brings life to a strange human/beetle hybrid.

With the way that Laika are going, they are giving Pixar and Disney a run for their money with inventive stories and stunning animation. ‘Kubo and the Two Strings’ is a huge delight with a dazzling rich tapestry of narrative and visuals.

8/10

Turbo Kid (2015)

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As if ‘Mad Max’ has electrically melded with ‘Kung Fury’, this apocalyptic adventure flick is a gloriously fun watch. The story is engaging, the comedy works and the action is smart and the right amount of bloody.

Set in a dystopian 1997, where water is difficult to come by lives comic book fan The Kid (Munro Chambers) who ends up getting accompanied by chatty Apple (Laurence Leboeuf). At a pool party event, they stir up the wrath of overlord Zeus (Michael Ironside) who wants them found and killed.

The whole look of this film is brilliant, the scrapheap chic works very well for the whole dystopian vibe, flashes of colour from The Kid’s Turbo Rider discovery to Apple’s entire get up help make the movie exciting and set it apart from just another dirty, sandy wasteland. On top of this you get the joy of bike riding, which becomes the go to mode of transport in dangerous chases yet somehow still fun as if watching a crazier E.T.

Jean-Philippe Bernier and Jean-Nicolas Leupi bring this movie some spectacular music. A very expected but hugely welcome and perfect 80’s reel of tracks come with the scenes and lift the action even higher. The writing is sharp and ideas are neatly executed, ensuring we keep interest and laugh at the right moments, for example a man preparing to fight and tripping into his own weapon.

Death wise, this film is worth the watch alone, just to see all the ways guards and bikers are offed by the main characters. Guts, skulls and bodies are mowed down with gleeful abandon in such a way that it never feels sick or overly gory but fun and silly. I admit for a portion of the feature I found the character Apple annoying and hard to keep on side with but as her story develops it’s cleared up and I was happier.

It’s a movie that carries you along on a effective nostalgia trip, there’s nice effects, a simple but well told story and the always reliable synth to provide a great soundtrack. A huge smile was left on my face and I’d watch it again right now.

7.5/10

Finding Dory (2016)

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Thirteen years after the watery world of ‘Finding Nemo’, we’re back under the sea with the recognisable clown-fish and blue tang. This time around the story shifts into following forgetful Dory and though there are distractions of new characters, stunning animation and some fun moments, this doesn’t make you forget that you’re watching something familiar and predictable.

Dory (Ellen DeGeneres) is still with father and son pair Marlin and Nemo (Albert Brooks & Hayden Rolence) but she feels she’s forgetting something important. Flashbacks and tid-bits of her past and parents come and go and she ends up in a Marine Life Institute hoping to finally remember something and find her family.

Now, I must say I wasn’t a huge fan of the 2003 aquatic adventure but I admit it was and still is colourful and quite poignant in places. This sequel, directed again by Andrew Stanton has the same watery wonder but feels very samey and for a Pixar movie, that’s a trend I’m starting to worry about now…what with the less than inspiring ‘The Good Dinosaur’.

Animation speaking, this is one of the finest movies out there. I say this because the detail in every shot that must have been ached over in story boarding meetings come to fantastic life. I can imagine water is hard to get right but they pull it off mightily. This feature and the sweet Piper short beforehand excel in texture and shading. The grains of sand, waves of water, foam, sea-life and plants all look beautifully real.

What I found a little bum aching about this film is that it begins stretching out and even the children of the audience were restless before the third act had kicked in. Maybe it’s because it’s following the most annoying character from the first flick or perhaps it’s that thing after thing keeps happening stopping Dory getting to her goal, which as you’d expect her to get to it anyway it all begins dawning to a yawn fest as she’s tested time and time again.

The memory loss idea is fine to a point and endearingly cute when handled by the bug eyed baby Dory, but then it just keeps going, just keeps going, going, going. Hey, even silly is okay in my books, more so for animations but there’s points in this film that ideas become a tad too over the top and the whole Marine location doesn’t feel as special as it could be. It’s generally the knack of repeatedly telling us about memory, life and being good even if you’re missing of something, i.e memory that don’t need to be so often and so obvious.

I did like the weird yet well written use of Sigourney Weaver as some unseen goddess aiding the forgetful fish. The animation as mentioned is superb, the new characters are fun, from a cool camouflaging octopus to a struggling beluga whale. The moments of darkness are done well and make you near emotional as the film questions Dory’s existence but I can’t help thinking that I’ll forget this pretty soon and remember that Piper was much better than the actual full length Pixar creation.

