Archive for the ‘movie review’ Category

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For two decades, the films of writer-director Christopher Nolan have been steadily growing bolder in ambition, scope and dreams-within-dreams-within-dreams mental trickery. From the relatively humble beginnings of “Following” and “Memento” came the genre-defining Dark Knight Trilogy, the mind-tripping shenanigans of “The Prestige” and “Inception” and, most recently, the time-and-space traversing spectacle of “Interstellar.”

From the trajectory, one might have expected Nolan’s next feature to be a smorgasbord of bombast and celestial mystique. But instead, the auteur turned his lens toward the decidedly earth-bound and human setting of World War II and the battle of Dunkirk, the first time Nolan has tackled a historical subject — Nikola Tesla dramatizations notwithstanding.

*Disclosure: While there are many who find Nolan’s shtick tiresome, I am an unapologetic fanboy. Prestige may very well be my favorite movie, and he is one of only a few directors whose filmography I have viewed in its entirety (others including, but not limited to, Rian Johnson, Wes Anderson and David Fincher).*

Interweaving three stories — of land, sea and air — Nolan’s “Dunkirk” follows the evacuation of allied forces from France, with hundreds of thousands of soldiers effectively trapped on the wrong side of the English channel and surrounded on all sides by Nazi forces. On land, young men wait through enemy bombardment for any opportunity to sail across the channel, only to find an equally — if not more — perilous situation on ships targeted by submarine torpedo and dive-bombing attacks. They are aided by civilian ships called in to the rescue effort, and protected from above by a coterie of fighter pilots.

That’s the plot, in a nutshell, as Nolan is less interested in exposition, character and dialogue as he is in setting the scene before a tense, 100-minute exploration of survival and war. For long swathes the film is silent but for the haunting Hans Zimmer, which adds suffocating weight to moments of hopelessness and agonizing claustrophobia as men are trapped inside a series of sinking ships or blindsided by enemy gunfire.

There are a few familiar faces along the way, including Kenneth Branagh as a stoic commander, frequent Nolan collaborators Tom Hardy and Cillian Murphy, and boy-band alumnus Harry Styles as a rank-and-file soldier. But the movie isn’t interested in star power, relying on a largely unknown supporting cast and spreading the running time throughout its characters in lieu of a clear protagonist. The result is, paradoxically, a more personal tale of war, bolstered by breathtaking aerial photography and the minimalist action sequences that highlight Nolan’s career. He knows that death and destruction don’t require window dressing, and the film is better for it.

While comparatively a much more traditional film, the elements of Nolan’s chronological and visual trickery are still present. He uses the spinning camera work of “Inception” for the interior shots of his sinking ships. And the three main storylines move forward and backward through time — a la Memento and Prestige — to cover overlapping periods of one week, one day, and one hour. Events are shown out-of-sequence and repeated from various character viewpoints while plot is doled out only as needed.

It works incredibly well, resulting in an impactful film in which every second feels significant and climactic, while the mechanics are veiled by a screen of simplicity. There’s no 5th-dimensional beings, dream machines, dueling wizards or masked vigilantes, but “Dunkirk” dazzles all the same. It’s a neat trick, even for a magician like Nolan, resulting in what is easily one of the best films of the year.

Grade: A

*Dunkirk opens nationwide on Friday, July 21.

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Note: Portions of this review were first published during coverage of the 2017 Sundance Film Festival

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Written by and based on the life of Kumail Nanjiani, The Big Sick functions like an inter-nationality take on “Guess Who’s Coming to Dinner” for the millennial generation.

Before he was an anchor player on TV Comedies like Silicon Valley, Nanjiani was a stand-up comedian slumming it on his way up the food chain and a closeted agnostic in a family of strict adherents to Islam and Pakistani culture, which includes arranged marriages. In the dramatized version, he meets the decidedly *not* Pakistani Emily (Zoe Kazan) after a gig, kicking off a courtship that is tested first by his reluctance to reveal all to his disapproving parents and second by a mystery ailment that places Emily in a medically-induced coma.

