Mesmerizing describes the film as a whole and its incomparable lead performance from Academy Award winner Natalie Portman playing First Lady Jacqueline Kennedy in the immediate hours and days following her husband's 1963 assassination. Far from a biopic and more of a psychological examination, Portman and Larrain sear the screen with emotion and imagery that is as captivating as it is difficult. It is astonishing that it takes a foreign director to create the most empowering portrait of American history put to film in years.
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In some political circles, “lobbyists” are the advocates that “get things done.” In others, the job title is a dirty word than many are quick to refute or redefine. When Hollywood screenwriters decide to lionize the role of the lobbyist, they hop on the #NastyWoman bandwagon, cast Oscar nominee Jessica Chastain, and give you “Miss Sloane.” For all of the sound bite talk about “draining the swamp” to kill the metaphorical mosquitoes, doing so leaves the carnivores behind. Make no mistake, “Miss Sloane” showcases a true apex predator.
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There is an unmistakable layer of “people-watching” cinema brings to its artistic atmosphere and aesthetic. An omnipresent camera grants private points-of-view, shines light on secrets, and challenges the observational skills of the audience. Kenneth Lonergan’s “Manchester by the Sea” introduces the wearisome life of one solitary man and proceeds to unearth the repressed sorrow and unspoken emotions that lie underneath his mundane exterior. The most praiseworthy character-driven films have the patience to cultivate its truths with substance and the wisdom to never give you everything. Lonergan’s near-perfect jewel is a new exemplar of such qualities and one of the finest films of 2016.
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She may wear a dress and have an animal sidekick, but don’t you dare call Moana a “princess.” The enterprising titular “chieftain’s daughter” is a breezy breath of warm Pacific air surging through a Mouse House built on castles, corsets, and crowns. Promoting powerhouse diversity and pushing away the trappings of romance, “Moana” is a progressive step from Walt Disney Animation Studios carrying wonderful messages for young girls in a Millennial day-and-age that is too often obsessed with body image and glamour.
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The leap for every filmmaker is translating their creative eye to the cinematic medium. Hitchcock’s feverish writing fed his mise-en-scene and attention to detail. Spielberg grew his outdoor sense of adventure to the highest possibilities and beyond. With an eye for the cultured human form and colorful finery, Tom Ford saturates every edge of his films with ornate style. The man is never boring and neither is one iota of “Nocturnal Animals,” Ford’s second feature film and a cage-rattling psychological thriller.
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There are commendable allegories bottled somewhere inside both Ben Fountain’s 2012 award-winning novel and Ang Lee’s adaptation of “Billy Lynn’s Long Halftime Walk.” However, knowing what we know now about “paid patriotism” since 2015, those morals, and any patriotic pride the fictional story’s grand setting can muster, have lost too much of their high ground to inspire. It is difficult to invest in a reflective film wrestling with disillusionment when too many current audiences already enter with the same feelings about the War on Terror. Disillusionment of disillusionment is a tough sell if the goal is the change minds.
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To reveal more of the emotional and scientific obstacle course would take away from the engrossing experience to be had by “Arrival.” This is the anti-”Independence Day,” so don’t expect a populist romp. Instead, open your mind to a stimulating and provocative mindbender that may require more than one viewing to grasp and appreciate. The trippy events unfolding out of the screenplay tangle the puppeteer’s strings and play with narrative and filmmaking forces few are daring enough, and smart enough, to wield.
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I dare you to look into the painful eyes of the three ages of Chiron and their matching performers and not have your soul triple in weight. The arc in "Moonlight" from the innocence of the little boy to the uncomfortable vulnerability hiding underneath the muscles and gold fronts of the hardened resulting adult is arduously moving on multiple levels. Observing his difficulties forces you to absorb the conflict and inescapable trepidation that surrounds the shared character. Pressing his heart to your own makes for one of the most moving and rewarding film experiences this year.
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Now in its third phase, Marvel continues to take C-level and D-list comic book characters and titles, breath cinematic life into them with top-notch talent in front of and behind the camera, and turn the obscure in newly minted household names and merchandising windfalls. "Doctor Strange" continues the studio's blueprint of Midas Touch success while jubilantly kicking down the door for magic and mysticism in the MCU. You may not know him yet, but Stephen Strange is a major player and huge addition to an already-loaded heroic panorama.
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Spareness and simplicity can either be a fountain of nuance and austerity or it can be a vacuum of plainness and lethargy. Filmmaker Kelly Reichardt is a celebrated torchbearer of the minimalist film movement and her newest feature, “Certain Women,” boast three strong female leads in Laura Dern, Michelle Williams, and Kristen Stewart. Despite that base of acting forte and the patronage of Todd Haynes as an executive producer, the void outweighs any wellspring.
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“In a Valley of Violence” lives up to the promised bloodshed suggested by its title and spins its own brand of tension and, best of all, a frank and bone-dry humor that blows into the whole film. You will either love the comedic edge or find it a distraction from the revenge. There is an undeniable panache to the absurdity that makes the film an absolute hoot. This is the giddy Western Quentin Tarantino wishes he could make while he wastes six hours of our time and stretched disbelief.
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Batman has evolved, but the long-standing love for that old TV show has only sweetened. The new WB Animation entry “Batman: Return of the Caped Crusaders” unlocks a time capsule and reminds us why Batman can be just as fun when he’s not brooding and sulking. With the triumphant returns of original cast members Adam West, Burt Ward, and Julie Newmar reassuming their Batman, Robin, and Catwoman mantles as voice actors, this new film possess audible and visual treats to behold.
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