Arrival is a science-fiction film directed by Denis Villeneuve, with a screenplay by Eric Heisserer, which is adapted from Ted Chiang’s award-winning short story and novella “Story of Your Life.” The film follows a team that is put together to investigate when multiple mysterious spacecraft touch down across the globe. As the world scrambles for answers, mankind comes ever closer to global war. In order to find those answers, language expert Louise Banks (Amy Adams), physicist Ian Donnelly (Jeremy Renner), and US Army Colonel Weber (Forest Whitaker) take a chance that could threaten their lives, and, quite possibly, humanity.
Back in August, I ranked Arrival as the No. 1 film I was anticipating for the fall film season, and that hype was well worth it—Arrival is one of my favorite science-fiction movies of all time. The reason I was looking forward to the film so much a few months ago was the director, Denis Villeneuve. After making a series of critically acclaimed foreign language films (such as Maelström and Incendies), Villeneuve broke into mainstream Hollywood with Prisoners, an emotionally disturbing and suspenseful film starring Hugh Jackman and Jake Gyllenhaal. I was a big fan of Prisoners, but Villeneuve impressed me even more in 2015 with Sicario, a gripping thriller about the viciousness of drug cartels starring Emily Blunt and Benicio del Toro. However, in Arrival, Villeneuve is at his very best.
Aside from exhilarating visuals and riveting drama, Arrival succeeds because Villeneuve and screenwriter Heisserer have mastered the art of science fiction. If Ridley Scott and Christopher Nolan were to birth a cinematic love child, Arrival would be that progeny. The film taps into the best parts of the legendary Scott’s Alien, Blade Runner, and The Martian, while also channeling Nolan’s renowned mind-fuck films like Memento, Inception, and Interstellar. Needless to say, Arrival is an epic adventure about space and time, life, communication, and love, and it finds itself in my Top 3 films of the year because it just may be the single best out-and-out sci-fi film of the past decade! If you are skeptical of science-fiction movies (like me) and need a film to help restore your faith in the genre, Arrival is absolutely a must-watch.
In supporting roles, former Academy Award nominee Jeremy Renner and former Oscar winner Forest Whitaker are serviceable—the two illustrious stars always bring an immense amount of talent to their projects, and nothing changes in Arrival. The leading performance by Amy Adams, though, is noteworthy and exquisite—in fact, I think the single biggest Oscar snub this year was Adams missing out on a Best Actress nod. The 42-year-old star is one of my favorite actresses in film, and she is at her finest in Arrival. As the linguist Dr. Louise Banks, Adams portrays her character as quiet, but confident, and above all, indomitable. Adams’s performance is both emotionally moving and dignified, and it is a shame the Academy chose not to recognize her brilliant abilities this year. Arrival is rated PG-13 for brief strong language.
Moonlight is a drama directed by Barry Jenkins, with a screenplay by Jenkins and story by Tarell Alvin McCraney. The film tells the story of Chiron, a young black kid balancing his dysfunctional home life and coming of age during the “War on Drugs” era in Miami, Florida. The story of his struggle to find himself is told across three distinct chapters in his life as he experiences the ecstasy, pain, and beauty of falling in love while grappling with his own sexuality.
Back in August, I revealed Moonlight as No. 6 on the list of my Top 10 Most Anticipated Films of the fall movie season. In writing about my eagerness for the film’s release, I included the following quote from Justin Chang, a writer from the Los Angeles Times, about director Barry Jenkins’s second film: “He’s made a film that urges the viewer to look past Chiron’s outward appearance and his superficial signifiers of identity, climbing inside familiar stereotypes in order to quietly dismantle them from within . . . . [Moonlight] doesn’t say much; it says everything.” When I first came across that quote, it made me incredibly excited to see Moonlight. After having seen this film, Chang’s quote is more than just a review—it truly embodies the emotional brilliance of one of the best films 2016 had to offer.
Prior to Moonlight, I had never heard of Barry Jenkins. After seeing Moonlight, I am quite confident that this man has a long, successful future of filmmaking ahead of him. Jenkins’s storytelling in Moonlight was exceptional, and he fiercely tackled a delicate subject. Chiron (first known as “Little” and played by Alex Hibbert, then known simply as “Chiron” and played by Ashton Sanders) is an adolescent growing up in a poor neighborhood in Miami with an addict mother. All the while, he is struggling with his sexual identity at a time and in a culture where being gay was not accepted. Jenkins magnificently delineates Chiron’s difficult life with expressive palpability, depicting a wide variety of emotionally heart-wrenching “coming of age” moments in his life. Jenkins is clearly a natural-born storyteller, and his focus on the evolution of Chiron’s complicated relationship with his childhood friend Kevin is one of the film’s greatest assets.
As far as acting, Moonlight produces many remarkable performances. From Trevante Rhodes as the adult Chiron (known as “Black”) to André Holland’s composed performance as the adult Kevin, the film is packed with talent. However, the two performances that stand above the rest come from Naomie Harris and Mahershala Ali. Harris plays Chiron’s mom Paula, a drug addict with emotionally abusive tendencies, and she brings a self-possessed intensity to the character. I hated Paula for her rejection of her son, but as the film progressed, I felt a sense of empathetic tenderness for her—this contrast is 100% due to Harris’s stunning performance.
The single greatest highlight of the film, though, is Mahershala Ali in his role as Juan, a crack dealer in Chiron’s neighborhood. Juan is such a polarizing character because of the duality that he represents. On the one hand, Juan is sensitive and caring—he finds “Little” and makes a concerted effort to look out for him. However, Juan also slings crack on the streets, including selling directly to Paula—thus, despite Juan’s commitment to being a father figure for Chiron, he is also directly contributing to the breakdown of Chiron’s home life. These characteristics make Juan utterly complex, and Ali gives the performance of a lifetime. It is no surprise he is considered the runaway favorite to win Best Supporting Actor—he deserves it. Ali’s striking portrayal is on full display in one of the most emotionally affecting scenes in any film this past year—at his dinner table one day, Juan has to fight back tears as “Little” asks him questions about what “faggot” means and if Juan sells drugs to his mother. It is one of the most powerful scenes I have ever watched, and Ali is the glue that holds it together. Bravo, Mahershala! Moonlight is rated R for some sexuality, drug use, brief violence, and language throughout.