The writing is sharp, with a sharp blend of comedy and drama as Kumail deals with the titular “Big Sick” Emily experiences. It also includes knock-out supporting roles by Holly Hunter and Ray Romano as Emily’s parents, who arrive with their own marital demons in tow to the bedside of their ailing daughter. The film’s best moments derive from the stuttered progress Nanjiani makes winning over the parents of a woman he scorned as the three characters hope for the best but fear the worst.

That the based-on-a-true-story film ends on a positive note isn’t spoiling much , but “Big Sick” keeps the tension under the breezy humor and the film easily earns its sentimental finish.

Grade: A

*The Big Sick opens in Salt Lake City on Friday, July 7.

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Let’s start with some caveats, as few summer blockbusters arrive with the baggage that “The Mummy” is carrying on its shoulders. Not content to simply launch a new franchise, the fat cats at Universal are pinning the hopes of a brand new Cinematic Universe — the de riguer requirement of all major studios in the post-Avengers world — on the merits of this modern retelling of the old Boris Karloff ambling menace.

First, there’s nothing inherently wrong with making a new mummy (lowercase) movie, just as there’s nothing wrong with telling stories on screen that feature ghosts, ghouls, trolls, chupacabra, giant snakes, giant spiders, or any other fantastical antagonists.

Second, there’s nothing inherently wrong with cinematic universes. If the movies are good, the movies are good: that’s really all there is too it.

That said, “The Mummy” is not good, and it suggests Universal maybe shouldn’t have cashed its chips so early on its so-called “Dark Universe” (with a slate of films announced already and Johnny Depp cast as The Invisible Man). Russel Crowe pops in as Dr. Jekyll/Mr. Hyde in a few heavy-handed scenes that hint at his potential menace and one of the better-choreographed sequences, but to little impact.

What “The Mummy” does well is make the already-good 1999 version starring Brendon Frasier and Rachel Weisz look resplendent in comparison. New protagonist Nick Morton (Tom Cruise) passively trips toward the film’s convoluted and undercooked finale, driven by a combination of demonic possession and a desire to rescue a romantic interest (Annabelle Wallis) with whom he shares all the chemistry of an elementary school science fair project. There’s a dagger and a red stone and crusader tombs and a lot of talk of Set, the Egyptian god of war, all of which is thrown at the viewer like obstacles in an Asian game show.

There are exactly two things this movie does well: the zero-gravity plane crash in Act I that was aired *in its entirety* during the film’s trailers and a chase scene underneath London’s streets that features a brief scene of eye-poppingly impressive underwater photography. Beyond that, it’s a muddled mess of corporate cash-grabbing.

As for the mummy herself, gender-swapped for the modern era, Sofia Boutella does as good as can be expected with the material, but is robbed of any her predecessor’s menace and mystique by the movie’s rush to make her telegenic. Compared to the genuinely chilling Act II of the 1999 film, in which Arnold Vosloo’s Imhotep slowly regenerates while haunting his human prey, Boutella’s reanimated corpse makes light work of a few nameless meat sacks before she’s back to her old, strategically-shrouded-to-appease-the-MPAA-rating self.

It’s a rushed, narratively delinquent disappointment that could have injected some of that old-fashioned movie magic into the modern cinema landscape, but instead falls victim to the paint-by-numbers CGI malaise we’ve all grown fatigued of.

Grade: C+

*The Mummy opens nationwide on Friday, June 9.

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The Incredible Jessica James

Jessica Williams stars as the titular Jessica James, an aspiring New York City playwright on the bad end of a breakup. It’s a showcase for the comedian, consisting largely of her character’s whimsical take on life, love and ambition with little by way of plot besides wanting to make it big and maybe meet a nice guy while she’s at it.

It provides enough laughs for the price of admission, and is an encouraging argument in favor of Williams as protagonist. But there’s not a lot of there, there, and not much to say beyond what a million other young-in-New-York films have said before.

Grade: B-

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The Big Sick

Written by and based on the life of Kumail Nanjiani, The Big Sick functions like an inter-nationality take on “Guess Who’s Coming to Dinner” for the millennial generation.

Before he was an anchor player on TV Comedies like Silicon Valley, Nanjiani was a stand-up comedian slumming it on his way up the food chain and a closeted agnostic in a family of strict adherents to Islam and Pakistani culture, which includes arranged marriages. In the dramatized version, he meets the decided *not* Pakistani Emily (Zoe Kazan) after a gig, kicking off a courtship that is tested first by his reluctance to reveal all to his disapproving parents and second by a mystery ailment that places Emily in a medically-induced coma.

