19) Morris From America
One of my dark horses for Best Supporting Actor this year is Craig Robinson, for A24’s transplant dramaedy Morris From America. Will he even get a nomination? Probably not. That doesn’t make Robinson’s chemistry with Markees Christmas any less real though, as two American hip-hop enthusiasts trying to figure out a radically misplaced German lifestyle.
The movie is told from Christmas’s point of view, as he explores maturity in a land where he barely understands the language. He writes crude rap lyrics, trying to establish himself as a bad-boy artist, while Robinson coaches soccer for a big-time local team. This means Christmas’ titular “Morris” must grow mostly by his lonesome, except for additional wisdom from his German tutor (Carla Juri).
Hijinks ensue, Christmas spouts dirty raps on stage and courage is found – just on a more elevated level than most tales of growing up as the schoolyard outcast.
18) In A Valley Of Violence
It’s been a bountiful year for Westerns (biggest being The Magnificent Seven), but, in my opinion, it doesn’t get better than Ti West’s more restrained In A Valley Of Violence. Keep your Chris Pratt and big-budget explosions, I’ll take Ethan Hawke and Jumpy The Dog any day!
Some are describing West’s revenge thriller as Wild West John Wick, and it’s a hard classification to argue – yet there’s so much more here. Many Westerns these days go the “dark, broody reboot” route, but West absolutely nails the more classic vibe of lawless gunslingers and gallows humor. Characters waste no time inviting audiences into a deadly laugh-riot, featuring prime Travolta, prime James Ransone and prime small-town-turns-into-a-shooting-gallery action.
This is more your daddy’s Western, in all the best ways.
17) Sing Street
John Carney’s Sing Street is another one of 2016’s happy little surprises, like a gender-swapped We Are The Best!. “Drive It Like You Stole It” – do I need to say more? That daydream music video scene is by and large one of my favorite cinematic tastes of 2016, so rooted in empowerment.
The movie itself is about marching to the beat of your own drum (or synth track, in this case), powered by the soundtrack of misfit generations. Sure, the teenage band may blossom far too quickly and find success a bit speedily, but the story itself is a love letter to those who define their own destiny. Performances are tight (where has this Jack Reynor been?), musical numbers impress and up-beats are infectious – dare we notch another victory for the hopeless creatives out there?
16) The Witch
*Taken From My Best Of 2016 Horror Article*
Yes. Robert Eggers’ colonial debut is 100% a horror movie. Don’t tell me otherwise. I already wrote a lengthy response to the horror community’s confusing debate about genre classification re: The Witch. You will not change my mind. Witches in pioneer times can’t be proven or disavowed, much like how frontiersman had to make deductions on their own. Was a witch really cursing their land, or was it just bad weather? Times were simpler, people were impressionable and answers were needed – thus hitting on the psychological significance of The Witch.
Performances are key to Eggers’ success, as period aesthetics remains priority number one. Dialogue exists only as English settlers would have spouted it, keeping themes grounded in history. Anya Taylor-Joy (previously mentioned) constantly keeps us guessing about her claims of innocence, while her family airs on the side of caution in quite a leap of faith. It’s a simple question – are witches real or not? Eggers has his opinions, but the film itself is a ravenous guessing game that casts a tense spell on audiences. “Weird” accents and all.