O.J.: Made in America is a sports documentary feature directed by Ezra Edelman and produced by ESPN Films. The film, released in five installments (and in a limited theatrical release) by ESPN as part of its 30 for 30 series, depicts the rise and fall of O.J. Simpson.
To put it simply: O.J.: Made in America is one of the greatest documentary films I have ever seen (and to be honest, it just might be my favorite). With the award-winning FX series The People v. O.J. Simpson and Ezra Edelman’s 467-minute documentary here, 2016 seemed like 1995 all over again—O.J. Simpson was everywhere! For many people across the nation, O.J. Simpson and the “trial of the century” are only concepts they have heard about from stories. For many others, the tumultuous times surrounding the Hall of Fame running back’s acquittal of the murders of his ex-wife Nicole Brown Simpson and Ronald Goldman seem just like yesterday. Considering the varying degrees of O.J. knowledge, Ezra Edelman executed his Made in America project in such a way as to fully explain the social significance of O.J. Simpson and his 1995 trial to any novice, while also uncovering new plot threads for those that lived through it in real time.
The reason O.J. Simpson and his infamous trial were so enthralling at the time—and continue to be today—is because that story had everything, including the perfect blend sports, fame, and race. Ezra Edelman captures the historical impact of O.J. Simpson brilliantly. While Ryan Murphy’s The People v. O.J. Simpson delved deep into the story at the time of the trial, Edelman explored the complete story of O.J. Simpson—the film essentially spans Simpson’s entire life. Edelman vividly examines the early part of Simpson’s life, prior to his fame and fortune, but he is at his best when depicting the social significance of Simpson, a black man, being the most adored figure in America. At a time when black athletes were using their platform to stand for social justice and bring about change, Simpson stood by the motto, “I’m not black, I’m O.J.” Edelman fiercely investigates how O.J.’s stance of transcending race played the central role in making him a figure that white people could adulate. The story of O.J. Simpson’s fame is one of the most fascinating real-life character studies to ever exist, and Edelman’s examination of this enigmatic figure is spectacular.
A story about O.J. Simpson would not be complete without a vigorous survey of the 1995 murder trial. To capture the spirit of Simpson’s trial, Edelman included interviews with many key figures, including Marcia Clark, Bill Hodgman, Gil Garcetti, Carl Douglas, F. Lee Bailey, Barry Scheck, and even the notorious Mark Fuhrman. Edelman takes a vividly introspective look at one of the most recognized events in TV history, and he does so with immeasurable social awareness. Edelman digs into O.J.’s horrifying pattern of domestic violence against Nicole and the role it played in reshaping his perception among a significant portion of the general public; however, Edelman also unveils the role of institutional racism in molding black Americans’ perspective on police brutality and prejudice. The O.J. Simpson trial revealed an intense divisiveness in American society, and Ezra Edelman’s exploration of that discord is superb. O.J.: Made in America is not rated.
La La Land is a romantic comedy musical written and directed by Damien Chazelle. The film is set in Los Angeles and follows aspiring actress Mia (Emma Stone), who serves lattes to movie stars in between auditions, and dedicated jazz musician Sebastian (Ryan Gosling), who plays in dingy bars in order to scrape by. The two meet and fall in love, but, as success mounts, the dreams they worked so hard to maintain threaten to rip them apart.
This past fall, I wrote about how much I was looking forward to seeing La La Land, and my main motivation was the director, Damien Chazelle. In 2014, Chazelle burst onto the scene with his Best Picture-nominated Whiplash, which ranked as my No. 1 film from the entire year. On the strength of my love for Whiplash, I could not wait for La La Land—and thanks to Chazelle’s genius, it did not disappoint. La La Land is incredibly romantic and charming, and, just like in Whiplash, Chazelle’s love for jazz reigns supreme.
With a record-tying 14 Oscar nominations, Chazelle has cemented himself as one of the best filmmakers in the game. Although I did not find this film as enthralling and emotionally disarming as Whiplash, I still found La La Land to be a delightfully astounding piece of cinema. I mean, Chazelle shut down a major Los Angeles highway in the heat of summer in order to shoot one of the most memorable opening scenes of all time—it takes a certain degree of brilliance to make that happen and Chazelle nailed it!
One of the critiques I have heard regarding La La Land is that although it is a wonderful film, it does not pack the same timeless punch as Hollywood’s most momentous musicals, such as Singin’ in the Rain. Although I somewhat concur in that observation, it does not make La La Land any less amazing. As a modern musical, it is definitely one of the best I have seen—the characters are charismatic, the story is enchanting, and the music is memorable. In fact, after seeing this film in the theater, I listened to the soundtrack over and over and over again. The two standout tracks are the songs up for Best Original Song: “City of Stars” and “Audition (The Fools Who Dream).” These two numbers are definitely the best, but I also greatly enjoyed “Mia & Sebastian’s Theme,” which, as you could expect, is the soundtrack to the two main characters’ love; it is a beautiful piano instrumental that evokes the utmost emotional connection to Sebastian and Mia’s relationship. Needless to say, Justin Hurwitz’s composition makes this film that much more amazing.
The blend of Chazelle’s storytelling genius and Hurwitz’s melodic prowess would not be complete without performers to bring their vision to life—thankfully, the filmmakers had the ever-charming Ryan Gosling and the hilarious girl-next-door Emma Stone at their disposal. I loved these two actors together in Crazy, Stupid, Love (their chemistry was also undeniable in Gangster Squad, although that movie sucked), and in La La Land, they again just flat out fit together. Both Sebastian and Mia are dreamers in their own ways—Sebastian, a devoted but struggling jazz musician, dreams of owning his own club dedicated to this nostalgic genre, and Mia, a devoted but struggling actress, dreams of making it big in Hollywood. Life continues throwing the two curves, but they always hold tight to their desires, which ultimately places their devotion to each other in doubt. Both Gosling and Stone portray the intricacies of their characters with magnetism, and you cannot help but become emotionally invested in their relationship. Although the two flourish as both singers and dancers in all of the film’s traditional musical scenes (such as the catchy number “A Lovely Night,” set amongst the Los Angeles night sky), one of my favorite scenes was when Mia requested a performance of A Flock of Seagulls’ “I Ran” by an 80s cover band at a Hollywood pool party—that band just so happened to feature the true-to-his-art Sebastian playing synthesizer. The scene gave me more than enough laughs to last the entire movie, and it was truly representative of Gosling and Stone’s dynamic on-screen chemistry. La La Land is rated PG-13 for some language.