The writing is sharp and funny, with a nice blend of comedy and drama as Kumail deals with the titular “Big Sick” Emily is going through. It also includes knock-out supporting roles by Holly Hunter and Ray Romano. That the movie ends on a positive note isn’t spoiling much, and the film easily earns its sentimental finish.

Grade: A

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An Inconvenient Sequel

In a way its frightening that we’ve had 10 years since Al Gore first delivered his power point presentation on climate change in “An Inconvenient Truth” only to still be debating the science of carbon emission.  But at least the ensuing decade has given the once-and-future president plenty of material for a round two.

Yes, the ice has melted, the waters have risen, the storms have worsened and myriad other Gore predictions have manifested, but “Sequel” also goes beyond the doom and gloom to track the real and significant political efforts made, notably the Paris Agreement of last year. Naturally, President Trump’s pledge to tear up that agreement and double down on fossil fuels is a bummer for Gore, and a bit of a thorn in the third act of “Sequel,” the documentary still manages a message of optimism among its impressively researched call to arms.

Grade: B+

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Rememory

The best way to describe “Rememory” is that it is relentlessly serious. Peter Dinklage stars as one of several broken souls in a pseudo-science fiction world in which a machine has been created that can record and display the mind’s memories. When the machine’s inventor dies under suspicious circumstances, Dinklage’s Sam steals the memory machine in order to both probe his own dark past and solve the inventor’s murder. But the final reveal on both points is underwhelming and bogged down by the slog of dull greys and moody glances.

It’s a notable film, largely due being one of the final performances of the late Anton Yelchin, and there are a lot of lofty ideas about how life’s experiences shape us into who we are. But its ambitions our ground into powder by its crushing atmosphere.

Grade: C+

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Landline

In this 90’s-set ensemble dramedy, a woman (Jenny Slate) learns of her father’s affair while having one of her own. There’s a lot of talent on screen, with Jay Duplass, John Turturro and Edie Falco rounding out the top billing, but the movie never seems to alchemize its components into something more.

It’s a pleasant and charming enough film, doing interesting work with its web of familial and romantic relationships. Turturro and Falco, in particular, shine as two halves of a strained marriage.

It never quite pops though, resulting in a film that seems to simply exist and then  promptly evaporate when the credits roll.

Grade: C+

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Nobody Speak: Hulk Hogan, Gawker and Trials of a Free Press

It’s a tough time to be in the news business. Budgets are tight, left bare by the departure of traditional revenue sources, and the national readership is increasingly lacking in media literacy. According to Nobody Speak, those factors create an opening for the rich and powerful to bury the Constitutionally-protected voices that challenge them.

It’s a growing and disturbing trend expertly documented by director Brian Knappenberger, who focuses on the Hulk Hogan sex tape lawsuit that shuttered Gawker before spiraling outward to include the Silicon Valley billionaire that bankrolled that lawsuit as a personal vendetta, the Las Vegas casino titan that secretly purchased Nevada’s major newspaper to tailor coverage to his worldview, and finally to newly-inaugurated President Trump, who was pledged to “open up” libel laws to make it even easier to torpedo news outlets with crippling lawsuits if they step out of line.

For media junkies, the documentary is catnip. But to even the casual observer of politics and the free press it’s a chilling warning that the worst days for transparency are ahead of us.

Grade: A-

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In Loco Parentis

There’s a long tradition of the quirky school documentary at Sundance, but even within the limits of that at-times tired formula, In Loco Parentis woos with its charm and subtlety.

Set at a boarding school in Ireland, In Loco Parentis takes a fly-on-the-wall approach, soaking in the daily life of the school, with a particular focus on a married teaching couple in the twilight years of their careers. The decidedly European education style is half the fun, as the magicless Hogwarts nature of the boarding school differs from the traditional American school system. But the directors are also able to capture the special something that makes schooling special as kids open their eyes to a world of music, art, literature and discovery.

