ACADEMY AWARDS 2017 - Oscar Review

 Hello there puny humans,

oh boy, what a night. Even people who didn't watch the show on Sunday have heard at least of its flub ending. It was an outrageous finale to a show that so far had actually been going incredibly well. So in a similar fashion as last year, let me re-cap these 89th Academy Awards for you with all its Ups and Downs:

The Good

The Musical Performances

Musical performances at the Oscars are a time-honored tradition. Every year at least the Nominees for Best Original Song will take the stage. In the past this has sometimes gotten out of hand. With the host opening with a musical number, five Nominees performing and additional musical tributes to past films, it could get a little exhausting. This year however the producers chose and placed the music very well. First of all, they opened with Justin Timberlake's Can't Stop The Feeling, checking off one of the Nominees at the very beginning. Not only was it a nice way of saying "We are going to have fun tonight", but it also saved the mainstream pop number from unfavorably standing out compared to its more profound competitors. Then, since La La Land was nominated with two songs, they were able to combine these two Nominees into a smooth medley. Lastly, it was great to see how the sixteen year old Auli'i Cravalho got hit by a flag during her performance of How Far I'll Go, but just kept going like true pro. Hats off, to this young lady.

Oscars Not So White Anymore

Last year, the Academy of Motion Picture Arts and Sciences came under fire when it turned out that no person of color had been nominated in any of the 24 categories. The hashtag #OscarsSoWhite became trending and the ceremony was only rescued by black comedian Chris Rock handling the issue incredibly well. The Academy certainly learned their lesson: An Iranian movie was named Best Foreign Film, two of the four acting awards were handed to African-Americans (including Mahershala Ali as the first Muslim actor to win the gold) and the (real) Best Picture Winner was Barry Jenkins' Moonlight. Especially the latter win was an important one. Not only did it show that small independent films can come out on top of big studio productions. But it also honored a movie that tells the highly relevant story of a young black man, who struggles with his homosexuality while growing up in a rough neighborhood. In these times, this was a necessary victory for minorities.

Jimmy Kimmel: The Greatest Host in Years

When I heard that Jimmy Kimmel had been chosen to host, I wasn't sure if he'd be up to the task. I had always liked the guy, but felt that he was "too TV" for Hollywood's biggest night. Something that I thought was a problem Ellen DeGeneres had in 2014. Kimmel however ended up proving me very wrong. His jokes were well balanced and a perfect mix of everything. He had punchlines about people that hit hard, but never went below the belt. He addressed racism, sexism and Hollywood's pretentiousness. He got political without ever getting too serious, and even had a few very sincere lines during his opening monologue. Also his fake feud with Matt Damon is a joke that never gets old, and he utilized it perfectly for this ceremony. Then, when the big Best Picture blunder came along at the end of the night, he kept his cool and charismatically controlled the damage. And even though he made a quip about probably not being asked back, I really hope we will see him in that Dolby Theater again!

The Bad

Academy Award Winner Suicide Squad

Yes, it is true. One of the biggest clusterf**ks when it comes to summer blockbusters is now an Oscar winning film. Granted, it is "only" an award for Best Makeup and Hairstyling, but Suicide Squad was an allegory of everything that is wrong with the movie industry today and thereby so bad that it should have gotten a universal ban from prestigious award shows. To make matters worse, this means the DC Extended Universe got an Oscar before the Marvel Cinematic Universe did. These two massive franchises might be Hollywood's biggest rivals at the moment. But while Marvel has been going extremely strong for nine years (with fourteen films and five tv-shows), the DCEU has not yet managed to produce a single film that is generally thought of as a good movie. Seeing them take home the gold before the MCU does, hurts more than listening to the poorly-written lines of Rick Flag.

Unrecognized Amazing Movies

With the exception of the afore mentioned film, you couldn't really complain about Sunday night's winners. Actually the accolades were spread out quite well across the nominees. But there were two movies that stole my heart this award season that left empty handed. One of them was My Life as a Zucchini (orig.: Ma vie de courgette), a Swiss and French stop motion film that was nominated for Best Animated Feature. Sure, I was more than fine to see Zootopia win (having had it on my Top Ten List of 2016), and it was clear that such a small film wouldn't stand a chance. But My Life as a Zucchini was a completely unexpected gem. Since it was heavily marketed as a kids movie, I would have never bothered to see it if I hadn't planned to watch as many nominated films as possible. In fact this is a film that kids can enjoy, but only adults can truly cherish. Its beauty lies in the fact that it deals with incredibly serious topics through the innocent viewpoint of children. Making it heart-breaking and heartwarming at the same time. The second film was Lion. The real-life story of a man who sets out to find his family that he has lost 25 years before, is incredibly uplifting. Among other things it deals with the issue of cultural identity crises, something I can definitely relate to. At its center it has two outstanding performances by Sunny Pawar and Dev Patel, both playing the main character as a boy and a young adult respectively. Being only eight-years old, Pawar was probably too young for the Academy, but Patel actually had a shot. Weirdly enough, he was nominated for a supporting role, even though he clearly played the lead, and even then lost out to Mahershala Ali. Ali was barely in his movie, and while his performance was fantastic, I thought Patel was still the stand-out in that category. Unfortunateley, Lion couldn't make up for it in any of the other five categories in which it was nominated. It is really too bad, because it was quite an impressive film.