Fences is a drama directed by Denzel Washington, with a screenplay by the late August Wilson, which he adapted from his Pulitzer Prize-winning play of the same name. The film, which is set in a black working-class neighborhood in Pittsburgh during the 1950s, follows Troy Maxson (Denzel Washington), a waste collector living with his wife Rose (Viola Davis) and his teenage son Cory (Jovan Adepo) during a time of racial tension. Throughout the film, Troy and his best friend Bono (Stephen Henderson) set up shop in the Maxson’s backyard to drink gin and talk about life, including discussions about race, women, and whether or not Troy will ever finish building his fence.
The late August Wilson’s Fences is considered one of the greatest plays of all time, but Wilson has transformed that award-winning story into one of the most emotionally affecting films of 2016, with a screenplay that he penned prior to his 2005 death. With the help of Denzel Washington’s brilliant filmmaking—and Charlotte Bruus Christensen’s exquisite photography—Fences gets a picturesque silver-screen treatment. This superb script explores thought-provoking themes of race, death, love, revenge, and family, and Wilson’s rapid-fire dialogue makes for an exciting ride for the audience. Over the course of his career, August Wilson won two Pulitzer Prizes and one Tony, so it is only right that his final contribution to the arts resulted in a much-deserved posthumous Academy Award nomination.
As I mentioned earlier, this film is incredibly affecting on an emotional level, and it is not just because of August Wilson’s beautiful script—what truly carries Fences is the remarkable acting. However, it is no surprise that the chemistry between the performers was spot-on and effortless—five of the actors took part in the 2010 Broadway revival of Fences. Denzel Washington and Viola Davis reprised their roles as Troy and Rose Maxson, for which they both won Tony Awards in 2010. Further, Stephen Henderson, Mykelti Williamson, and Russell Hornsby all returned in their roles as Bono, Gabriel Maxson, and Lyons Maxson, respectively. Needless to say, these skilled actors had already spent years with their characters, which allowed for the most immaculate portrayals that an audience could have hoped to see.
Speaking of the acting performances, the hype that Denzel and Viola Davis are receiving is completely justified—just as their on-screen characters are constantly battling, these two celebrated actors fight each other for ownership of every single scene they appear in. The Best Actor category is an incredibly tight race between Casey Affleck and Denzel Washington, and although I preferred Affleck’s performance, I would have zero problem with Washington taking home his third Oscar—his performance is as commanding as any I’ve ever seen. As for Davis, well, her epic snot-pouring scene in the film has surely locked up the Best Supporting Actress category. One of my favorite performances, though, was that of Williamson as Troy’s disabled brother Gabriel, which was quite underrated. Fences featured a few moments that cued the water works, and many of those came courtesy of Williamson’s emotionally invested portrayal of Gabriel. Fences is rated PG-13 for thematic elements, language and some suggestive references.
Zootopia is an animated feature film produced by Walt Disney Animation Studios, directed by Byron Howard and Rich Moore, and written by Jared Bush and Phil Johnston. The film is about Judy Hopps (voiced by Ginnifer Goodwin), a rabbit from Bunnyborrow with aspirations to become a police officer.
Following her dream, Judy moves to the big city—Zootopia. However, when she arrives, she quickly realizes that life as the first bunny cop in history is incredibly challenging. Eventually, Judy finds her purpose investigating a big case, with help from a sly, scam-artist fox named Nick (voiced by Jason Bateman)—but things are not as they seem after a series of predators go “savage.”
I saw Zootopia twice this year (once when it came out in March and again this summer), and until the slate of incredible fall movies hit the theater, it was my favorite movie of the year. Zootopia is by far one of the best animated movies I have ever seen, too—it rivals any of the Disney/Pixar greats. But for me, what makes the film so incredible is more than just its elite animation and witty humor. Zootopia succeeds because it explores deep, socially relevant themes in a way that appeals to both kids and adults. Those that believe animated films provide no true cinematic value are simply ignorant and mistaken. On a basic level, Judy Hopps’s persistence illustrates to children that if they dream it and believe it, they can achieve it. But on a much deeper level, Zootopia brilliantly examines themes of fear, stereotyping, and prejudice that make it a particularly important piece of social cinema.
In the melting pot of Zootopia, predators and prey live amongst each other in harmony. However, when a group of predators start to go “savage,” every animal’s true colors come out in the form of unfounded fear and prejudice. The crimes of these few “savage” predators become a conduit for terror, intolerance, and discrimination. This is what makes Zootopia such a thought-provoking piece of film, aside from being just another great animated movie for kids. The creators dared to depict relevant real-world issues in a “kids” movie, and Zootopia will forever be held in esteem for its message of inclusion.
Aside from its adult themes, Zootopia is a flawless comedy for people of all ages. Jason Bateman is hilariously bright and amusing (per usual) in his role as Nick, and Ginnifer Goodwin skillfully balances the intricate line between straight-edge and adventurous. The film also includes a comical scene depicting Mr. Big as a feared crime boss, inspired by Vito Corleone in the opening scene of The Godfather. However, the single greatest highlight of Zootopia is the DMV scene, which features a riotous back-and-forth between Flash, a three-toed sloth, and Nick and Judy. Flash operates almost in slow motion (as you’d expect a sloth would), and everything plays out hysterically! The movie is worth the watch for this scene alone. Zootopia is rated PG for some thematic elements, rude humor and action.
Nocturnal Animals is a psychological thriller written and directed by Tom Ford, with a screenplay adapted from Austin Wright’s 1993 novel Tony and Susan. The film follows Susan (Amy Adams), a rich art gallery owner in Los Angeles. One day, Susan receives a package from her ex-husband Edward (Jake Gyllenhaal) that contains the manuscript for his newest novel, which is dedicated to her. As Susan reads further and further into Edward’s sadistic thriller, the more unsettled she becomes.