Grade: B

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Tell them We Are Rising: The Story Of Historically Black Colleges And Universities

Stanley Nelson is an extremely accomplished documentarian who is unafraid to capture difficult subjects. That said, his latest film, Tell Them We Are Rising, is boringly dull in its telling of America’s Historically Black Colleges and Universities, or HBCUs.

The first two-thirds of the film play like a discount Ken Burns, full of black and white still photos backed by dramatic voice-over reading of journal entires and other texts. It’s an extremely important subject and an often ignored piece of U.S. history, but by the time the film hits the modern era, injecting the screen with living images and color, the feeling of drag has already set in.

Grade: B-

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Chasing Coral

There’s any number of great documentaries out there that make the case that mankind is making devastating and potentially irreversible changes to the global ecosystem. Chasing Coral makes for a worthy addition that list, narrowing its focus to the damage that climate change inflicts on our oceans, in particular the life-giving coral that sustains marine activity.

It begins with the underwater photography of Richard Vevers before touching on the widespread bleaching that is occurring around the world. That leads to an Ocean’s 11-style assembly of a team to capture underwater time lapse of the bleaching in order to proof, in vivid detail the catastrophe occurring underwater.

It’s increasingly depressing stuff, as the vibrant and breathtaking coral scenes make way for images of death and decay. But the film allows for some optimism at the end, highlight the efforts underway to reverse climate trends, and a call to arms to push back against the dying of the light.

Grade: B+

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Wilson

Woody Harrelson’s “Wilson” is the type of movie that people will either love or loathe. The laughter in the screening venue proved that there are plenty of the former, while my own experience and the groans of patrons exiting afterward confirm a significant shareof the latter.

Harrelson stars as the titular Wilson, a loud-mouthed buffoon with no regard to personal boundaries or polite norms. After his father dies and his friend moves out of state, Wilson realizes he’s alone, prompting him to seek out his ex wife (the fantastic Laura Dern), which leads to the discovery that his presumed-aborted daughter is alive and living with an adoptive family.

The comedic punches lie solely on the shoulders of Harrelson, who plays his character in an uncomfortable grey area between clueless and mental illness. Dern elevates every film she’s in, but too much weight is carried by Harrelson, who prattles of an unending stream of listless dialogue. It has its moments, but they are very few and too far in between.

Grade: D

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Colossal

Anne Hathaway stars in this pseudo-monster story, in which an adrift woman moves home after a break-up and discovers that she shares a mental link with a Kaiju terrorizing the people of Seoul, South Korea.

It sounds like the set-up to a quirky dark comedy but “Colossal” remains paralyzed between genres, managing only to be too serious to be funny and to offbeat to be taken seriously. The result is an off-putting mishmash of tone that wastes what minimal goodwill is brought by the cast, including Jason Sudeikis and Tim Blake Nelson. The plot itself hinges on a series of plot contrivances that make less and less sense as the conclusion nears.

Grade: C-

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Raw

In “Raw” a bright, talented and unflinchingly vegetarian student, Justine, enrolls at a veterinary school and struggles to find her place amidst a tradition of byzantine and tiresome hazing rituals. After one such task requires her to eat a rabbit kidney, Justine takes a liking to the taste of meat, which slowly escalates to an insatiable and (ahem) taboo extreme.

It’s an impressive slow-burn and an increasingly unsettling piece of work by director Julia Ducournau. It take a minimalist approach to the grotesque, creating squirm-inducing images with an air of high art. Under a different director, particularly an American one, “Raw” would likely be a vapid, gore-porn slog. But with its European sensibilities and restrained amusement in the unpleasant, the film makes for something truly special.

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Ingrid Goes West

Think of it as “Instagram Millenials: THE MOVIE!” Aubrey Plaza stars as Ingrid, a delusional and social-media addicted stalker who, after seeing a magazine profile of a California socialite (Elizabeth Olsen), decides to move to Los Angeles and become best friends with her new internet obsession.

“Ingrid” keeps things light, plumbing the comedy out of its protagonist’s mania, while also keeping a hard edge that churns under the surface of its characters seemingly blase narcissism. Olsen, who got her start in the excellent and Sundance-premiered “Martha Marcy May Marlete” is able to flex dramatic muscles that have been kept in a box while she endlessly hand-waves in Marvel Movies. But her character is largely caricature, leaving a vacuum for supporting actors Wyatt Russell and O’Shea Jackson Jr. to steal every scene they’re in.

