Albums of the month: March

 

 

Sea Change by Beck (2002)
*1001 Albums You Must Hear Before You Die*
With a deliberately quieter sound featuring orchestral flourishes, a big departure from the funkiness of 1999’s Midnite Vultures. Going for an introspective, more serious approach than previous albums, I’ve heard Sea Change described as the definitive break-up album. Certainly melancholy with lyrics such as “And the sun don’t shine, even when its day”. Beck is at his most vulnerable, using the songs as self-therapy, telling the listener about his loneliness and failed relationship, and in turn we can empathize and maybe relate. Lost Cause and Guess I’m Doing Fine are Beck classics. I’ve only listened to a third of his discography (as of March 2018) but this feels like Beck’s masterpiece. Whether you can handle the sadness is subjective. Certainly need to be in the right mood and I’d only listen to it sparingly.
9/10

 

 

 

 

Midnite Vultures by Beck (1999)
He throws everything but the kitchen sink at you with a wealth of playful sounds and studio trickery. Very funky, including moments of rap and dance. The production is what stands out the most and it’s really fun to listen to. Part of the enjoyment are the bizarre, funny lyrics, although you could argue they border on nonsense. Apparently Beck admitted to NME that his writing sometimes is made up on the spot.
8/10

 

 

 

The Information by Beck (2006)
Has enjoyable moments, yet patchier and more disposable than Beck’s best albums. The LP runs for 61 minutes and would have benefited from being edited down. Strange Apparition channels the classic sound of The Rolling Stones. Cellphone’s Dead is my favorite.
5/10

 

 

 

 

Watermark by Enya (1988)
A beautiful, soothing New Age album that is easy to listen to. From a time when Enya was at her peak. The singles are great while the opening piano-driven Watermark is a personal favorite.
River is a lesser version of Storms In Africa and Miss Clare Remembers is similar to the superior title track. But minor complaints.
9/10

 

 

 

 

Shepherd Moons by Enya (1991)
I can’t be objective. Reminds me of childhood car journeys with the family. Was played often on the tape deck. I couldn’t tell you a single lyric. It’s 100% mood. The music takes me back to a happy time when there was less pressure and responsibility. I rank Shepherd Moons in my top 5 albums of all-time.
10/10

 

 

 

 

 

Collection by The Rankin Family (1996)
There’s comfort associated with The Rankin Family, a Canadian country/folk group who peaked commercially in the early 90s. This is a greatest hits. My sister used to play their music at home. Listening to these songs brings out a feeling in me that she is still in the next room. Probably a love it or loathe it band, as the vocal is not for everyone. I haven’t listened to their studio albums and I’m curious to do so.
10/10

 

 

 

 

Eagles by Eagles (1972)
*1001 Albums You Must Hear Before You Die*
Ranked number 368 on Rolling Stone magazine’s list of the 500 greatest albums of all time. If you are going to try out The Eagles, I guess their debut album is the place to start. Similarities in the Yacht Rock sound The Doobie Brothers were going for the 70s, but a bit more country rock based.
Contains the classic Take It Easy, with its catchy chorus, vocal harmonies, and masculine lyrics, about the male libido. The other hit Witchy Woman I prefer for the guitar riff and lyrics referencing the muse/wife of The Great Gatsby writer F. Scott Fitzgerald, Zelda Fitzgerald, whose biography Henley was reading while writing the song. Zelda was known as a wild, bewitching and mesmerizing “Flapper” of the Jazz Age and the Roaring Twenties.
Chug All Night has some fine guitar work, the sexualized lyrics continue what Take It Easy began. The second half of the album is weaker although does feature Peaceful Easy Feeling which is one of the band’s most popular songs. Earlybird is very apropos given the band’s name, with bird references and sounds.
To sum up, I can’t fault the musicianship and harmonies, but the lyrics are low-minded and boring, focusing on lust. Hopefully their next albums refine the writing.
6.5/10

 

 

 

 