Ellen DeGeneres is much loved in America and here she must have her fans, so I can imagine they’re loving her non stop forgetful routine and energetic enthusiasm she voices, which I like to a point but there’s a line and it gets grating quite quickly. Albert Brooks is a great worrier as Marlin and it’s nice to hear him back as the parental clown-fish. Ed O’Neill is Hank the octopus and voices cranky very well but makes him a character to still like. Fellow Modern Family actor Ty Burrell is Bailey the beluga whale with echo location problems and though he’s underused he gets some funny nervous lines and excitement nearing the end. It’s nice to see that former Nemo voice artist Alexander Gould gets a role in this movie too.

Spectacularly animated and a decent sequel, but more of something that feels like an unoriginal continuation and nothing different.

6/10

The BFG (2016)

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The language of the film harks to the marvellous-ness of Charlie and the Chocolate Factory author and his charming writing but apart from that, the visuals and a few fun moments this big screen adaptation lags and is too vanilla.

Based on the book from Roald Dahl, this fantasy flick follows young Sophie (Ruby Barnhill), an orphan who glimpses a giant on the streets of London. She’s swiftly grabbed and taken to the wonky home of the lumbering man, known as the BFG – Big Friendly Giant (Mark Rylance). He collects and gives out dreams but has a tough time due to the meaner giants who can smell Sophie’s presence and make things difficult.

I remember quite fondly, the times I watched the David Jason cartoon adaptation of this story. It’s a 1989 feature and it looks like a Quentin Blake sketch come to life, it’s also fun, dark and a joyous watch. Skip forward 27 years later and we get this take on the story of being brave. This isn’t as enjoyable as the animated offering, perhaps that’s my nostalgia speaking but more likely that it’s this movie attempting a huge amount of motion capture, CGI of the worlds and keeping a British sweetness yet murkiness to the plot…it succeeds in the first two.

Steven Spielberg can certainly make great films and he has a knack for presenting dramas revolving children and the lack of parental figures in their lives. This narrative then should be perfect for his directorial style? Well yes, in a way it suits him greatly and he ensures Sophie is a confident lass even in the cold abandoned state of orphanage upbringing. What stunned me is that Spielberg seems to loosen his grip on the drama of storytelling, as this movie feels sorely missing of tension and engagement.

From start to nearly finish, this film seems catered for the little ones watching. It’s a shame because Dahl was an exquisite master of creating characters, language and worlds with a twisted dark take, which isn’t felt in this release at all. The introduction of the beastly Bloodbottler or Fleshlumpeater should have been way more frightening than it was. It all comes across rather tame, this safe presentation of a giant filled Earth never picking up motivation.

I only sat up and woke up from the sleep I actually nearly nodded off into, once Sophie and her new friend mention that they need to visit the Queen. From that moment onward the movie shifts a gear and becomes driven and amusing, thanks to the scaling of seeing the BFG in a palace tackling tables, hallways and food. The dream ideas just paled in comparison which is a real travesty because it could have been a fun colourful ride into the madness of what happens when we sleep.

The motion capture is fantastic though, I was worried upon seeing the second trailer as more of the giant was shown. I thought it looked naff but the eyes were stunning and creases in the skin, fingernails, quivers of the face all add up to a further convincing demonstration that mo-cap is a way forward in movie-making.

Barnhill plays Sophie confidently and gets a couple of smart, funny lines. There are times when this newcomer feels a little stagey and you can imagine Spielberg feeding her tips before calling action, as the enunciation becomes pronounced quite a lot. Rylance has his face well transferred to the giant, it’s like he has shot up to 24 feet high and learnt how to blow dreams into peoples rooms. It’s a bit of a slow take on the giant at times but he’s fine. Penelope Wilton lands in the more energetic part of the film by playing Queen Elizabeth II and seems to have a good time discovering the truth of what Sophie has known for a while.

At almost 2 hours, this film feels less of a jolly escapade and more like a long trek you wish you hadn’t started, but once you get near the end and you see the finish line, things pick up and a positive feeling washes through you. The BFG – a Bearable Fine Gait.

6/10

Spectre (2015)

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Bond is back and with bells on as this latest installment in the long running franchise clearly shows off. Blown up buildings, car chases and seducing women all get ticked off as the blonde Bond deals with his own personal mission to connect the dots of his last three outings.