Grade: B

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Oklahoma City

The 1995 Oklahoma City bombing is the worst act of domestic terrorism in American history, and in “Oklahoma City,” it gets the documentary treatment it deserves.

Director Barak Goodman’s piece is a disciplined, thorough and haunting examination of the event itself, while also paying due diligence to the connect the threads that led to the killing of 168 people in the Alfred P. Murrah Federal Building. From Ruby Ridge to Waco, Texas, Goodman connects the threads with elegance, showing the rise of anti-government extremism and white nationalism that motivated Tim McVeigh, all backed up with an impressive catalog of archival footage and first-person testimonials.

Grade: A

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Killing Ground

A couple on a camping trip arrive at a picturesque bend in the river, with a tent standing where another group is camping nearby. But when those campers fail to return to their possessions, the couple begins to worry that something has gone wrong.

The set up is great, as is much of the execution. One tracking shot, in particular, is perfect, shifting from Act I to Act II like a bolt of lightening.

But the film is also too eager to show its hand, doling out information in abundance when mystery should be preserved. The fate of the other camping group, best left for a later reveal, is all but disclosed immediately in broad strokes, leaving nothing but the specific details to work out. “Killing Ground” also makes several wise choices with the relationship of its central characters, but those strengths are undercut by brutally violent scenes that tend to distract more than strengthen investment in the story.

Grade: B-

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Before I Fall

In this mashup of “Groundhog Day” and “Mean Girls,” based on the YA novel of the same name, Zoey Deutch stars as sam, a high school senior who is trapped in a one-day time loop after her friends are involved in a car crash after a party.

The device allows for the type of evolution you would expect, as Sam is forced to reevaluate her loyalty to her rude and WASPy best friend and her treatment of her family and classmates. But what “Before I Fall” does well is allow for all of its characters to evolve, from two-dimensional archetypes in the first act to sympathetic and layered personas by the film’s end. It’s still hobbled by its YA mood, where high school is life and death and mean girls are dictators, but it has more in its head than its peers and Deutch is a winning lead, making for an altogether positive results that exceeds expectations.

Grade: B

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L.A. Times

Much like “Ingrid Goes West,” “L.A. Times” has a lot to say, and mock, about modern young adults, but doesn’t quite have the substance to hold it all together. There’s plenty of smart parody and satire to justify the price of admission, but it never quite adds up to anything.

Telling several separate stories simultaneously, “L.A. Times” follows a group of friends as they navigate today’s dating scene. One couple breaks up after comparing themselves to seemingly successful relationships, another woman fights off the impulse of a bad relationship while being consistently stood up by her cousin’s coworker. The plot is largely irrelevant, and it’s used to serve up commentary on love and living by writer, director and star Michelle Morgan, who is not as clever, nor as good an actress, as she thinks she is.

Grade: B-

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You know its a good year for cinema when we have not one, but *two* musicals in the Top 10. And not one, or even two, but *three* exclamation points in the Top 10 titles. But even if you don’t share my love for the powers of song of punctuation, there’s a depth and range to the roster of 2016 films that can not be denied, and that made for an excellent 12 in front of screens big and small (but preferably big).

Without further ado, the Top 10 movies released this year were:

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10. Nocturnal Animals

There’s just something about a classic tale of revenge, and in “Nocturnal Animals” we get two, simultaneously. In the more traditional sense there is the story of Tony Hastings (Jake Gyllenhaal) who suffers an unspeakable tragedy and, with the help of a local lawman (the indispensable Michael Shannon), goes after those responsible. But Tony is actually is the main character in a novel by Edward Sheffield (also Jake Gyllenhaal) who has sent a manuscript of his work to his estranged ex-wife (Amy Adams).

“Animals” is easier to follow than that description suggests, but it is far from uncomplicated. Director Tom Ford is in no hurray to reveal the emotional manipulations at play, or to reveal explicitly the degree to which the two narratives should be viewed as connected. It’s a dark, violent and tragic story that leaves much to interpretation, with much to digest long after the credits roll.

 

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9. Hail, Caesar!