Desperado by Eagles (1973)
On the Eagles second album they continue the laid-back country rock formula but there’s variation, experimenting with various country styles.  Starts promisingly with Doolin-Dalton. Not keen on Twenty-One and Out of Control which remind me of what I disliked about the debut album. Tequila Sunrise and Desperado are Eagles classics, both melancholy ballads. Tequila Sunrise was a popular drink at the time and the lyrics are about drinking to forget and to give you courage. Desperado conjures images of giving up the single life and settling down, containing the iconic closing lyric “You better let somebody love you, before it’s too late”, made even more distinctive with Johnny Cash’s cover. Certain Kind of Fool is the album’s hidden gem, while Outlaw Man is a song referencing the wild west but could represent the Eagles life style as travelling musicians. In fact the entire disc might be viewed as a concept album with the Eagles comparing themselves to outlaws, such as Bill Doolin and Bill Dalton(in the opening and closing tracks). Bitter Creek is elevated by the vocal harmonies.
8/10

 

 

 

Hotel California by Eagles (1976)
*1001 Albums You Must Hear Before You Die*
Sometimes labelled Pop Rock, Country Rock or Soft Rock. To me, it’s closer to the rock opera sound of The Who’s 1973 album Quadrophenia. The bigger production I think suits the Eagles. Considered one of the best-selling and most divisive albums in rock history. Critics accused them of being too polished and the similarity to 1969’s We Used To Know by Jethro Tull is obvious.
Songs like Hotel California and the uptempo Life in the Fast Lane are ideal for car journeys, as is the whole album. The title track is arguably the Eagles signature song with its unforgettable chorus and guitar duel between Don Felder and Joe Walsh. Another Eagles classic is New Kid in Town, arguably about anyone who is new in town, for the band could be about being replaced in the music industry. The lyrics to Wasted Time and Try and Love Again have a relatableness and timelessness. The closer The Last Resort, intended or not, actually makes me feel like I’m in paradise, especially the ending. A song about mankind destroying every place he/she finds beautiful.
Some interpret the record as a statement about the times, the spirit of peace and love was turning into cynical hedonism, a decline into materialism and decadence. Henley said about the album: “We were all middle-class kids from the Midwest,” he told Rolling Stone. “Hotel California was our interpretation of the high life in Los Angeles.” In 1995, he referred to the record as being about a “loss of innocence”.
9/10

 

 

 

 

Trans Europa Express by Kraftwerk (1977)
*1001 Albums You Must Hear Before You Die*
I like this album but I’m not quite loving it. There’s no denying Kraftwerk were innovative in the field of electronic music and influenced various artists right up to this day, paving the way for synthpop in the 80s. The synthesizer-driven title track Trans Europa Express is well done, but quite repetitive, and too similar to the next track Metal on Metal. I prefer opener Europe Endless. The themes of the songs include celebrations of the European railway service and meditations on the disparities between reality and appearance-in particular the tracks The Hall of Mirrors and Showroom Dummies.
7/10

 

 

 

 

 

Boarding House Reach by Jack White (2018)
Probably the most polarizing album of 2018 so far. Many albums in the streaming age lack ambition and are flavor of the month. Nice for a change to listen to a new release that has actual aspirations to be a classic.
I admire his willingness to go in weird, experimental directions, even if not all of it hits the mark. Previously he was hesitant about manipulating with technology in the studio but now accepts the challenge.
Connected by Love has a strong melody and a candidate for song of the year. Why Walk a Dog? is affecting with its plea for animal rights. Corporation simply annoys me due to the over-the-top vocal performance. On Abulia and Akrasia he changes his accent to become almost unrecognizable. Hypermisophoniac mixes futuristic sounds with traditional instrumentals. Ice Station Zebra deals with artistic freedom which White embodies by recording, writing, mixing, and releasing the album on his own label. Over and Over and Over has energy and a big guitar riff, the title is comparable to his 2012 solo song On and On and On. Everything You’ve Ever Learned is a powerful, philosophical spoken-word interlude even though by the end, the words get drowned out (deliberately?) by the instrumentation. Respect Commander begins as a drum machine concoction with the singer coming in half way with guitar and vocal, expressing thoughts on the value of respect in a relationship. Get In The Mind Shaft sounds like White has taken a time machine back to his childhood with 80s synths and a memory about discovering the piano. What’s Done Is Done is reminiscent of his White Stripes days and stands out for its darkly funny conclusion. Closer Humoresque is the most self-indulgent, rewriting  obscure lyrics by Al Capone which White bought at an auction.
8/10

