International critics and curators’ votes and comments Jason AndersonĬritic (Cinema-scope) and programmer (TIFF), Canada Special mention to Slack Bay: a brilliantly achieved creation of a unique universe, melding different types of comedy – black, grotesque, farce, burlesque, comic-book, expressionist – in service of a savage social satire. Wilder and freer than the more classical Stranger by the Lake, the film literally reinvents itself from scene to scene, and yet somehow feels all of a piece. Staying Vertical (Rester Vertical) Alain Guiraudie Improbably, Paul Verhoeven just gets better and better, here channelling the spirit of Fritz Lang into a contemporary allegory on unredeemable male monsters and their overcoming. Isabelle Huppert’s is the performance of the year, and possibly a career best. Another brilliant one-off from the sublime Eugène Green. Son of Joseph (Le Fils de Joseph) Eugène GreenĪ meditation on fatherhood and family filtered through the Bible and Baroque civilisation, with satirical detours into up-its-own Parisian literary culture. It’s beautiful, strange, unclassifiable Laxe will surely be one of the great directors of the next few decades. The breakout film from the Galician scene is a shamanistic ride into the Moroccan mountains and desert, and more than fulfils the promise of You Are All Captains. It comes off like some mesmerising, serenely disruptive sci-fi.
In no particular order:Ĭemetery of Splendour Apichatpong WeerasethakulĪ trip into the Thai subconscious and a disfigured, decaying body politic, couched in an atmosphere of tranquil unrest. Cinema did the seductive part of its function well, taking us out of ourselves, and how we needed that.Ī great year for cinema, and I still haven’t seen Albert Serra’s new film. Elle is a watershed film, the most involving psychological thriller in years, and Embrace of the Serpent felt like a rethinking of so much adventure cinema from the last half century.
Paterson was just the most soulful, quiet local neighbourhood pleasure at Cannes and Toni Erdmann the most outlandishly unforeseen comedy of manners. Also of note was Manchester by the Sea, a blue-collar high tragedy with wrenching performances that weigh the balance so carefully between the push and pull of guilt and responsibility that the film is emotionally exhausting.įire at Sea found a fresh way of viewing the immigrants risking their lives in lethal boats on the Mediterranean. That films as imaginative as that spare portrait of an awkward young black girl, The Fits, or Barry Jenkins’s moody depiction of a black gay outsider, Moonlight, or Natalie Portman’s searing portrayal of JFK’s first lady, Jackie, don’t make my five indicates how strong it was. Top films released in the UK in 2016 Nick JamesĪ rotten year, but not for cinema.
#Top movies on netflix november 2016 full
☞ Read the full O.J.: Made in America review Then there’s the Kane-like memorabilia, Simpson’s trophies and souvenirs, which prove his ultimate undoing. The personal arc suggests not just Fitzgerald, but Welles: there is Othello, of course, the outsider hero with an overweening desire not just to belong but to possess the hubris of Arkadin, that need to obliterate anything that could sully his carefully cultivated myth… Hank Quinlan makes an intervention in the guise of investigating officer Mark Fuhrman, a racist cop accused of planting an incriminating glove at OJ’s home. There are multiple rich thematic seams here. Scott called it “a tightly packed, almost indecently entertaining piece of pop realism, a Dreiser novel infused with the spirit of Tom Wolfe,” saying it had “the grandeur and authority of the best long-form nonfiction”.
ESPN’s ambitious five-part study of 1995’s ‘trial of the century’ ran to nearly eight hours, covering the courtroom drama, the fallen hero in the dock and the fallout from the shock verdict.
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