In the calendar year of 2016, I visited the cinema 38 times. While I am far from an established critic, I, like any other cinephile, form strong opinions of the films I watch. I hereby present a top 10 list of the movies I watched this year.
For a motion picture to be eligible for inclusion on this list, it must meet all three of the following criteria: it must be a feature-length film in any language, it must be released in Hong Kong cinemas in the calendar year of 2016 (limited engagements do not count), and it must be rated I, IIA, or IIB (as a minor, I am unable to attend screenings of films rated III).
#10: Brooklyn
Directed by John Crowley
Written by Nick Hornby
Brooklyn is a fantastic example of how a film does not need an overblown storyline with bombastic visuals to succeed. While the story merely presents a basic and unoriginal conflict, its brilliant execution through the well-written, structured screenplay makes the movie an unforgettable, charming delight to watch. The film, modest and quiet, is full of small, intimate character moments, and relies on its actor’s performances to succeed; thankfully, the entire cast delivers, especially Saoirse Ronan, who captures her character’s inner turmoil effortlessly and perfectly.
#9: Fantastic Beasts and Where to Find Them
Directed by David Yates
Written by J. K. Rowling
Fantastic Beasts is a welcome return to J. K. Rowling’s ever-wonderful Wizarding World, with a screenplay penned by none other than Rowling herself. Her first attempt at screenwriting is unpolished and unfocused – her script does not give the film sufficient time to breathe, thus scenes jump oddly and without notice – yet all is forgiven by her expansive imagination, the solid character development, and the hauntingly relevant social allegory of the message. The core quadruple reminds me of the endearing trio of Harry Potter, and is helped by the expectedly likable Eddie Redmayne. Yates is good, but not great, in world-building, and the film, as a franchise-opener, inevitably pales in comparison with the cultural landmark that is Philosopher’s/Sorcerer’s Stone, but promises something more spectacular to come in future episodes.
#8: Your Name (君の名は。)
Written and directed by Makoto Shinkai
While Hollywood has abandoned traditional hand-drawn animation, Japan has produced yet another masterpiece in the genre, featuring jaw-droppingly beautiful montages that make you wonder again and again, “how did mere mortals draw this?” The first act of Your Name is admittedly clichéd, and Japanese anime storytelling – different in structure than Hollywood traditions – has always troubled me, but it takes some unexpectedly mature twists and turns that elevate it from mediocrity. Another highlight is the unashamed teenage-angst rock-pop soundtrack written by Japanese band RADWIMPS, which cements the film’s now-classic status in pop culture. The film is an optimistic and heartwarming celebration of modern-day, post-2011-earthquake Japan, but also pays its homage to ancient Japanese culture, making this a profound reflection of what it means to be Japanese in 2016.
#7: Creed
Directed by Ryan Coogler
Written by Ryan Coogler and Aaron Covington
The Rocky franchise was near-death and hanging on life support, but then came
Creed, the savior of the franchise, and the ultimate feel-good movie of 2016. It is yet another film on this list with a story that appears clichéd on paper, but is redeemed and ennobled by successful execution. While Sylvester Stallone was showered with awards and nominations early this year, it is Michael B. Jordan’s star-making turn that makes this film undeniably and irresistibly entertaining, moving, and uplifting.
#6: Captain America: Civil War
Directed by Anthony and Joe Russo
Written by Christopher Markus and Stephen McFeely
Civil War, when viewed independently, does have its flaws, but nonetheless usurps The Avengers as the crowning achievement of the Marvel Cinematic Universe. The foundation of its success was laid in a decade of consistently quality filmmaking, but this does not make the filmmakers’ accomplishment any less incredible – they managed to tell the story of more than a dozen characters in an orderly and emotionally inviting fashion. The film sacrifices the frenetic intensity of its direct predecessor,
The Winter Soldier, and replaces it with an grandness that proves to be more effectively found in characters’ quarrels instead of battles against an unending supply of faceless robots. I’m especially glad at the direction the story took in the third act, which demonstrated the golden rule of thumb of storytelling – characters, not spectacle, are the core of story. While the choreography is less stylistic than that of
The Winter Soldier, the central battle is still, by far, the best action set-piece of 2016. Perhaps the biggest surprise of the film is the seamless introduction and integration of Black Panther and Spider-Man; not only does this showcase the crew’s storytelling abilities, it also promises great things to come for the forthcoming
The Avengers: Infinity War.
#5: Zootopia
Directed by Byron Howard and Rich Moore
Written by Jared Bush and Phil Johnston
While Moana (to be released in Hong Kong in 2017) might be Disney’s best rendition of their princess movie formula to date, it is the breakage of said formula that makes Zootopia such a triumph. Zootopia is many things – a buddy-cop comedy, a crime thriller, a bildungsroman – at the same time, but never feels unfocused. Its world-building is sensuously lavish and luscious, its script is smart and snarky, and its theme song is infectious. However, it is the surprisingly conspicuous undertones about racial relations and segregation that make this film outstandingly important and relevant in our increasingly divided world. Disney is fully aware of how young its target audiences are, and cherishes this opportunity not only to entertain, but also to educate; it is the manifestation of this ability (as well as excellent and consistent quality of filmmaking, of course) that proves Walt Disney Animation Studios is truly in its second, even stronger, renaissance.