 

 

 

 

Record by Tracey Thorn (2018)
I’ve enjoyed her voice in the past, the Massive Attack collaborations, and also her underrated 2010 solo album Love and Its Opposite. Not yet explored Thorn’s Everything but the Girl albums. I was willing to give the new LP a chance based on good reviews I read. Have to say the humor others took note of I missed, I think her biggest talent is as a singer, while her writing on this is good but not great. Going for an 80s pop sound, the single Queen disappointed for its bland lyrics. Second single Sister is arguably the album’s best moment with a layered production and guest appearance from Corinne Bailey Rae. Two non-singles stand out for their sadness and autobiographical nature, Face (trying to put a lover behind you), and Smoke (a homage to London and her family). The closer Dancefloor is a nostalgia-tinged tribute to the joy of the dance floor. If you’ve followed her entire career the record will likely have a bigger impact, as Thorn (now 55) is looking back over her life. I didn’t instantly enjoy the music, began to click on second or third listen.
7/10

 

 

 

 

What do you think? As always, comments are welcome

 

 

Question: Why do we celebrate Easter?

 

 

I thought I’d take a break from the usual music and film writings to talk about Easter and what it means to me.  The joy of eating chocolate eggs is not really the point, though I admit my family used to hide smalls eggs in the garden which was fun.

I rarely go to Church yet I try and be kind towards others. While miracles are hard to rationalize with today’s science, I appreciate the importance of the resurrection as an allegory. Jesus is an inspiring example to all for his forgiveness of those who wronged him. He suffered on the cross, but had the strength to forgive. We need more anti-violence in the face of adversity and he personifies that image.

The Easter story can be a comfort to isolated inmates at this time of year, the depth of God’s mercy reaches those who have despaired of ever finding redemption. Jesus is ready to accept them despite their mistakes and hopefully in time the inmates (or anyone) can forgive themselves.

Jesus’ forgiveness of “the kiss of Judas” and his murderers reminds us that we can forgive others too, even those who betrayed us. And that we should try and tolerate rather than dismiss someone who is different. The fish-man in The Shape of Water (2017) could be compared to Jesus, both persecuted and misunderstood.

To return to the chocolate eggs I mentioned, it isn’t about the chocolate (okay I like chocolate), but about what it represents as new beginnings and new life. I’m in no way an expert on religion so maybe you have a better understanding of Easter. I didn’t even go into The Last Supper which is also part of the story where Jesus predicts his betrayal by one of the Apostles. In fact you could say God “planned” the series of events so we could have this story to learn from in future.  It’s said his dying was Jesus’ reason for living on earth.
Lastly, Happy Easter!

How do you celebrate Easter, and what message(s) do you take from the story of the resurrection?

ps Back to regular posting in a few days.

Great music choices in film #4

 

 

 

You can’t do a series of great music choices in film without including an example from a John Hughes movie. If you still haven’t seen the film, the final scene is spoilery. The Breakfast Club (1985) is a quintessential 80s classic, which ends with one of the most uplifting and iconic songs of the decade, giving you a sense of hope, where you want to punch the air in the same way the character does. They just don’t make music like this anymore. Don’t You (Forget About Me) by Simple Minds is the group’s best known hit. Not everyone is a fan mind you. Here’s the clip:

 

 

 

 

 

 

What do you think? As always, comments are welcome

Top 50 songs of 2017 countdown (#25-#21)

 

 

 

21.) Tonya Harding by Sufjan Stevens
(Sufjan Stevens was so prolific in 2017 that I couldn’t even keep up! The oscar-nominated Mystery of Love is affecting, and so is Visions of Gideon, but to me both work best in the context of Call Me By Your Name. Instead I’m going with an unused song that was rejected for the I, Tonya soundtrack. I can’t think why as it gives me goosebumps)

 

 

 

22.) Love by Lana Del Rey
(The lead single is for me the best, and most chill-inducing on her latest album. Has an ambitious video set in outer space!)