Many of you know Tom Ford from his prominent position among fashion royalty (or from the catchy line “I don’t pop molly, I rock Tom Ford” from Jay-Z’s 2013 hit “Tom Ford”), but Ford is also one hell of a filmmaker. The 55-year-old designer first broke into Hollywood with his 2009 debut effort A Single Man, a heartfelt and poignant drama about a gay university professor dealing with the loss of his partner, which earned Colin Firth an Academy Award nomination for Best Actor. A Single Man was an amazing film, but Ford has truly outdone himself with his sophomore effort Nocturnal Animals. He has an almost innate ability to create the picture-perfect blend of style and story, and his venture into noir here is to cinema’s benefit.
What Ford excels the most at in Nocturnal Animals is his storytelling. Tom Ford seamlessly intertwines three separate narratives: the past, the present, and the fiction. We spend time following present-day Susan, as well as exploring her failed marriage to Edward many years ago—all the while, we see a visual representation of Edward’s novel acted out while present-day Susan reads the book. It is a unique storytelling device that thrives thanks to the profoundly creative mind of its creator. Ford fiercely examines love, heartbreak, revenge, and the notion that we can never turn back time to right our wrongs—the story is disturbing and beautiful, all at the same time. Nocturnal Animals is not a perfect film; but I assure you, it is a striking piece of cinema that absolutely sticks with you!
In Nocturnal Animals, Ford has brought together a stellar cast of actors, each with his or her own talents and contributions that make this film so great. For starters, Amy Adams thrives as Susan—she has always been one of my favorite actresses, and, per usual, she shines in every one of her scenes. Further, I am surprised Jake Gyllenhaal has not gotten more attention for his magnificent portrayal of two characters: Edward in the “past” scenes and Tony in the visual depictions of Edward’s novel. Edward and Tony are two vastly different characters, and Gyllenhaal nails the dichotomy in his performance of both roles.
The two actors garnering the most attention, though, are Michael Shannon and Aaron Taylor-Johnson. Although Taylor-Johnson won the Golden Globe for Best Supporting Actor (upsetting Mahershala Ali in the process), he did not even receive a nomination at the Oscars; conversely, Shannon snagged an Oscar nomination in the Supporting Actor category. Both actors are exceptional talents in Nocturnal Animals, and I greatly enjoyed their performances. Shannon plays an inexplicable Texas lawman in Edward’s novel, and he knocks his performance out of the park. On the other hand, Taylor-Johnson stole the show for me as the terrifying Ray, the ringleader of a band of thugs in Edward’s novel that torment Tony and his family on the side of the highway in the single greatest scene in the film. Although his character is not one the Academy usually celebrates, I truly believe he deserved that nomination over Shannon. Nocturnal Animals is rated R for violence, menace, graphic nudity, and language.
For the fifth consecutive year, welcome back to The Reel Countdown, my annual “Countdown to the Oscars” blog, which now, for the first time ever, officially has its own domain name: http://www.thereelcountdown.com. In just 14 days, the 89th Academy Awards will be broadcasted live from the Dolby Theater in Hollywood, California, and over the next two weeks, I look forward to sharing with you my favorite films from 2016.
For the past few years, this blog has included a breakdown of my “Top 15 Films of the Year,” as well as my own personal Oscars ballot for the year’s major categories. However, starting this year, the countdown of my favorite films of the year will be reduced to a “Top 10”—life has gotten much busier since last year!
After a fantastic year of film in 2016, the lead up to the Academy Awards has produced a number of interesting storylines: La La Land tied All About Eve and Titanic for the most nominations by a single film (14!), the Academy nominated one of the most diverse group of nominees ever, Meryl Streep extended her own record for most nominations by a single actor to 20, Mel Gibson was effectively forgiven by Hollywood after notching a Best Director nomination, and O.J.: Made in America became the longest film to ever be nominated in any category (467 minutes). With late-night funnyman Jimmy Kimmel set to host for the first time, this year’s Oscars will surely entertain on all levels.
I am kicking off my fifth annual countdown by announcing the five films that just missed out on making my list of the Top 10 Films of 2016. Here are my five Honorable Mentions:
No. 11 – 13th
13th is a Netflix original documentary by director Ava DuVernay that explores race, the criminal justice system, and the social consequences of the 13th Amendment to the United States Constitution, which states that “[n]either slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.” In 13th, DuVernay examines how the drafters of the 13th Amendment, while ending slavery in its more traditional form, left themselves an “out” to continue enslaving blacks in America via imprisonment for shockingly inconsequential charges.
To put it simply, 13th is one of the year’s most important films. Not only is it important on a broad humanistic level, it is also as relevant as ever given Donald Trump’s extensive racially unconscious and divisive rhetoric (which director Ava DuVernay portrays in one particularly unflinching scene). Growing up and living in a vastly conservative region of the United States (where it is completely normal to see someone proudly flying the Rebel flag), I have seen firsthand how a wide range of people consider blacks to generally be “criminals,” and DuVernay, with meticulousness and dexterity, examines the roots of this unfounded terror and dehumanization. Exploring D.W. Griffith’s The Birth of a Nation, the “Jim Crow” laws, President Reagan’s “War on Drugs,” and President Clinton’s “Three Strikes” rule, DuVernay delineates how America has fostered a prejudice for those of color. Everything 13th investigates has clearly been done so with exhaustive, in-depth research, and DuVernay has created one of the year’s most thought-provoking films. Bravo!
No. 12 – Gleason
Gleason is a documentary that follows, with extraordinary access, the life of former New Orleans Saints hero Steve Gleason, who was diagnosed in 2011 with amyotrophic lateral sclerosis (ALS or Lou Gehrig’s Disease). This film tells the inspirational story of Gleason’s fight against this rare and incurable disease, delving deep into his relationship with his wife, the birth of his son at the beginning of his diagnosis, and his faith.
