Not being the biggest Woody Allen (Annie Hall, Match Point) fan, I’ve always felt that his romance and dramas needed more substance than he offered. Cassandra’s Dream is a movie I would never have given a chance when it was released back in 2007. Likewise, Colin Farrell (The Lobster, In Bruges) and Ewan McGregor (The Impossible, Incendiary) are not my biggest fans. Ferrell has grown on me by shedding his bad boy, box office revenue-chasing persona and doing more indies. I am surprised I even watched it. I’m grateful I gave it a chance after it was released. It was a nice, simple film that entertained me the whole time.
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Billy Lynn’s Long Halftime Walk (2016)
Billy Lynn’s Long Halftime Walk is not your typical Ang Lee (Lust, Caution, Hulk) film. It doesn’t have the effortless flow near the sweeping landscapes of Crouching Tiger, Hidden Dragon, Life of Pi, or Brokeback Mountain. While these three movies netted the legendary director three Best Director Academy Award nominations, including two wins, Billy Lynn’s Long Halftime Walk likely will not earn him nomination number four. It’s awkward and clumsy at times. It has unnecessary elements in it. Most importantly, it lacks any immediate or emotional impact that the trailers lead you to believe it has. The premise felt very much like Clint Eastwood’s Flags of Our Father. I expected much more from these movies than from what was delivered. Nevertheless, there were some good things about Billy Lynn’s Long Halftime Walk. It is much better than its current 43% fresh rating on Rotten Tomatoes.
Nocturnal Animals (2016)
Almost perfect. While it may not even end up in my top five movies of the year, Tom Ford’s (A Single Man) Nocturnal Animals was almost perfect. I liked it so much in this movie, and Ford almost created a masterpiece, but it fell short. An A- for sure. Maybe even an A. But it won’t be the 49th movie I’ve seen that would classify as an A+. Jake Gyllenhaal (Love and Other Drugs, Everest) is better than ever, and he could end up with an Oscar nomination for this film. In a perfect world, he would, especially since he may have been the odd man out in 2015 (Nightcrawler) and 2016 (Southpaw) for a Best Actor Academy Award. But with four of the five slots pretty much locked up (Tom Hanks – Sully, Denzel Washington – Fences, Casey Affleck – Manchester by the Sea, Joel Edgerton (Loving), that leaves only one more nomination between Gyllenhaal, Ryan Gosling (La La Land), Warren Beatty (Rules Don’t Apply), and Andrew Garfield (Hacksaw Ridge). And, honestly, while his performance was excellent, it wasn’t nearly the performance he gave in either Nightcrawler or Southpaw. Ford’s chances for a Best Directing nod look even dimmer, and an impressive performance by Amy Adams (The Fighter, American Hustle) may be overlooked entirely because she will likely receive a nomination (and may even be the frontrunner) for Arrival, a movie that was released just a week before Nocturnal Animals.
Arrival (2016)
Alien, Fire in the Sky, Independence Day, Men in Black, Starship Troopers, Cloverfield, Signs, Prometheus. These are some of the many movies that have successfully explored contact in some form with extraterrestrial beings in some form. And then you have films like E.T., Close Encounters of the Third Kind, Cocoon, Contact, Solaris, District 9, Gravity, Interstellar, and The Martian, which are also movies about either extraterrestrial encounters or innovative space exploration that deal more with human component or relationship building than they do action, adventure, and a post-apocalyptic future. Add Denis Villeneuve’s (Sicario, Prisoners) Arrival as the latest movie to try to get itself on this impressive list. The critics (93% on Rotten Tomatoes) and audiences (82%) have enjoyed this movie.
The Lobster (2016)
Yorgos Lanthimos’s The Lobster is one weird movie. I don’t often do well with movies that I find to be strange. Some movies that have gotten high ratings with the critics are so utterly dreadful that they are virtually unwatchable. The tone is simple, the dialect is weird, and the actions are peculiar, but the overall strangeness of these movies makes the experience a chore. I know some love Wes Anderson, and to each his own. The Lobster feels similar to one of these Anderson movies, but oddly enough, it interested me. While I didn’t understand why a strange movie needed to be made, I found it engaging, and it didn’t feel like I was watching it to say that I watched it. While I wouldn’t say I liked it and would never watch it again, there were parts of it.