Whether it be “True Grit,” “No Country for Old Men” or “Raising Arizona,” you can always tell when you’re watching a Coen Brothers film, and it’s never *not* enjoyable.

Still, the brothers have made something special with “Hail, Caesar!” a winking tribute-slash-mockery of the golden age of Hollywood, when dames were dames and everyone was looking over their shoulders for the communists lurking among them.

It may not be the same high-drama awards bait of the directing duo’s filmography, but good luck stopping yourself from rewinding whole scenes to watch them again, be it Channing Tatum leading a  tap dancing send-up of “South Pacific” or the exquisite wordplay of the “Would that it were so simple” sequence between Alden Ehrenreich and Ralph Fiennes (whose character name is, brilliantly “Laurence Laurentz”).

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8. Hunt for the Wilderpeople

Part coming-of-age story and part Odd-couple comedy, Hunt for the Wilderpeople is the quirky and endearing New Zealand-set comedy adventure you had no idea you so desperately needed this year.

Foster child and misunderstood “bad egg” Ricky is taken in by warm-hearted Bella and her rough-around-the-edges husband Hec. And after a series of unfortunate events and misunderstandings, Ricky and Hec find themselves the target of a national manhunt as they take to living in “the bush” and working to evade discovery by the authorities.

The chemistry between Ricky (Julian Dennison) and a delightfully crotchety Sam Neil is what makes the film work, as the hunt for the two runaways swells to surprising surreal levels. Keep an eye on director Taika Waititi, whose next project is the upcoming  superhero flick “Thor: Ragnarok.”

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7. Weiner

“Weiner” is the best political documentary ever made. Period. And it owes its alchemy to a fortuitous union of skill and circumstance, as a capable team of storytellers are given unprecedented access to their subject, who in turn manages to torpedo his entire life in front of the camera’s staring gaze.

Anthony Weiner clearly expected a different outcome when he granted the documentarians access, and for the first third you see the story that might have been: a down-but-not-out politician licks his wounds, gets back in the ring and defies expectations to become mayor of New York. But then another shoe drops, and another, and of course the audience knows that there are more waiting even after Weiner is forced to concede defeat.

But what really makes “Weiner” (the movie) something almost Shakespearean is the presence of long-suffering (and now ex-) wife Huma Abedin. An infamous introvert, she hovers at the edge of frame, her jaw set, tense, watching. When the inevitable occurs, it’s Abadin that keeps “Weiner” from being a punch line about a serial screw-up,  and instead a stinging portrait of a political family destroyed by poor judgement.

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6. Everybody Wants Some!!

In 1993, Richard Linklater made “Dazed and Confused,” an American Graffiti-esque film set in 1976 and following a sprawling cast of students celebrating the first night of summer.

Two decades later, Linklater has made his so-called “spiritual sequel,” which is set in 1980 and follows a college basketball team over the last weekend before fall semester starts.

Fans of Dazed will get exactly what they’re looking for, while newcomers will find an endearing and optimistic slice-of-life story about young adults in 1980s America. Like Linklater’s “Boyhood,” EWS is filled with small moments that find the dramatic beauty in humanity and average, everyday lives.

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5. The Lobster

And now for something completely different…”The Lobster” posits a world in which adults are not allowed to be single, to the extent that after losing his wife, David (Colin Farrell) is compelled to reside at a hotel and given 45 days to find a new partner or be turned into an animal of his choosing – in David’s case, the titular crustacean.

Split into two parts, The Lobster first looks at life within the hotel, with its bizarre customs, restrictions and pressures to find a soulmate at any cost. Then, after David flees, we see the other half of Lobster’s world, as our hero joins up with a nomadic gang of woods-dwelling fugitives who have one iron-clad rule: no coupling.

It’s bizarre, to say the least, and wonderful. With a cast of completely game actors (including Rachel Weisz and John C. Reilly)  fully committed to the absurdities of the premise and its execution, Lobster builds on its dry, often dark, humor to an ending that is perfect and disturbingly outlandish.