 

 

 

 

23.) Solomon’s Key by Mausoleum Gate
(Heavy metal song from Finland. Has a great riff and is pretty retro in its approach)

 

 

 

 

24.) Pa’lante by Hurray For The Riff Raff
(Powerful, insistent voice that can almost bring me to tears. By a female artist from New Orleans I had never heard of before. As Said the Gramophone noted in their Top 100 of 2017: “It’s an anthem for carrying on, persisting, from the barrios of Puerto Rico to the slums of New York. “Pa’lante” (short for “para adelante”: “onward” or “forward”)

 

 

 

25.)  Tinseltown Swimming in Blood by Destroyer
(I loved the saxophone and trumpet sections on Destroyer’s 2011 album Kaputt (still my #1 album of the 2010s). This new single features saxophone again and adds a New Order vibe with the guitars and sound effects)

 

 

 

 

What do you think? As always, comments are welcome

Top 20 films of 2016 + my awards + links

 

 

Finally I’ve watched most of the films from 2016 I wanted to, consequently the delayed post! In case you are wondering, I’m going by IMDb year, which is the world premiere. I liked De Palma (documentary), Louder Than Bombs, Victoria, Land of Mine, The Lobster, Son of Saul and Knight of Cups. However, those are listed as 2015 on IMDb.
A year in which I disagreed a lot with the Oscars about what are the best films and performances although I do have four Best Picture nominees in the top 20. I’m allowing mini-series, feature documentaries and short films. At the end of the post, I’ve linked to year-end lists from other movie bloggers, which I find interesting to compare with, and also included my own personal awards for various categories. I’m not going to rank the top 20 as it’s a bit silly to say one is marginally better than another. The list would keep changing on every rewatch, but I did group them in top 5s, according to Foreign and English language. Hope I can inspire you to add something to your watchlist. Let’s get to it!

 

 

I, Daniel Blake (Ken Loach)
You know what you are going to get politically with a Ken Loach film, it’s no secret he is left wing and fights (much like Charles Dickens did) the cause of the lower classes. His latest, which is rumored to be his last, could be Loach’s most insistent and powerful, which addresses how poverty is also becoming an issue for the middle class and that the structure of the welfare system in the UK needs simplifying and humanizing. Is it manipulative filmmaking, provoking a reaction from the audience? Probably. But even so, I think it’s one of the most important films of this decade.

 

 

 

 

 

 

 

The Neon Demon (Nicolas Winding Refn)
I love the colors, the Cliff Martinez score, and overall atmosphere. My god that ending. I’ve never seen anything like that before in my life. On one level I admire the imagination and guts, on another level I felt sick to the stomach which never usually happens to me. I can’t erase those images from my mind and wasn’t able to sleep properly that same night. If a movie can provoke that kind of reaction it must have some merit. A cautionary tale about modelling and fame seeking.

 

 

 

 

 

 

 

O.J.: Made in America (TV Mini-series) (Ezra Edelman)
Five part mini-series. With only a casual interest in OJ Simpson, many of the facts about his life were new to me. The more I watched, the less I liked the guy. However the mini-series is completely engrossing and I couldn’t stop watching. I admire him as an athlete and his team effort humility deserves respect.
Once he retired as a pro American football player, he changed. He became a Jekyll and Hyde character who was charming in public, yet as a 30-year-old left his wife and children for an 18 year old model, and later beat up his new wife multiple times. He was a savvy business man who took advantage of his fame by making money from endorsements, a movie career, and other ventures, but also was involved in criminal activity and behaved like he was above the law.
The murder trial is obviously given a lot of attention and key moments are re-examined. The documentary did a good job of presenting racial tensions in America, which still resonate today.

 

 

 

 

 

 

 

 

 

 

Der kommer en dag (aka The Day Will Come) (Jesper W. Nielsen)
Best Danish film of 2016. Approach with caution, not for the squeamish. A compelling story based on actual events. I know I’m being manipulated into feeling pity for the children and hatred towards the school staff, yet it’s still very effective. The acting is superb and the characters stayed with me. This type of drama has been done before, but it’s still a vital historical document for future generations to learn from.

