Top Ten Films of 2016

I want to write about all the good films that we’ve had already in the first few weeks of 2017 but I still need to put a line underneath 2016. As such here are my top ten films of last year, a by no means definitive list but hopefully a good representation of the quality year of cinema we had while the rest of the world burned.

If there’s one conclusion to be drawn from these films it is that women suffer and men cause nothing but trouble.

10: Notes on Blindness


In order to look suitably cultured it was important for me to include a documentary on this list and no other non-fiction film last year was so cinematic and immersive. The film takes the audio diaries of writer and theologian John Hull that he made as he lost his sight in the 1980s and put his words into the mouth of Dan Renton Skinner. The result is a surprisingly visual journey through the loss of vision as John philosophises about his changing world as his family grows and his senses reduce to four. A beautiful, dreamlike documentary.

9: Mustang


The first in a tragic triptych running through this list is a Turkish drama about five sisters who innocently flirt with a group of local boys and find themselves imprisoned in their home. Their family decides that homeschooling and arranged marriages will help to preserve the girls’ purity away from the temptation lying in the outside world. Trapped inside the girls fill their days by lounging around the house, making each other laugh, and plotting their brief escapes. Throughout the film we see the girls’ spirits slowly decline as they gradually accept their fates or give up entirely. Much like Sofia Coppola’s comparable Virgin Suicides this is a beautifully shot film about the tragedy of young girls’ lives being restricted as they blossom into women.

8: 10 Cloverfield Lane


Sticking with women in captivity we have Dan Trachtenberg’s genre-ambiguous bunker-dwelling marvel. Mary Elizabeth Winstead is this film’s hero who we meet chained up in a bomb shelter. Upon regaining consciousness Winstead meets her host, John Goodman, who she must try to decipher and identify as either her captor or her saviour. 10 Cloverfield Lane plays its card close to its chest and the result is a taut, tense, and tantalising puzzle that dials things up to 11 before revealing there’s a whole other set of gears. Marvellous fun.

7: Hell or High Water


It is rare for a crime drama to allow the audience to develop equal sympathy for both the criminals and the police who pursue them but in David Mackenzie’s modern Western both sides of the coin are given equal weight. We experience the thrills of two brothers robbing banks to save their family land and share the slow jovial investigations of the local Texas Rangers who patiently track their exploits. When the sides finally collide with unglamorous, brutal violence it is hard to know what side to choose and whether to cheer or cry. A timeless drama of crime and punishment.

6: A Bigger Splash


Luca Guadagnino’s English language interpretation of La Piscine came and went without much fanfare last year but when I saw it I adored it. A drama filled with sun, sex, and jealousy as a quartet of characters spend a few weeks on a small Italian island. Tilda Swinton is as captivating in her silent role as recovering rock star as Ralph Fiennes is as a bombastic, occasionally naked, dad-dancer. A big, bold, brash drama that really delivers.

5: Arrival


I still need to rewatch this idea-driven piece of science fiction as the true workings of the tale are only clear at the film’s ends. Watched for the first time the film is teetering at the high end of very good but would surely shoot up to great given a second viewing. Aliens land and they do not attack, instead they want to talk. It is up to Amy Adam’s linguist to figure out a method of communication before the army do what they do best and attack the interplanetary immigrants. A film for the mind and the heart assembled with beauty and brains.

4: Anomalisa


Though painstakingly made in stop-motion animation this human drama is not for kids; this is full frontal animation. Michael Stone is a walking mid-life crisis who is a big fish in the small pond of customer service. Staying at a hotel while he gives a keynote speech at a conference he picks the scab of an old love, contemplates a new love, and tries to ignore the love he has waiting for him at home. Michael is not a sympathetic man but he feels incredibly real despite his detachable face. The film as a whole is surreal and charming with a lot to say about the human condition.

3: Green Room


The sadly departed Anton Yelchin gave one of his final performances in this relentlessly nerve-shredding horror about a punk band trapped in a neo-Nazi club. Without hesitation this near perfect feature pulls its protagonists from one excruciating situation to another as their numbers slowly dwindle. The joy of the film is in its execution. An execution that holds nothing back and constantly surprises and horrifies. I gasped, I groaned, and I hid my face.

2: The Witch


Another horror here in the top three with a god-fearing family in 17th century New England being terrorised by a neighbouring witch. Forget broomsticks and cauldrons and instead think of old hags grinding the bones of a baby and you’re closer to the bone-deep terror that The Witch has to offer. The Witch is a pure, gimmick-free piece of cinema. It is delightfully terrifying and filled with an air of unrelenting fear and genuine horror. Don’t expect any sudden jumps just a consistent feeling that all is not well. It certainly isn’t.

1: Room


My personal favourite film of 2016 is not the most enjoyable to watch. At numerous positions on this list are women being persecuted and none more so than Joy as portrayed by Brie Larson. For years Joy is kept in captivity; initially alone and then with the gift and curse of a young son to keep her company. Room has affected me in numerous ways each time I have watched it, with three different types of tear running down my face. Often with films containing this level of bleakness the work is admirable but hard to actually recommend anyone see. Room is different. Room is an easy film to recommend. Room is devastating and uplifting and finally brought the talents of Brie Larson to the world’s attention. I could watch this film countless times and no doubt I will.

The Witch – Film Review

The Witch

It is the 17th century a god fearing Puritan family have left a plantation to set up their own farm on the edge of a wood in New England. Not long established in their new homestead and events take a turn for the macabre. In fact something happens early on that is so horrific I couldn’t help but fear for the safety of every member of the family of seven, and fear for what else my eyes might have to witness. Isolated on their farm the family find themselves struck by misfortune and mistrust soon spreads amongst them. As the family start to suspect one another a very real evil lurks in the woods.

What is nice (nice?) about The Witch is that it doesn’t waste time second guessing whether or not there really is a witch. It is clear to everyone early on that the boogeyman is real and isn’t one to hesitate. It is also refreshingly old-fashioned; with the setting being 400 years ago there are no mobile phones to lose signal, no found footage, and no shaky cam. More importantly there are no roads, no vehicles, and no escape.

The Witch 2

It is astonishing to think that this is Robert Eggers first film as either writer or director. It is a bold move to use authentic 17th century dialogue and the effect might be jarring at first but ultimately gives the film a good sense of the other and removes it from the safer world we live in. As for the direction; the film is morbidly beautiful to look at with a palette filled with greys and properly dark blacks. There are no brightly lit nights here just endless shadows filled with your worst nightmares. Eggers brings to mind the best work of Ben Wheatley and will hopefully have just as diverse a body of work over the coming years.

Ralph Ineson and Kate Dickie lead the family as the two parents and play them brilliantly as a pair who love their children but love God and fear the devil all the more. Lucas Dawson and Ellie Grainger are delightfully cheeky and creepy as the two young twins while the real stars of the show are Anya Taylor-Joy and Harvey Scrimshaw as the older siblings. Scrimshaw tackles a more mature role than his age would suggest and Taylor-Joy carries us through the film before redefining the role of the final girl.

The Witch is a pure, gimmick-free piece of cinema. It is delightfully terrifying and filled with an air of unrelenting fear and genuine horror. Don’t expect any sudden jumps just a consistent feeling that all’s not well. Because it certainly isn’t.

The Witch is out now in the UK and is a must see.