Gleason is definitely one of the year’s best films (documentary or narrative), and I advise anyone that subscribes to Amazon Prime to make it a priority to watch it. But I will warn you now: PREPARE FOR TEARS! The filmmakers explore Gleason’s diagnosis from every angle and do not sugarcoat anything—they show you the fight and determination of Gleason’s family as they react to the initial diagnosis, but they also examine the real and undeniable daily struggles that come with ALS. This film definitely hits the heart in astonishing ways, but despite the pain and sadness that embody the nature of Steve Gleason’s disease, the story of inspiration and hope reigns supreme.
No. 13 – Hidden Figures
Hidden Figures is a biographical drama directed by Theodore Melfi, with a screenplay by Melfi and Allison Schroeder. The film tells the true-life story of Katherine Goble Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer), and Mary Jackson (Janelle Monáe), three black female mathematicians working for NASA during the height of the Civil Rights Movement. Hidden Figures follows the three women as they break a wide range of racial barriers in the early 1960s, including Johnson’s integral role in calculating flight trajectories for John Glenn’s infamous Friendship 7 mission, where he became the first American to orbit the Earth.
Hidden Figures is heartwarming and relevant as ever—not only does it tackle the severe racial tensions of the 1960s, but it also digs into the even more challenging life of a black female during the middle part of the 20th century. The film introduces the world to three extraordinary women who helped shape America’s role in space exploration, and it inspirationally communicates to all girls, especially young black females, that they are just as worthy as their male counterparts in all aspects of life. Hidden Figures is an empowering film, and it is just what America needed during this tumultuous time in our history.
No. 14 – Hacksaw Ridge
Hacksaw Ridge is a war drama directed by Oscar winner Mel Gibson, with a screenplay by Andrew Knight and Robert Schenkkan. The film tells the amazing true-life story of Desmond Doss (Andrew Garfield), a combat medic during World War II who, as a devout Christian, refused to carry and/or use a weapon. During the Battle of Okinawa, Doss single handedly rescued over 75 American soldiers at Hacksaw Ridge, earning him the Medal of Honor—this was the first time the highest military honor had ever been bestowed upon a conscientious objector.
Over the past decade, Hollywood has unofficially blacklisted Mel Gibson following the anti-Semitic comments he made during a DUI arrest in 2006, which has been evidenced by the big studios’ blatant cold shoulder. However, with Hacksaw Ridge, Gibson has returned to the level of filmmaking genius that earned him numerous Oscars for Braveheart—clearly, the Academy took notice, bestowing upon Gibson another Best Director nomination. In addition to Gibson’s direction, Andrew Garfield gives one of the year’s best performances as Desmond Doss—Garfield provided poise and nuance to his real-life character, and the film benefits from his talent. Although the film is far too preachy for my tastes, the incredible action sequences make it well worth the watch.
No. 15 – Green Room
Green Room is a thriller written and directed by Jeremy Saulnier. The film follows the Ain’t Rights, a punk rock band traveling through the Pacific Northwest who, in desperate need of cash, agree to play a gig at a neo-Nazi skinhead club. After the concert, band member Pat (the late Anton Yelchin) returns to the green room to retrieve a cell phone, only to witness a recently committed murder. When Pat and his band members attempt to alert the police, the club’s brass, at the direction of ringleader Darcy (Patrick Stewart), lock the Ain’t Rights in the club’s green room. In thrilling fashion, the rest of the film follows the group’s attempts to make it out alive.
The first time I came across the work of Jeremy Saulnier was in 2014 when I watched his masterpiece of a film, Blue Ruin. Although Green Room does not achieve the same degree of amazement as his previous film, Saulnier has returned to the same well to craft an exhilarating adventure that kept me on the edge of my seat throughout. Green Room is harrowing and sadistic in its depiction of the dark side of the punk rock scene as it relates to the skinhead subculture; however, Saulnier constructs this horror with composed skill. Led by exceptional performances from the late Anton Yelchin and Captain Jean-Luc Picard himself (Patrick Stewart), Green Room is a wild and crazy adventure that is a must-see!
Happy Sunday! Today I am revealing films No. 10 through No. 6 on the list of my Top 10 most anticipated movies coming out during the fall season. This batch includes a wide range of films, including a likely heavy hitter at the box office, and if you are looking for a great movie to go see in theaters in the next few months, this post will give you some top-notch options among the films that look most poised for success.
No. 10 – The Founder
The Founder details the true story of McDonald’s and its rise to fast-food domination. The film follows Illinois salesman Ray Kroc (Michael Keaton) as he meets brothers Mac and Dick McDonald (John Carroll Lynch and Nick Offerman), who operate a hamburger restaurant in California. Controversially, Kroc tactically maneuvers himself into a position to take control of the McDonald’s brand, which grows into one of the world’s best-known brands after Kroc buys the chain for $2.7 million in 1961.
The source of my interest in The Founder is one man: Michael Keaton. Beginning with Birdman in 2014 (for which Keaton won the Oscar for Best Actor) and Spotlight in 2015 (which won the Oscar for Best Picture), Michael Keaton has undergone a true film renaissance. The resurgence of Keaton as an acting powerhouse is undeniable, and from the looks of the trailer for this film, I can only believe that he is set to kill it once more. The role seems to include elements of comedy, drama, malice, and deceit—a veteran like Keaton is sure to embrace this challenge and deliver a balanced performance.
One of the film’s keys is also one of the film’s (potential) downsides: director John Lee Hancock. Hancock’s directorial history consists of The Rookie, The Alamo, The Blind Side, and Saving Mr. Banks. The positive here is that Hancock clearly knows how to take a true-life story and mold it into a solid movie. The drawback, though, is that each of these films—while well-crafted—got a bit cheesy and cliché at times. As is evident from the trailer, The Founder takes on a seriously controversial subject matter, and I am hoping that this factor takes the film into the category of “drama,” rather than “melodrama”—I want the Big Mac, not the Big Sap. The Founder is set for a theatrical release on December 16, 2016.
Director: John Lee Hancock (Saving Mr. Banks, The Blind Side)
Starring: Michael Keaton (Spotlight, Birdman), Laura Dern (99 Homes, Wild), and Nick Offerman (Danny Collins, Me and Earl and the Dying Girl)
No. 9 – Loving
Loving follows the courtship and marriage of Mildred Jeter, a black woman, and Richard Loving, a white man. The two are arrested and sentenced to prison in Virginia in 1958 because their interracial marriage violates the state’s anti-miscegenation laws. The couple eventually sues the state of Virginia in a series of proceedings leading to the United States Supreme Court’s unanimous decision in Loving v. Virginia, which holds that laws prohibiting interracial marriage are unconstitutional.