 

 

 

 

 

 

 

 

 

Zootopia (multiple directors)
Academy Award winner for Best Animated Feature. A Disney adventure with elements from the buddy cop genre. Cute animals and quite funny in places. There’s a clever allegory about the pitfalls of discrimination, which is eerily topical considering Donald Trump’s anti-Muslim remarks.
In Zootopia, the system is not the problem, it’s the individuals who are the problem.
Favorite quote:
”If the world is only going to see a fox as shifty and untrustworthy there’s no point in trying to be anything else” ”You are so much more than that”

 

 

 

 

 

Hell or High Water (David Mackenzie)
The Texas accents meant I didn’t understand everything, which may have impacted my rating. The story makes you care about the bank robbers, who have not been dealt a good hand in life. If you just want the thrills of the heists there’s that, but if you look a little deeper there is substance about small towns, capitalism, and hispanic reactions to racism. Besides that, there’s also a good amount of humor, especially the scenes with the grumpy old waitress and Jesus preacher on TV in the motel. Yet at the same time, a melancholy to the humor because it comes from a place of unhappiness.

 

 

 

 

 

Moonlight (Barry Jenkins)
Good performances that say a lot without the use of words. There’s a restraint reminiscent of European cinema. The more I think about Moonlight, the more it grows on me. I don’t mind what color the actors are, as long as there’s a quality story, and thankfully there is. You can empathize with the main character’s struggles. You might argue the film is too manipulative in encouraging us to feel pity for Chiron.
It’s debatable if the main character was too elusive, but could also be acknowledged as a strength by allowing the audience to contemplate their own injustice through a thinly-defined boy. And of course Chiron is written as a withdrawn character on the page. A quality the film has is letting the supporting characters have layers. You can be a drug dealer(Juan) or a drug user(the mother), yet that is not all you amount to. Interesting the adult Chiron takes on the persona of Juan whom he met as a child. Could be because he perceives Juan as a hero/father-figure, yet in the back of his mind he must realize the consequences of drug-taking due to his mother’s addiction. An odd choice of job given his past. The third act is the most captivating and André Holland as the adult Kevin delivered my favorite performance in the film, he made Chiron feel comfortable. Moonlight’s messages about tolerance of difference, acceptance of yourself, and the need for compassion towards the marginalized are significant. Not just because of Trump’s recent intolerance towards foreigners, but always.
Favorite quotes: “You ain’t got to love me, but you gonna know that I love you, do you hear Chiron?”
”I wasn’t never worth shit. Never did anything I actually wanted to do, all I could do was what other folks thought I should do. I wasn’t never myself.”

 

 

 

 

 

Toni Erdmann (Maren Ade)
Very well-acted. Peter Simonischek and Sandra Hüller I had never seen before, and both are given the role of a lifetime as Toni and Ines. It’s not laugh-out-loud, but there are moments that are amusing and emotive.
A compelling depiction of a father-daughter relationship, she is grownup, working abroad as a business woman, he misses her. There’s something here for the parent and for the child to take notice of and be reminded of. Dependency on family, being embarrassed by a parent, and becoming independent we can all relate to. Parents can struggle to let go and children can find it tough to find their own way while also trying to free themselves from parental authority.
The doubters could argue it’s overlong and you can sum up the essence of the story in a few words, but the emotional impact for the audience only comes from spending time with these characters.
There are surprising scenes, but also some repetition in the second half. There’s no doubt a reason for the distance between Ines and Toni which we must interpret.

