Renowned Spanish filmmaker Pedro Almodovar seizes our attention and lights the fires of intrigue with human simplicity in “Julieta,” his 20th feature film and Spain’s entry this year for the Best Foreign Language Film Academy Award. Concocting a brew of passion coupled with remorse across personal history young and old, Almodovar unspools the tangled threads of a guilt-ridden woman’s heart. Adapted from three Alice Munro short stories, “Julieta” is a strong return to the female-focused storyscapes that have made him a legend.
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All too often, the recent young adult wave of big studio dystopian fiction films contain three root faults. First, they shoot off preposterous peril for the sake of peril like a pyromaniac loose in a fireworks warehouse. Secondly, within the peril is the overused trope of militarizing teens and children. Finally, the screenwriters feel the need to over-explain every little thing about its created universe as if the audience can’t think for themselves or be challenged to draw an inference or two. For the most part, the small budget independent film “Go North” successfully and thankfully operates above those three traps.
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Every influential man or woman had a formative period of their life where their impressionable knowledge coalesced into cemented principles that would guide them going forward. The outgoing 44th President of the United States, Barack Obama, is no different. The new Netflix and VOD entry “Barry,” from director Vikram Gandhi, muses on the internal and external catalysts that shaped the then-20-year-old piece of unformed clay into the future leader of the free world.
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When it comes to crime families in movies, any contenders and pretenders that want to be taken seriously are kissing the Corleone ring of “The Godfather” trilogy. That’s not happening with the Cutler clan in Adam Smith’s “Trespass Against Us.” As a mishmash of trailer park trash puffing their chests to operate with supposed principles, they occupy the polar opposite end of the glamorous spectrum of organized crime. Call them an “Irish fugazi,” if you will, complete with their own membership rings and cracks in the hierarchy.
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Even with my access to more-than-most with festival coverage and press credentials, I can’t see everything. What I can do is prop up some hidden gems that I was lucky enough to see and review. Here are 16 under-seen winners from 2016. The qualifier for the list was title earning less than $1 million at the box office. They are ranked from highest-scoring review to least.
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J.A. Bayona’s film, based on the 2011 novel of the same name and adapted for the screen by the author himself, Patrick Hess, operates with a similar dichotomy and balancing act with its genre. “Fantasy” and “genuine” are two words that do not normally mix together. “A Monster Calls” creates an engrossing tale of allegory and myth and still roots it in a setting of stark reality filled with family and flaws.
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I’ll have you know that this is the latest this website has ever posted a “10 Best” list in its six-plus year history. I want to say that 2016 exhausted me, but it didn’t. “Every Movie Has a Lesson” published a personal-best 114 film reviews in 2016. Even after a record year, there is part of me that sits here and knows there was room for more. The to-do list of recommended films and overdue titles is never empty.
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Where using a composite character gets dicey is when they are made the lead because their fictional presence can outweigh the history and accuracy around them. Too much can be skewed to suit a character that doesn’t exist. That is exactly what occurs in “Patriots Day,” Peter Berg’s third consecutive collaboration with Mark Wahlberg. The makings for a stocked and stacked ensemble drama are dismantled by the misplaced hero worship that becomes little more than a vanity project.
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Every winning streak has to end to some time. “Live by Night” will go down as the first “L” in the loss column for Ben Affleck as a film director. After climbing to the top of the mountain with the trio of “Gone Baby Gone,” “The Town,” and the Oscar parade of “Argo,” there was nowhere to go but down, but this newest film is a little more than down.
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But all of those lofty intentions will not be automatically transcendent for everyone. Let me say it like this as delicately as I can. The level of your Christian faith, or lack thereof, will formulate your reaction, appreciation, or acceptance of “Silence.” It is an agonizing personal test for an audience, just the same as it is for the characters on screen. This will either be a soul-rattling testament or maddening torture.
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With a family-friendly PG rating, “Hidden Figures” becomes an instant must-see film for both classrooms and living rooms. Boy or girl, man or woman, black or white, any audience member who has ever marveled at the Space Age of our national history will find much to love in Theodore Melfi’s follow-up to “St. Vincent” adapted from Margot Lee Shetterly’s nonfiction book.
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Plenty of regular everyday people make New Year's Resolutions, but I think bigger entities, namely movie makers and movie moguls, need to make them too. Annually, including this sixth edition, this is my absolute favorite editorial to write every year. I have fun taking the movie industry to task for things they need to change. I'm sarcastic, but I'm not the guy to take it to the false internet courage level of some Twitter troll. This will be as forward as I get all year.
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