Before I even knew much about this film, I was interested. As most of you probably know, in May I graduated from Oklahoma City University School of Law. During my time in law school, I examined the case of Loving v. Virginia in my constitutional law course. It is a case that stands as a pillar of change during a truly despicable time in American history, and I am more than happy to see the Loving’s story played out on the silver screen. Like I have felt with most films coming out this fall, however, the story appears quite susceptible to an overload of sap. But Richard Lawson, a critic for Vanity Fair, claimed the film’s lack of schmaltziness (for lack of a better word) take away the film’s “heft.” For me, I would always err on the side of avoiding anything that makes a story mawkish, so Lawson’s criticism does not bother me whatsoever.
I first heard about Loving this past spring when it competed for the Palme d’Or at the 2016 Cannes Film Festival. Although it did not win the coveted award, the film still ultimately won—it received a standing ovation following its screening and many critics considered the film a surefire Oscar contender. Most of this success can be attributed to Loving’s director (Jeff Nichols) and stars (Joel Edgerton and Ruth Negga). Nichols is a filmmaker that continues to, movie by movie, build up a critically acclaimed filmography. The beautifully crafted Mud served as my introduction to Nichols as a writer/director, and I look for him to bring that same poise and dexterity to Loving. As far as acting, I haven’t seen much of Ruth Negga, but I can definitely vouch for Joel Edgerton’s abilities—he has proven to be an underrated master of his craft, and all signs point to the same level of sharp performance that I have grown accustomed to seeing from Edgerton. Loving is set for a theatrical release on November 4, 2016.
Director: Jeff Nichols (Midnight Special, Mud)
Starring: Joel Edgerton (Midnight Special, Black Mass), Ruth Negga (Warcraft, Fury), Nick Kroll (Sausage Party, Knight of Cups), and Michael Shannon (Elvis & Nixon, Midnight Special)
No. 8 – Nocturnal Animals
Nocturnal Animals follows Susan (Amy Adams), a successful LA art-gallery owner, whose idyllic life is marred by the constant traveling of her handsome second husband. While he is away, Susan is shaken by the arrival of a manuscript written by her first husband, who she has not seen in years. The manuscript tells the story of a teacher who finds a trip with his family turning into a nightmare. As Susan reads the book, it forces her to examine her past and confront some dark truths.
Tom Ford. Tom Ford. No, I am not quoting lyrics from Jay-Z’s 2013 song “Tom Ford”; I am talking about the director of Nocturnal Animals. While Tom Ford is universally known as one of the world’s greatest fashion designers, he is also an acclaimed filmmaker. In 2009, Ford wrote, directed, and produced A Single Man, an award-winning film starring Colin Firth. I was a huge fan of Ford’s debut effort, and when I found out he was returning this year with Nocturnal Animals, I was on board. Aside from Tom Ford at the wheel, my interest in this film further derives from its acting stars: Amy Adams and Jake Gyllenhaal. Adams definitely ranks in the top five of my favorite actresses currently working, and I cannot wait to see her take on this thrilling role. With Gyllenhaal, we all know what we are going to get—a charismatic yet enigmatic performance; it is a recipe for success and Gyllenhaal rarely lets the audience down. Nocturnal Animals is set for a theatrical release on November 18, 2016.
Director: Tom Ford (A Single Man)
Starring: Amy Adams (Arrival, Big Eyes), Jake Gyllenhaal (Demolition, Everest), Michael Shannon (Elvis & Nixon, Midnight Special), and Aaron Taylor-Johnson (Avengers: Age of Ultron, Kick-Ass)
No. 7 – Rogue One: A Star Wars Story
Rogue One: A Star Wars Story is the first of three stand-alone spin-off films set in the Star Wars universe and takes place (temporally) sometime between the conclusion of Episode III and the beginning of Episode IV in the Star Wars franchise. The film is set 18 years after the formation of the Galactic Empire and follows the Rebel Alliance as it recruits Jyn Erso (Felicity Jones) to work with Cassian Andor (Diego Luna) and a team to steal the Death Star plans.
To be completely honest, I did not watch a single Star Wars movie until last fall when I binge-watched the entire series in anticipation of the release of Episode VII: The Force Awakens. Although the franchise had always been a cinematic blind spot for me, I got caught up in a short span of time and was not disappointed. With the exception of Episodes I and II, I found all of Star Wars films to be highly entertaining and well-crafted pieces of cinema. Because of this, I have an enormous interest in the newest addition to the Star Wars universe.
As was probably the case for most Star Wars fans, the trailer for Rogue One had me hooked. Aside from a journey back to a galaxy far, far away, Rogue One also grabbed my attention with its out-of-this-world (see what I did there) cast. Leading the way is Felicity Jones, a fetching actress who more than impressed me with her Oscar-nominated performance in 2014’s The Theory of Everything. Joining Jones are actors Diego Luna, Ben Mendelsohn, Mads Mikkelsen, Riz Ahmed, and Forest Whitaker, a group with varying degrees of experience but unwavering levels of precision. Led by Gareth Edwards (the director of Monsters and Godzilla), this cast has everything going for it to make the newest Star Wars film a success. Let’s hope Rogue One delivers. Rogue One: A Star Wars Story is set for a theatrical release on December 16, 2016.
Director: Gareth Edwards (Godzilla, Monsters)
Starring: Felicity Jones (A Monster Calls, The Theory of Everything), Diego Luna (Blood Father, Elysium), and Ben Mendelsohn (Mississippi Grind, Slow West)
No. 6 – Moonlight
Moonlight tells the story of a young black man balancing his dysfunctional home life and coming of age in the “War on Drugs” era. The story of his struggle to find himself is told across three distinct chapters in his life as he experiences the ecstasy, pain, and beauty of falling in love while grappling with his own sexuality.