 

 

 

 

 

American Honey (Andrea Arnold)
The door to door encounters are entertaining, and so is her adventure with the cowboys, and the truck driver scene. Wants to be an ‘On The Road’ for the 21st Century, and sporadically it’s great. Less compelling when the traveling sales crew are gathered, although those parts have strong moments too. The last scene elevates the film. Sasha Lane delivers one of the finest debut performances in recent memory and by the end of the film you feel you have been on a journey with her. Unfairly snubbed for Best Actress by the Academy.  Say what you will about Shia LaBeouf’s personal life, in American Honey he shines in a supporting role. I love the use of music and to me is the best compilation soundtrack of 2016 (tied with the soundtrack for Everybody Wants Some!! )

 

 

 

 

 

Hunt for the Wilderpeople (Taika Waititi)

An unlikely duo (Sam Neil, and newcomer Julian Dennison) venture into the wilderness. A New Zealand adventure-comedy that has an 80s innocence and characters you care about. Pure fun without the need for making the story overly gimmicky. The two leads have good chemistry and further proof that the Kiwi director is a talent to look out for. Also enjoyed Taika Waititi’s previous film, vampire mockumentary What We Do in the Shadows (2014).

 

 

 

 

 

 

Certain Women (Kelly Reichardt)
Based on short stories by Maile Meloy, I put Certain Women (particularly the third chapter) up there with Wendy & Lucy (2008) as the director’s best.
In the first chapter, Laura Dern (who seems to be starring in everything at the minute) plays a lawyer, Laura, who is too nice and finds it hard to say no. This leads to her facing awkward situations with a client. The film questions her professionalism and whether what Laura is doing is right or wrong. Specifically that she is a female lawyer.
The second chapter is the weakest of the three, centering on a family buying sandstone.  I was struck by the wave Michelle Williams gives to the man in the window and his reluctance to respond. Perhaps the old timer doesn’t trust women. Perhaps there are other reasons.
The third chapter, and most memorable, sees Kristen Stewart as a commuting teacher, who after an evening class goes to a diner with one of the class attendants (a rancher). Lily Gladstone delivers one of my favorite supporting performance of the year as the isolated rancher. This last chapter is also about Stewart’s circumstances, trying to rise above what is common among her family who have minimum wage jobs.

 

 

 

 

 

 

Lost in Paris (Gordon & Abel)
Among Alex’s 15 Favourite Films of the year. Dominique Abel and Fiona Gordon both direct and star in this under-appreciated light French/English comedy that is genuinely funny and charming. Put a smile on my face, with nods to the films of Jacques Tati and Chaplin. Possibly too whimsical for some viewers. I connected with the visual humor.

 

 

 

 

 

 

 

 

Arrival (Denis Villeneuve)
Based on the short story Story of Your Life by Ted Chiang. My initial reaction was this sci-fi starts well, but loses its way in the last act. Good mainstream entertainment and I was glued to the screen while it lasted. I disliked the coldness of Sicario, and there was definitely more warmth and humor in Arrival. The pacifist message of listening and understanding is important but also a bit preachy and corny. The motherhood theme had more depth.

 

 

 

 

 

 

Fences (Denzel Washington)
The screenplay contains some of the best written dialogue I’ve heard in a long time, even if it isn’t exactly new (adapted from the 1985 original). The actors sink into their roles really well though I wasn’t a huge fan of how they yell the lines which becomes a bit jarring for two hours straight. I had to take breaks every 30 minutes. Sure, it’s really just a filmed play but thanks to the oscar buzz, August Wilson’s Pulitzer Prize-winning Fences is able to reach a larger audience who don’t go to the theatre. Worth seeing multiple times for the dialogue and performances.
Favorite quote: “I know what you mean, that’s all they care about that money, they don’t care about what’s right”

 

 

 

 

 

 

 

Elle (Paul Verhoeven)
A return to form for director Paul Verhoeven. Elle is an adaptation of Philippe Djian’s novel ‘Oh…’ A mix of thriller and character study. I could see people being repulsed because (as with 2002’s Irréversible) there are uncomfortable scenes of rape. Isabelle Huppert has a history of playing complex, damaged, difficult people, and this is no exception. She is loving in some moments, and compassionless and unpredictable in others, as we all are.
Verhoeven seems interested in how we perceive a victim. He wants us to empathize and yet makes her do unlikeable acts. Not all victims are likeable, but she remains fascinating for her elusiveness and morally dubious actions. Maybe her agenda was to refuse to be a victim. I’m not sure what role her career in the business world played, although it’s probable she got her confidence from her job.
Her erratic behavior, and refusal to involve the police and press was probably due to a troubled past. The ending is the weakest part and too tidy, real life rarely works out that way, but the film is thought-provoking and keeps you on edge. As another reviewer wrote: “you’re not sure who you’re rooting for”.

