2016's Top 10 Movies of The Year

By: Kai Elijah Hamilton

With the Academy Awards taking place in just a handful of hours, here is a quick list of my Top Movies of the Year. I have seen most of last year's Oscar contenders--some not making the cut. Congratulations to so many wonderful films this year!

10. Don't Breath: As far as good old "cardboard" thrillers go this one is top-notch. While wannabe-thrillers do lurk out there (the 2017 appallingly over-rated and uneven film Get Out comes to mind), this one was tense and well executed. 

9. Finding Dory: This animated delight was better than the original (Finding Nemo). At the beginning we momentarily wonder where it's going but Dory's adventures out-of-the-sea and into a theme-park kept the story fresh. It was a shock that it was not nominated for an Oscar for Best Animated Film. 

8. The Witch: Here is a true horror film that is deeply disturbing and challenging to watch. It is no wonder with its sharp horror tone it was not considered one of the years best. But the acting, directing, costumes and overall somber mood are extremely effective. It's obviously influenced by Arthur Miller's The Crucible, but The Witch's about-face satanic ending startles like no other.

7. My Name Is Doris: Sally Field was Oscar snubbed for Best Actress in one of her greatest performances. This kooky little film came out too early in the year and got left behind. Regardless, it's the real charmer of 2016. Don't miss it.

6. Hacksaw Ridge: War films are often stoic and unsentimental but this film, lead by a beautiful performance by Andrew Garfield, had real heart. Mel Gibson's masterful directing is top-drawer here. It is great to see more southern films breaking into the mainstream.

5. Lion: Lion roars for sure. It's true story is absolutely absorbing. Filled with great adolescent performances, Dev Petal deserves an Oscar for his heart-tugging portrayal. Keep a box of hankies handy for the ending.

4. La La Land: Yes. It is one of the best films of the year and if it wins the Oscar for Best Picture it cannot be argued that it was the most talked about film. As history shows (usually war being the reason), this musical connected with the desired high spirits of audience members in a troublesome election year. Not since Easy A has Emma Stone been so fantastic. She's a Julia Roberts type that is best loved in sweetheart roles.

3. Hidden Figures: Easily a winner. From start till finish. Hidden Figures never fails to hold our attention. This one is a modern-day classic. Taraji P. Henson was robbed of an Oscar nomination for Best Actress in one of the years best performances. 

2. Sing Street: With La La Land getting all the gory, this cool 1980's influenced film is the real musical of the year. Sank by an ill-timed release, Sing Street deserved to be an underdog contender--The fact that it wasn't Oscar nominated for Best Song is mind-blowing. It is reminiscent of the also snubbed film Pride. It's about time for the underdog be noticed. 

1. Moonlight: One of the most beautiful films to come out in a long-long time and is certainly on par with the groundbreaking film Boyhood that sadly lost the Oscar to the lesser film Birdman. Given that comparison (and even though Moonlight has its supporters) don't be surprised if it doesn't win the Oscar for Best Picture even though it more than deserves to. The acting, directing, and romantic story--with important subject matter rarely seen in film, all make Moonlight shine! It's a masterpiece.

FILM REVIEW: Blue Is The Warmest Color

I had neglected to see the French film Blue Is The Warmest Color since its premiere at Cannes Film Festival in 2013. It intrigued me with its artistic controversy, so much so that it never left Kai's List of I'll See It One Day's. Just a few minutes in, I took a sigh of relief knowing that it was going to surpass the much-talked-about graphic sex scenes with tender storytelling.

Director Abdellatif Kechiche's film sinks deep into realism which no doubt took its toll on both actresses. The romantic, coming-out story revolves around 17 year-old Adèle (played by Adèle Exarchopoulos). During the trials of discovering herself amidst her judgemental high school friends and boyfriend, she passes a short blue-haired young woman named Emma (played by Léa Seydoux) on the street and from there their love story begins.

The film clocks in at nearly 3 hours, being marketed as chapter 1 and 2. One can only suspect (or hope, rather) that there's more in store perhaps years down the road--following in the footsteps of the beautiful Before Sunrise series or the criminally over-looked film Boyhood. That said, Kechiche's pacing is unusual at times lingering too long on the children Adèle teaches in class and curious close-ups of characters devouring food. However, his persistent camera allows for some very emotional moments. The infamous sex scenes are erotic and beautiful. It is strange to note that, allegedly, both actresses were subject to Kechiche's grueling direction. Leaving to question--how far is too far in order to coax intimacy and realism from your actors?

Kechiche's cinematic boldness works--as it made us feel extremely close to both character's relationship. It has to be said, though, that the aftermath of the beautiful juxtaposition of two dinners, where both girls meet each others parents (one open, the other closeted), was side-stepped. Suddenly, the two girls are living together with no explanation at all. Normally such a peculiar blunder couldn't be overlooked but given the intense rawness of both of these actresses we understand the story is more about their ability to sustain themselves with each other not everyone else. There is a transcendent scene where Adèle first experiences the heart-stuttering, high-energy of a gay night club. We suspect all along she was searching for Emma--who arrives with crackling seduction.

Both actresses should've been Oscar nominated for Best Actress and Supporting Actress. With such gutting performances, what more could the Academy be looking for? It is hard to say who is better. Perhaps that's why Cannes' Jury President Steven Spielberg and panel (Nicole Kidman & Ang Lee) startled by awarding the coveted Palme d’Or to both actresses.

We follow Exarchopoulos' exploration of sexuality with other men to the point of frustration. A path that wasn't examined very closely but rather felt through a grade-A performance. She cries a lot--a place in youth most of us have been before we grow stronger and life's tears lessen. However, Seydoux, as the struggling artist, is just as impressive, if not more so, with a cagey heartbreak that is penetrating and unforgiving.

I loved the sporadic splashes of blue in the film, which represented sadness and hope. Especially when Adèle strolls into Emma's art gallery opening in a last-ditch effort--electric blue dress and all. But like Emma's once youthful blue hair-dye, certain parts of ourselves--our trust, our vulnerability, our naive energy, our level of forgiveness--our relationships in general unfortunately fade with time. We never forget them though. 

SCORE: 9

By: Kai Elijah Hamilton
of Metallic Pink Popcorn and Mannequin Warehouse Productions 

1/16/17