#4: Steve Jobs
Directed by Danny Boyle
Written by Aaron Sorkin
Justin Kurzel’s
Macbeth is undoubtedly 2016’s best Shakespearean adaptation, but Danny Boyle’s
Steve Jobs paints the American magnate as a flawed hero worthy of Shakespearean proportions of drama. Scenarist Aaron Sorkin, daring and individualistic, is perhaps Hollywood’s modern-day equivalent of the Bard, and he relishes the opportunity to explore another Kane-like icon (his previous work is The Social Network about Mark Zuckerberg). On paper, his script is undeniably well-written and unsurprisingly Sorkin-esque with unstoppably loquacious characters, but is slightly too self-indulgent and feels more suited for the stage than the screen. Thankfully, Boyle and lead actor Michael Fassbender (coincidentally, Fassbender is also Kurzel’s eponymous King of Scotland) rescue the film by injecting their own distinct style and effort. The result is ostentatious and unabashedly inaccurate at times, but also a masterclass in filmmaking and an amalgamation of the best screenwriting, directing, and acting. Once you accept it for what it is, it becomes a joy to watch.
#3: The Lobster
Directed by Yorgos Lanthimos
Written by Efthymis Filippou and Yorgos Lanthimos
There was a word that kept on popping up in my brain when I watched The Lobster – absurdity. The film is absurd, not because it is ridiculously bad in quality (it is the opposite of that), but because it is a masterful, boundary-pushing work of the Theater of the Absurd. Its Wikipedia page calls it an “absurdist dystopian romantic comedy-drama” – this string of labels suggests that the film is beyond conventional classification. However, it succeeds in each and every one of those labels – its dystopia is haunting, relevant, and realized, its romance is believable and well-acted (kudos to the underrated Colin Farrell), its comedy is dark and twisted, and its drama hooks the audiences throughout. It must be noted that, prior to the string of labels, Wikipedia also calls it an “internationally co-produced” film – it should be no surprise that a film so unorthodox is not Hollywood-made, but co-made by five European countries.
#2: Youth
Written and directed by Paolo Sorrentino
Youth is yet another English-speaking film co-produced by a handful of European countries that feels refreshingly original from the standard Hollywood fare. Critics have called it a disappointment that pales in comparison to Sorrentino’s previous The Great Beauty, but it is nonetheless a work of great beauty. Its cinematography is exquisite, Michael Caine shows that he still has it even at the age of 83, and there are several moments, especially the closing musical sequence, that stop you from evaluating the film’s artistic merits and throw you into indulging in the film’s world. When I left the cinema, I didn’t immediately crave for sequels or read into the film’s lore, but that was okay, because I left with the unshakable feeling that I just watched a great, great film, and that was a moviegoing experience I was unlikely to forget. The film’s Oscar-nominated Simple Song #3 (breathtakingly performed by soprano Sumi Jo) puts the sensory experience of watching this film in a simple yet true way: “I feel complete / I lose all control / I lose all control / I respond”.
#1: Spotlight
Directed by Tom McCarthy
Written by Tom McCarthy and Josh Singer
It is the fortieth anniversary of Alan J. Pakula’s All the President’s Men, and we are gifted with an updated version of the classic that admittedly surpasses it in every aspect. Gone are the typewriters of the 1970s, but a noble heart remains – both films show an unflinching appreciation of the work of journalists and a respectable intention to expose certain horrors of society. Much like Watergate, the Roman Catholic church molestation scandal is a touchy subject, and examining it through the lens of journalists makes it even more prone to unevenness, but McCarthy and co-writer Josh Singer strike a perfect balance between the journalists and the priests. They make the often mundane work of journalists thrilling and exciting while ensuring maximum accuracy in their portrayal. However, they are careful to be muted in their celebration of journalism and Boston, as they simultaneously craft an exposé of the scandal that is fittingly sombre and serious. The direction is elegant and pristine, the editing ensures that not a minute is wasted or digressed, and the cast feels more harmonious than The Avengers. All of them is great, but there has been better directing, editing, and acting in 2016. What makes Spotlight stand out is how everything clicks together and produces a result greater than the sum of its parts. (Ironically, that’s what the team of journalists achieved in 2002.) The structural conciseness and effective execution of the film underscore, instead of undermine, its emotional poignancy and resonance. At the end, I felt as shook as each member of the Spotlight team as the film hit me harder than anything else I’ve seen in a cinema in 2016.
The year has constantly presented a conflict between vision and execution. Is it more important to have a wildly imaginative concept and a grand scale, or is it better to have a cleaner structure and stronger realization? Some of the films on this list are inclined towards one side of the conflict and are forgiven for this shortcoming, but most of them are able to accomplish the difficult task of striking an optimal balance between vision and execution.
Honorable mentions go to The Big Short, 10 Cloverfield Lane, Eye in the Sky, Sing Street, Finding Dory, and Rogue One: A Star Wars Story, as well as Hong Kong’s Trivisa, Three, and Soul Mate. Some revered films that I did not have the chance to watch include Deadpool, 45 Years, Kubo and the Two Strings, Sausage Party, and The Handmaiden. Notable Oscar contenders such as La La Land, Moonlight, and Manchester by the Sea have not been released yet and are certainly on the watch for 2017.
Here’s to an even better year of cinema.