Moonlight is one of those films that looks to have everything necessary to strive as a sleeper hit this fall. After debuting at this year’s Telluride Film Festival, Moonlight was met with universal acclaim—David Rooney of The Hollywood Reporter stated the film was “fluid and seductive, deceptively mellow, and shot with shearing compassion,” while Time Out New York’s Joshua Rothkopf hailed the film as “without a doubt, the reason we go to the movies: to understand, to come closer, to ache, hopefully with another.” For me, these early reviews triggered an immense interest in the film, and I cannot wait to see where Moonlight goes from here.
The film does have some question marks though: director Barry Jenkins and lead actor Trevante Rhodes (who plays Chiron) epitomize the term “unknown.” Although I have never heard of Jenkins, the critics at Telluride collectively praised his abilities. Justin Chang from the LA Times suppressed any apprehension I had about Jenkins, stating that he “made a film that urges the viewer to look past Chiron’s outward appearance and his superficial signifiers of identity, climbing inside familiar stereotypes in order to quietly dismantle them from within . . . . [Moonlight] doesn’t say much. It says everything.” Moonlight is set for a theatrical release on October 21, 2016.
Director: Barry Jenkins (Medicine for Melancholy, My Josephine)
Starring: Trevante Rhodes (The Night Is Young, Weightless), André Holland (The Knick, Selma), Naomie Harris (Our Kind of Traitor, Spectre), and Mahershala Ali (Free State of Jones, House of Cards)
Welcome back, everyone. Usually I release my Fall Preview each year at the end of August to encompass all theatrical releases between September and December; however, due to being a bit busier than usual this—and the fact that September is always the weakest month of the fall in terms of film releases anyways—I have delayed the release of my list until now. With the 89th Academy Awards just 148 days away, the bulk of my research and preparation for the release of a decent chunk of potential Oscar-worthy movies begins now!
Okay, let’s get the fall movie season started. For the fourth consecutive year, I have created a list of my most anticipated movies of the season. My list consists of ten films (plus five honorable mentions) that, on their face, look like they could be very good. I take into account a range of criteria when considering films for this list, including, but not limited to, the cast, director, producers, media hype, trailer, and pure conjecture. Below is the schedule for my three Fall Preview posts, so make sure to be on the lookout this weekend:
Today: Honorable Mentions
Sunday: No. 10 – No. 6
Tuesday: No. 5 – No. 1
Kicking off this year’s Fall Preview are the five films that just missed out on making my list of the Top 10 movies I am most looking forward to seeing (in alphabetical order). Enjoy!
The Accountant
The Accountant is a film about Christian Wolff (Ben Affleck), a mathematics savant with little to no social skills. Although it appears Christian is a small-town CPA, he makes his living as a forensic accountant for dangerous criminal organizations. With the government on his heels, Christian takes on a state-of-the-art robotics company as a legitimate client. As he gets closer to the truth about a discrepancy that involves millions of dollars, the body count starts to rise.
This film is either going to be really good or really bad. But I cannot help myself from being intrigued by the casting of Ben Affleck in such an atypical role. Whether he is the good guy or the bad guy, Affleck historically portrays characters with copious amounts of charisma—that clearly is not the case here, as Christian Wolff embodies the exact opposite of term “social butterfly.” With the addition to the cast of the firecracker Anna Kendrick, the Oscar-winner J.K. Simmons, and the ever-brooding Jon Bernthal, The Accountant has the dominant “acting” factor on its side.
I am also interested to see what director Gavin O’Connor will bring to the table here. I have not seen his 2011 film Warrior, which featured performances from Tom Hardy and Joel Edgerton, but the praise it received is undeniable nonetheless. Further, he impressed me in 2008 with Pride and Glory, so my hope is that he continues to find his groove, building upon the success of these two particular films. The Accountant is set for a theatrical release on October 14, 2016.
Director: Gavin O’Connor (Jane Got a Gun, Warrior)
Starring: Ben Affleck (Batman v Superman: Dawn of Justice, Gone Girl), Anna Kendrick (Trolls, Mike and Dave Need Wedding Dates), J.K. Simmons (Zootopia, Whiplash), and Jon Bernthal (Sicario, Fury)
Billy Lynn’s Long Halftime Walk
Billy Lynn’s Long Halftime Walk is a war drama based on the 2012 award-winning novel of the same name. The film follows Billy Lynn (Joe Alwyn), a 19-year-old Army specialist fighting in Iraq. Following an intense battle where Billy and his comrades barely survive, they are brought back home to the US and celebrated as heroes. Once they are back, they embark on a promotional tour across the country, which ends in a halftime show at the annual Thanksgiving Day football game. There, the film follows Lynn as he recounts the tragic memories of the war and losing his sergeant in a firefight.
When I first watched this trailer, I had two distinct thoughts: (1) Wow, this story looks like it is going to be an intense, tear-jerking ride; and (2) Damn, part of this looks like Ang Lee went full-blown Disney. If the latter turns out to be the case (i.e., cheesy melodrama…blahhhhh), I know I will not enjoy the film. Therefore, I am hopeful that Ang Lee is relentless in making this feel-good film all the while intense and dramatic. The veteran director rarely makes mistakes as a filmmaker, which is why I am putting a fair amount of faith in Billy Lynn’s potential to be a sleeper hit this fall.
Despite having Ang Lee at the helm, the film could epically fall flat as a result of its cast. With Chris Tucker, Garrett Hedlund, and Steve Martin on board, the film has hope; however, I still have reservations about Vin Diesel, Kristen Stewart, and the movie’s lead, Joe Alwyn. As far as Diesel goes, I will be frank—other than his motion-capture and voice work as “Groot” in Guardians of the Galaxy, I have little reason to believe he is a worthwhile actor at all, as his filmography epitomizes the term “weak sauce.” Throw Kristen Stewart into the picture, and I become far more concerned—Bella is a complete and utter drag to stomach on the screen. Lastly, the trailer seems to show Alwyn giving a fantastic performance; however, it is his debut performance. Because of that, it only makes sense to exercise caution. How can I have such worrisome thoughts while still having hope for the film? It all comes down to Ang Lee for me. Billy Lynn’s Long Halftime Walk is set for a theatrical release on November 11, 2016.