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4. Moonlight

*The* Roger Ebert often described film as an “empathy machine,” and of all of this year’s movies that role of the cinema is best captured in “Moonlight,” which uses three actors in three time periods to tell the story of a man’s life.  As a child, Little is a soft-spoken boy neglected and demeaned by his substance-addicted mother and taken under the wing of the neighborhood dealer. As a teenager, Chiron is bullied and beaten by his peers and strains to find his place. And finally as a man, Black has adopted the career of his childhood mentor, but seeks out an old friend from his younger years.

It’s a moving, and at times haunting, portrait, and a showcase of diversity. But it’s also understated, and confident. It doesn’t shout “look at me!”  but still results in a film that is impossible to look away from.

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3. Hell or High Water

Too few films are set outside of America’s coastal cities, and fewer still depict the people who reside in America’s heartland as actual people and not flat caricatures.

In Hell or High Water, brothers Tanner and Toby are pressured into desperate measures by desperate times. Their family’s ranch, despite sitting atop an ocean of oil, has fallen into the clutches of predatory banking. To save it, they launch a scheme to rob the money to pay the mortgage from the same banking institutions that have left them in dire straits. On their heels is Marcus Hamilton, a beyond his years law enforcement man circling the drain before he’s shown the door.

The relationship between the brothers is rich, owing no small feat to the capabilities of Chris Pine and Ben Foster (one of the most underrated actors of his generation). They wear their reluctance on their tired faces, and brace themselves against a gathering storm closing in around them.

And while there’s an element of cat-and-mouse as they get closer to their coal, the story never dips into fantasy. It feels real at every turn: real people, pressured into real decisions by the all-too-familiar realities of American economics.

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2. Manchester by the Sea

“Manchester by the Sea” is a heartbreaking, profoundly sad story about loss and grief. It’s also beautiful and inspiring. After his brother dies, Lee (a phenomenal Casey Affleck) is called back to his childhood home and tasked with looking after his nephew Patrick (an also phenomenal Lucas Hedges). But returning home means confronting old demons, and Lee struggles to reconcile his loyalty to his family and his own compulsion to put distance between himself and his past.

Manchester is a master-class of “show don’t tell,” with Affleck in particularly conveying more with his gestures and expression than even the lengthiest monologue could manage. Many sequences are practically wordless, and the mood hangs heavy, despite being punctuated by frequent instances of warming humor.

Directed by Kenneth Lonergan, Manchester is the type of film where the seems of movie-making disappear, and you forget for a moment that you’re watching fiction.

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1. La La Land

Through three films together, Ryan Gosling and Emma Stone have crafted a level of creative chemistry unparalleled in modern Hollywood. It helps that both actors are independently charming, but their combined effect is something akin to fireworks.

Take that element, and add it to the showmanship of a well-made musical production and what you have is cinematic magic.

Stone plays Mia, an aspiring but as-yet-unsuccessful actress whose day job is serving coffee on a studio backlot. Gosling plays Sebastian, or “Seb” for short, a jazz pianist and musical idealist who rejects the dilution of pop. They meet, over and over again under circumstances that are delightful,  before a romance eventually blossoms, and in each other they find creative inspirations and motivations that position them at the precipice of either realizing their dreams or falling in defeat.

All of which is set against a backdrop of song and dance numbers that  embrace the old-Hollywood legacy of “Singing in the Rain” and “West Side Story” albeit with a concertedly modern setting and style. But this is not simply a light and breezy affair, concerned only with vibrant colors and Joie de Vivre (both of which, it has in spades). “La La Land” climaxes on a forceful musical number by Stone, singing a tribute to “the ones who dream” and then, in its final moments, the film presents one last pièce de résistance sequence that dazzles you before punching you in the stomach, leaving you wide-eyed, out of breath, and looking to find where your jaw landed on the floor.

Written and directed by Damien Chazelle, the 31-year-old (!!!) phenom behind 2014’s “Whiplash,” “La La Land” exudes the confidence of a veteran filmmaker. But think on this, Chazelle has directly exactly 2 feature films, and it’s all-but-assured that both will have been nominated for Best Picture Oscars when this year’s list is announced (and it’s looking entirely likely that La La Land will score the statuette come ceremony night). If I were to have a complaint about the otherwise perfect film, it would be the nagging knowledge that its director is two years older than myself, which has the unfortunately side effect of making you feel inferior before greatness.

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