Tagged 2016

Swiss Army Man (Kwan & Scheinert, 2016)

Whoever came up with this premise deserves a raise and more chances to pitch ideas, because I found this film refreshingly original. A breath of fresh air with some gassy odours mixed in, so to speak.

Kate Plays Christine (Greene, 2016)

Kate Plays Christine is all about the ethical concerns of this kind of memorialising. It wonders aloud why Christine Chubbuck mattered if not for the way she died, and the answers are hard to come by.

Captain Fantastic (Ross, 2016)

This is one of those films that’s quirky for the sake of being quirky, with a family of survivalists subsisting in a forest and living something of a utopian lifestyle where questions are always answered, debates encouraged, classic literature consumed, and campfire music-making a mainstay.

Indignation (Schamus, 2016)

Indignation is handsomely mounted, an old-school picture without pretensions of being anything else, and still it breathes and heaves with all the pinpoint accuracy and dribbling irony of Roth’s pen.

The Eyes of My Mother (Pesce, 2016)

Goodness is this film gruesome. There’s death, there’s torture, there’s kidnapping, there’s psychosis—and it’s all elegantly framed and put together with a tastefulness that seems at odds with the story.

13th (DuVernay, 2016)

Ava DuVernay’s 13th looks and feels like something criminology professors will be screening to their students in perpetuity, yet why should that matter in the end?

Julieta (Almodóvar, 2016)

I really do admire the care and attention Almodóvar put into this, as well as the fantastic acting from the two leads (especially Suárez, whose face is nigh-unforgettable).

Midnight Special (Nichols, 2016)

Midnight Special is trying to tell something more ambitious in scope, yet Nichols doesn’t go out of his way to make it ambitious. And so you’re left watching it, maybe pleasantly, maybe impatiently; when the end comes, it neither jolts nor astounds. It leaves nary a mark.