 

 

 

 

 

 

Lemonade (HBO TV special/visual album) (multiple directors)
Hold Up with Beyoncé in the lemonade dress and holding a baseball bat lifted the song to new heights. Her latest album gains so much from the visuals. Through creativity,  the singer is coming to terms with her problems and her past. Specifically infidelity, but also other issues such as racial tensions.
As a commenter noted: Lemonade is worth many re-watches and there’s something new to pick up every time.
Quotes:
”Where do you go, when you go quiet”
”All the love I’ve been giving goes unnoticed. It’s just floating in the air”

 

The Love Witch (Anna Biller)
Recommended by The Vern.  Unapologetically retrofies the exploitation films of 60s/70s, the lead looks almost identical to Italian giallo actress Edwige Fenech. I think manages to holds its own next to the movies it homages. Telling a story with gender commentary, about a witch who seeks true love. Using a cast of fairly unknown actors, I love the highly stylized production design which shows affection towards the films it was influenced by. A little long at 120 minutes, and some scenes feel self-serving, but worth your time. I think especially a female audience will connect with main character Elaine, whose emotions for the most part are rational and relatable. She is a flirty femme fatale, yet there’s a sense of someone lost and trying to find a companion. Sex appears to be a means towards love, but the men she meets seemingly can’t deal with the deeper emotions. Must be frustrating to be a woman in that predicament. Perhaps Elaine is just trying too hard to find a boyfriend or looking in the wrong places.

 

 

 

 

 

 

 

 

 

 

 

 

Ne m’abandonne pas (aka Don’t Leave Me) (TV Movie (Xavier Durringer)
An above-average and timely French made-for-TV movie. Brainwashing is the main theme, with a naive yet intelligent daughter caught between her family and loyalty to a boyfriend who is part of the terrorist organisation IS.
The focus is on her parents reaction and it’s quite disturbing to witness their teenage daughter’s rebellion and passion. At one point she rescues an item from a burning fire place, with no concern for the consequences. A captivating watch, dealing with important issues.

 

 

 

 

It’s Only the End of the World (Xavier Dolan)
Winner of the Grand Prix at Cannes. Family drama, adapted by Dolan from a play by Jean-Luc Lagarce. I was skeptical because of the mixed reviews, the low expectations actually are a blessing. I don’t understand why it’s at just 44% on the tomatometer. Held my interest throughout. I love the music video flourishes, use of colors, and close-ups. The character dynamics are intriguing. Antoine’s (Vincent Cassel) hostility and bullying is inappropriate, clearly he has been allowed to get away with this behavior for too long with no consequences. The only excuse he has is the hot weather is driving him nuts. Perhaps the parenting was too soft and his close-ones not firm enough. You understand why Louis got the hell out of Dodge 12 years ago. Yet you can also see it from the family’s point of view that Louis has shunned them for years. Like a Hemingway short story, there are things unsaid beneath the surface.
Favorite quote: ”What if I don’t only have words to answer? What if I have words to say”

 

 

 

 

 

 

The Night Manager (TV Mini-series) (Susanne Bier)
Based on a 1993 espionage novel by John Le Carré, I watched an hourly episode over six weeks, and each Sunday I looked forward to the next installment. Of course now it’s possible to binge watch. Very entertaining and and suspenseful, a return to form for Susanne Bier after a couple of so-so films. She won an Emmy in Outstanding Directing. Hugh Laurie plays against type as the ruthless and sometimes charming arms dealer, while Tom Hiddleston also convinces as the Bond-like night manager. The actors are on fine form, with Olivia Colman also delivering a strong supporting role.
The message of flooding the world with arms and the weapon industry making a fortune is still highly relevant, which John Le Carré talked about on the red carpet. The author also mentions it’s a long book which benefited from the long form.