Director: Ang Lee (Life of Pi, Brokeback Mountain)
Starring: Joe Alwyn (this is Alwyn’s debut film), Kristen Stewart (Café Society, Twilight), Chris Tucker (Silver Linings Playbook, Rush Hour), Garrett Hedlund (Pan, Unbroken), Vin Diesel (Guardians of the Galaxy, Fast and the Furious), and Steve Martin (Love the Coopers, Pink Panther)
The Birth of a Nation
The Birth of a Nation tells the true-life story of the slave rebellion led by Nat Turner (Nate Parker), a literate slave and preacher. The film follows Turner as his financially strained owner, Samuel Turner (Armie Hammer), accepts an offer to use Nat’s preaching to subdue unruly slaves. As Turner witnesses countless atrocities—against himself and his fellow slaves—he orchestrates an uprising in the hopes of leading his people to freedom.
I have been awaiting the release of this film for a long time. With such anticipation, what is the reason for only including it on my Honorable Mentions instead of higher up the list? It is simple: It is hard to overlook the sexual assault controversy surrounding the film’s auteur, Nate Parker (I am not going to address it any more than I already have, but I encourage everyone to read into this compelling story at http://www.theatlantic.com/entertainment/archive/2016/08/why-the-debate-over-nate-parker-is-so-complex/496700/).
Back to the film. My interest in the film dates back to the conclusion of the 2016 Sundance Film Festival. After taking home the festival’s most prestigious award—the Grand Jury Prize: Dramatic—filmmaker Nate Parker inked the largest film-rights deal in Sundance history: Fox Searchlight Pictures bought the worldwide rights for $17.5 million (Parker also took home the Audience Award: Dramatic, as well). Mix in some serious critical acclaim, and I was hooked. I was also drawn to Parker’s desire to bring about systemic change via the silver screen with his film; in 2015 he stated, “There’s so many things that are happening right now in 2015—100 years after the original ‘Birth of a Nation’ film, here we are. I’d say that is what I hope sets my film apart, is that it’s relevant now—that people will talk about this film with the specific intention of change.” Despite Parker’s personal controversy, I am looking forward to his film’s underlying message of social change in a time where our nation desperately needs it. The Birth of a Nation is set for a theatrical release on October 7, 2016.
Director: Nate Parker (this is his feature-length directorial debut)
Starring: Nate Parker (Beyond the Lights, Red Hook Summer), Armie Hammer (The Man from U.N.C.L.E., The Lone Ranger), Aja Naomi King (How to Get Away with Murder, The Rewrite), and Jackie Earle Haley (RoboCop, Lincoln)
Fantastic Beasts and Where to Find Them
Fantastic Beasts and Where to Find Them is a fantasy film inspired by J.K. Rowling’s book of the same name, which itself was the supposed textbook in the “Harry Potter” universe authored by fictitious Newt Scamander. The film follows Newt Scamander (Eddie Redmayne) as he arrives in New York City in 1926 to meet with an official from the Magical Congress of the United States of America. At this meeting is a magically expanded briefcase, which houses a number of dangerous creatures and their habitats. When the creatures escape from the briefcase, it sends the American wizarding authorities after Newt.
For anyone that knows me well, it is obvious that this film would always be on my radar this fall—I am a devoted fan of the entire “Harry Potter” universe developed by genius author J.K. Rowling. It has been five years since the last Harry Potter film was released, so for me, to come back into Rowling’s magical universe is a dream come true. The film’s director and screenwriter only add to my eagerness: David Yates and J.K. Rowling, respectively. I have extremely high hopes for the film with Yates behind the scenes, as he directed the final four Harry Potter films—those films definitely took the series to a new level, and with Yates’s deep knowledge of Rowling’s universe, he will surely deliver a gem. Speaking of Rowling, the “Harry Potter” mastermind penned her first screenplay with Fantastic Beasts. On paper, Rowling has never let me down—I have the same hope for her debut script. Fantastic Beasts and Where to Find Them is set for a theatrical release on November 18, 2016.
Director: David Yates (The Legend of Tarzan, Harry Potter and the Deathly Hallows)
Starring: Eddie Redmayne (The Danish Girl, The Theory of Everything), Katherine Waterston (Steve Jobs, Inherent Vice), Dan Fogler (Barely Lethal, Take Me Home Tonight), and Colin Farrell (The Lobster, Winter’s Tale)
Manchester by the Sea
Manchester by the Sea, set and filmed in Manchester-by-the-Sea, Massachusetts, tells the story of Lee Chandler (Casey Affleck). Following the sudden and unexpected death of Lee’s older brother Joe (Kyle Chandler), Lee becomes the legal guardian of Patrick, Joe’s son. The story then follows Lee back to his hometown of Manchester-by-the-Sea, Massachusetts, as he must deal with his new role while balancing issues with his separated wife (Michelle Williams) and the North Shore community.
If you have not heard much about this film—which I imagine most haven’t—it is high time to get familiar. I wish I could vouch for Kenneth Lonergan as a film director, but I simply cannot—I have never once seen one of his films (to my credit, he basically hasn’t done anything as a director). However, what will probably pique your interest is a major writing credit on his résumé: Gangs of New York. That film is one of my all-time favorites, and Lonergan’s script was dramatic, intense, and as witty as they come—I sure hope he is able to emulate that dexterity here in Manchester by the Sea (Lonergan also penned this script).
As far as acting, this film has a variety of talented actors that will surely put on fantastic performances. But the one person that makes me want to rush out to see this the moment it hits theaters is Casey Affleck. In my opinion, Casey is a far superior actor to his older brother Ben (you know, Batman). He has continually impressed me with well-crafted, nuanced performances in films like The Assassination of Jesse James by the Coward Robert Ford and Gone Baby Gone (the latter of which was directed by Batman Affleck himself), and after watching the Manchester by the Sea trailer, all signs point to another gifted performance. Manchester by the Sea is set for a wide theatrical release on November 18, 2016.
Director: Kenneth Lonergan (Margaret)
Starring: Casey Affleck (Triple 9, The Finest Hours), Michelle Williams (Oz the Great and Powerful, Take This Waltz), and Kyle Chandler (Carol, The Wolf of Wall Street)
The Reel Countdown 