Stuff of The Year 2016, 1: Movies

As a new (foster) dad in 2016, my movie watching and blogging in general has been curtailed; an app on my phone has a lengthy list of ‘must see’ when South African release dates or TV schedules or plane journeys or streaming services or life in general permit  Despite that, here’s a few comments (in no particular order) about each of the films I’ve seen this year that I’m recalling with good memories at the end of 2016 (note: they may not all have been released in 2016). Where possible, I’ve linked to earlier blogs about them, and/or a trailer. I’m confident that all of these films will enhance your life; but there’s no accounting for taste … 
 
 
By rights this should be a traumatic, so painful it’s barely watchable, experience. That the film manages to do justice to the pain of the situation it portrays without ever feeling invasive or voyeuristic, is a testament to the brilliance of the direction; that it goes still further, finding beauty, hope and even transcendence is almost miraculous. Brie Larson’s central performance is extraordinary, and Jacob Tremblay as the young boy through whom the awfulness is seen puts in a turn that somehow weds maturity and innocence. It’s an almost overwhelming film; one that breathes some life and hope into a painful 2016.
 
It’s a truth universally acknowledged that Quentin Tarantino needs someone to say ‘no’ to him; or at least to cut 30-45 minutes from most of his films when he’s not watching. The Hateful Eight isn’t immune to those truths; but I really enjoyed it. The self-imposed restrictions of the setting force a kind of economy (granted, not an economy of length) onto the film; the film drips with the simmering threat of violence and treachery in which Tarantino specialises. There’s a swathe of fine performances, the cinematography is brilliant. It’s been a long, long time since this prodigiously talented director made a truly great film; but this one is the most out and out enjoyable one he’s given us in many years.
 
I was fully prepared to take a tone of sneering distance to this film; especially as some mentioned it in similar tone to Kick Ass, a film which had much to admire but with which I had some significant problems (though not the ones some had). I was totally won over by Deadpool, though. I laughed, and I kept laughing for the whole film; I don’t think it’s in the same league as Shaun of The Dead, but I think that was the last film in which I laughed as much as I did in this one. Ryan Reynolds has superb comic timing; the rest of the cast know their roles, and play them well. The postmodern knowingness never alienates; the film has a surprising warmth despite the tone of the humour.
 
Due to my personal connections with this film’s subject matter, I approached it with nervous caution. I was surprised, and encouraged, to find an exciting story that does justice to the complexity of my own journey around how to respond to the terrorists who murdered m y friend. I’m a little biased to any film with Aaron Paul, and on reflection perhaps Helen Mirren was miscast; but I’m deeply grateful for a film which makes an attempt to do justice to the complexities of one of the defining issues of our era. I suspect I’ll find it hard to re-watch, but that’s no criticism; it’s simply the story of my experience.
 
This is a joy filled piece with the Coen brothers displaying the lightness of touch that lies behind the best of their comic work. As is so often the case, tremendous performances are drawn from all the players, and there are so may scenes that still linger with me months later, causing me to chuckle out loud in awkward silences when my my mind wonders. Would that it were so simple for me to just recite to you the jokes; this isn’t, though, a film of jokes and one-liners. It’s rather a delicate plot that strings together a series of brilliantly funny, carefully constructed comedic moments and exchanges.
 
Of course I was looking forward to this; I’ve always enjoyed the Harry Potter stories; I felt the films were patchy (the first two especially so). I was excited to see how her world would play out on screen without a book to adhere to. I was also apprehensive; as a new foster dad, I’d taken my 13-year old foster son to the cinema a few times this year. I don’t think he’d seen many films before coming to us; he certainly found it hard to sit through a whole film this time last year. He saw The BFG with my wife which he really liked (I’ve not caught up with it); Zootopia/Zootropolis (again, I missed it) was enjoyed. As a child who has experienced a lot of loss in his life, he thought Finding Dory was too sad to really enjoy. I wondered about Fantastic Beasts; was it too British for a boy who’s never been outside the Western Cape of South Africa, and is only just learning to read? Does he even like fantasy? His comments on coming out: “It was brilliant. It was scary. I want to see it again”. Job done; the first time he’s come out of a film with me, desperate to see it again (he has). I loved it too – much to say, joy and wonder in the right measures. Small criticisms – like the scenes inside the suitcase don’t quite work – don’t detract from this is a magical piece of storytelling.
 
An 80s (Irish) school romance-musical? Too much? Not at all. This is one of those films that you can’t help but walk away from smiling. Life-affirmingly uplifting, with proper new songs that work in their own right. If you watch this and don’t come out happy, then I’d find it hard to love you.
 
A few years ago the director of Arrival made a thriller/drama (Prisoners) that was much lauded but didn’t quite work for me. Then he gave us Sicario, an excellent thriller around the Mexico-USA drug trade. Then Arrival, which is simply wonderful. Though the plot is largely a staple one, it still kept the tension brewing and boiling; I didn’t see the resolution coming, which is testament to how engrossed I was. It demands much of star Amy Adams, who puts in a performance of depth and compassion; the soundtrack is devastatingly powerful (and, to my non-musically trained ears, unconventional); the cinematography creative – there some startlingly beautiful images that you just can’t shake from your mind for weeks to come. It recalls 2001, Momento, Inception, Interstellar and much else  – doing justice to all of them whilst still being its own vision. It’s themes are never more relevant at the end of such a difficult year; and to those of us nervous as to how this director will approach the Bladerunner sequel in 2017 now have much excitement and hope to manage.