 

 

 

 

Good but just missed my top 20:
Julieta (Pedro Almodóvar)
The Salesman (Asghar Farhadi)
The Handmaiden (Park Chan-wook)
Nocturnal Animals (Tom Ford)
Silence (Martin Scorsese)
Lady Macbeth (William Oldroyd)
Christine (Antonio Campos)
Manchester by the Sea (Kenneth Lonergan)
The Red Turtle (Michael Dudok de Wit)
Indignation (James Schamus)
A Quiet Passion (Terence Davies)
Raw (Julia Ducournau)
Life, Animated (documentary) (Roger Ross Williams)
In the Blood (Rasmus Heisterberg)
Sing Street (John Carney)
David Brent: Life on the Road (Ricky Gervais)

 

 

 

Overhyped/overpraised by critics:
La La Land (Damien Chazelle)
Love & Friendship (Whit Stillman)
The Witch (Robert Eggers)
Your Name (Makoto Shinkai)
The Nice Guys (Shane Black)
Everybody Wants Some!! (Richard Linklater)
Rogue One: A Star Wars Story (Gareth Edwards)
One More Time with Feeling (documentary) (Andrew Dominik)
Captain Fantastic (Matt Ross)
Things to Come (Mia Hansen-Løve)

 

 

 

My 2016 awards go to:

 

Best English language Film: 
I, Daniel Blake (winner)
The Neon Demon
Moonlight
Certain Women
Hunt for the Wilderpeople

 

 

Best Foreign Language Film:
Toni Erdmann (winner)
Der kommer en dag
Elle
Lost in Paris (French/English)
It’s Only the End of the World
#6: The Salesman

 

 

Best Lead Performance (Male)
Peter Simonischek (Toni Erdmann) (winner)
Dave Johns (I, Daniel Blake)
Denzel Washington (Fences)
Casey Affleck (Manchester by the Sea)
Andrew Garfield (Silence)

 

 

Best Lead Performance (Female)
Isabelle Huppert (Elle) (winner)
Sônia Braga (Aquarius)
Sasha Lane (American Honey)
Florence Pugh (Lady Macbeth)
Rebecca Hall (Christine)
#6: Amy Adams (Arrival)

 

 

Best Supporting Performance (Male)
André Holland (adult Kevin) (Moonlight) (winner)
Michael Shannon (Nocturnal Animals)
Tom Bennett (Love & Friendship)
Ben Foster (Hell or High Water)
Shia LaBeouf (American Honey)

 

 

Best Supporting Performance (Female)
Lily Gladstone (Certain Women) (winner)
Viola Davis (Fences)
Hayley Squires (I, Daniel Blake)
Naomie Harris (Moonlight)
Sandra Hüller (Toni Erdmann) (arguably lead but can’t find space there)

 

 

 

Best documentary:
O.J.: Made in America (winner)
Life, Animated
50 Years of Star Trek
From Bedrooms to Billions: The Amiga Years
Supersonic (Oasis)
*(I still haven’t seen 13th which likely deserves to be here)

 

 

 

Original song (written for a film):
Another Day of Sun (La La Land) (winner)
City of Stars (La La Land)
Try Everything by Shakira (Zootopia)
A Beautiful Sea by Ferdia Walsh Peelo (Sing Street)
Can’t Stop The Feeling by Justin Timberlake (Trolls)

 

 

 

What do my fellow movie bloggers think of the year in film? Here are their best of 2016 lists:
The Vern at The Verns Video Vortex
Alex at And So It Begins
Sati at Cinematic Corner
Ruth at Flixchatter
Alex at Boycotting Trends
Steven at Surrender to the Void
Josh at Cinematic Spectacle 
Jordan at Epileptic Moondancer 
Keith at Keith and the movies 
Wendell at Dell on Movies
Niels at Blog of Big Ideas
JWFOREVA at Film and Nuance
Mark at Fast Film Reviews
Zach at Fade to Zach
Courtney at On the Screen Reviews
Jo at scribbles of stage and screen
If I overlooked your list, send me the link, and I’ll add here

 

 

 

What do you think? As always, comments are welcome.