Whilst on a mission in Mexico City, James Bond (Daniel Craig) uncovers some talk of a planned explosion, the Pale King and knows some darker thread is being woven. He journeys from between London, Rome, Austria and Morocco to come face to face with the man behind the deaths and the mystery, one figure of his past named Franz Oberhauser (Christoph Waltz) who threatens Madeleine Swann (Lea Seydoux) and the entire MI6 00 program.

In directing terms, this new adventure for James Bond is a treat, the scenes are dealt with well on the most part. There’s a fluidity in the scenes with conversation and the more upbeat sequences are hand-held and shaky to fit with that expected Bourne trend of late. The more artistic and somewhat beautiful side of Sam Mendes and his directorial stance comes back as it did with ‘Skyfall’, though thankfully this time it seems less pretentious and ‘Dark Knight Rises’. The shadowing helps the spookiness of this spy action flick and the broad scope of each location is perfect patterning for the Bond collective.

It’s like a film of two halves, with the first half setting up a good mood and including brilliantly orchestrated set pieces, yet these well stitched tapestries become frayed as we drift into silly moments for the latter part of this movie. A lot of this comes down to the writing but the negatives also come booming to the screen because of this attempt at darkness being subverted by the quite campy feel of older 007 features. Wit and one liners feel right in the Connery/Moore era but after a while that loses fun when delivered by the clearly grittier take from Craig’s version.

Without spoilers for the people that have been even later than me to see this, the direction of the villain is clear from the title alone and for a nemesis so big and synonymous with the Bond world, it could have been taken on a darker path but the connections created feel so dumb and half arsed that this creation of the man with the plan (and the white cat) loses serious impact. It starts feeling like a scheme of the 60’s/70’s as he attempts to take down the entire organisation and hide out in large bases.

I mean, it took four people to muster up the screenplay, that conflict of ideas/personalities may very well be why the story feels a tad messy at times. Neal Purvis, Robert Wade, John Logan and Jez Butterworth give the movie some great moments, for example the back and forth dialogue between 007 and Q is sublime and well executed, the stuffy yet driven M is necessary and Oberhauser’s set up and initial revelation is interestingly carved out but descends into panto villain land before too long which is a true shame.

Hoyte van Hoytema must be commended for his stunning cinematography work. Each and every location convey the perfect atmosphere, even dreary London has that grand impression of authority which works for the unsettling crumbling of it by the final act. Also, one of the biggest pre title sequences for the Bond collection is brilliant, the look of the Day of the Dead parade and the ensuing carnage that follows is epic and engaging. The car chase through Rome is perhaps uninspiring but still pumped full of adrenaline and these are captured with stunning eyes for action thrills for the paying audience, Bond fans or otherwise.

One of the major travesties of this film is the writing of character, Bond becomes less of a hero than a war machine than normal, but heck that’s expected for this rebel secret agent, the true outrage is Madeleine Swann who quickly becomes one of the worst written characters in my memory. I feel bad for the hugely talented Lea Seydoux of whom I adore. Swann at first is frosty, capable and assured but then turns into a wreck, a desperate damsel in distress that seems to forget all her strength, determination and experience gifted by her father and her years. The train scene as she asks what they do next, cutting to the following antics are just unbelievably painful and that’s where the film starts getting bad in my opinion.

There’s some good ideas throughout, Mr. Hinx as the updated Oddjob is unbreakable and has squeamish plans for his metal tipped thumbs, the many limbed structure of Spectre is believable enough to tie the other villains together and the beginning of the Austrian chase works really well. The whole reasoning behind who Oberhauser is to Bond is awful, the drilling torture scene has no impact really and overall the movie is too long.

Daniel Craig delivers charm and macho confidence as he has done in every other Bond outing, so though it’s not the acting role that dreams are made of, he’s still convincing as the lead spy and the man to go to or fall in love with. Lea Seydoux as mentioned becomes a usual one dimensional Bond girl but demonstrates her emotion and talent before that comes to pass. She at least has more to do than cameo role of Monica Bellucci who could have been played by anyone. Ralph Fiennes steps in as the new M and does what Fiennes does best, as in being in charge but not really and giving that likable grimace to the boss. Christoph Waltz is underused but I’m sure he will be used again and I liked him in this role, it suits him and gave enough chills to the part. Ben Whishaw is fast becoming the best aspect of these latest films and I’m happy with that fact.

24 movies down and Bond is still happily chalking off victims and ladies as if he’s never away. This is a much more entertaining movie than ‘Skyfall’, some may say it’s not better but weirdly I disagree, I still am in the, probably empty camp of not liking that movie much. ‘Spectre’ has awesome visuals, striking vision from Mendes and all out Spectre-cle.

7/10