The Ugly

The Best Picture Mix-Up

Of course, we need to talk about the big screw up that made this ceremony go down in Oscar history. Here is what happened: 

Moonlight and La La Land had been battling it out in the major categories the whole night. Moonlight scored statues for its supporting actor and its screenplay. La La Land missed out on those, but won Best Director and Best Actress in a Leading Role. Then the final and most important award of the night came up. Best Picture. In celebration of Bonnie and Clyde's fiftieth anniversary, Warren Beatty and Faye Dunawaye came on stage to present the award. Beatty opens the envelope and just stares at the card for a few seconds, then reaches into the empty envelope and takes a short look backstage. What turned out to be genuine confusion, was at this point interpreted as a failed attempt to build up the tension. You can even see Dunawaye growing impatient next to her co-presenter and so when he hands her the card to look at it, she makes short work of calling out the winner: La La Land. The crowd claps, the music plays and the whole cast and crew get on stage. The producers get their awards handed to them and start their acceptance speech. It isn't until the third speaker, Fred Berger, when things start getting strange. Men with headsets enter the stage and and a commotion arises. They are the producers of the show, and after Berger interrupts his acceptance speech to quickly ask the people behind him what is going on, he turns back around with the words: "We lost, by the way." Now nobody knows what the hell is going on. Another one of La La Land's producers, Jordan Horowitz, still holding his Oscar, goes up to the microphone and explains that there has been a mistake and that Moonlight was the real winner. To prove it he pulls out the correct card from the new envelope Beatty is holding now and shows it into the camera. When Jimmy Kimmel confirms the news, Horowitz says "I am going to be really proud to hand this to my friends from Moonlight." It is an awkward moment, but also a grandiose gesture. It would have been the first time for this man to receive Hollywood's highest honor, and it got taken away from him. He would have had all reason to be absolutely devastated and/or furious but instead showed true greatness by being the best loser in Oscar history. As the crew from Moonlight makes their way to the stage, Warren Beatty tries to explain himself. The card had said "Emma Stone, 'La La Land'" which had confused him. Faye Dunaway is long gone at this point and it stays unclear whether Beatty showed her the card to escape responsibility or if he actually wanted her opinion on what to do. Sure, Beatty could have handled the situation much better, for example if he had simply said that the card seemed not to be right, but I guess he was under pressure and the real question is, how the wrong card ended up in his hands in the first place. Those who took a closer look realized, that he was indeed holding an enveloped saying "Best Actress in a Leading Role". While the internet jokingly started blaming Leonardo DiCaprio, because he was the last person to be seen with that envelope after presenting the Best Actress Award, Emma Stone stated she had taken that card and kept it for the entire show. By now some light has been shed into the darkness, so here is how it happened: 

It turns out that there are always two envelopes for each category brought separately to the theater inside a briefcase. During the show, one briefcase is placed on each side of the stage so that the presenters can be handed the envelopes regardless of the side from which they enter. Responsible for these cases are two employees of the accountant firm PwC, Brian Cullinan and Martha Ruiz. It was their job to get the envelopes to the theater in time and hand them to the presenters during the show. Ruiz had handed the Best Actress envelope to DiCaprio, and so it was Cullinan who accidentally handed the same (and therefore wrong) envelope to Beatty. PwC has taken full responsibility and has stated that "once the error occurred, protocols for correcting it were not followed through quickly enough". Embarrassingly so, Cullinan tweeted a  backstage picture of Emma Stone just moments before the Best Picture Winner was to be announced (picture on the left). Whether this tweet was the distraction that led to him making the mistake is not clear, but it is worth noting that it has since been deleted. So I think we do have our scapegoat.

It is cringe-worthy to re-watch that moment, especially when you think of the poor producers of La La Land who, for two brief minutes, thought their dream had come true. The most unfortunate thing about this flub however was that it distracted from an otherwise extraordinarily good show that had a lot of awesome and most of all important moments. Once the turmoil has died down, I hope people will start talking about some of the exceptional acceptance speeches or simply about the fantastic movies that were honored that night. So go out and watch films like Moonlight, Manchester By The Sea, Lion and even My Life as a Zucchini. Till then, don't forget to like, share or leave a comment.

Sincerely,

Your Cinemartian

SPLIT - Ending Explained [Spoilers]

 Hello there puny humans,

recently I have watched and reviewed M. Night Shyamalan's latest film: Split. I quite enjoyed it and even though it didn't blow my mind in a way, say, Inception, Memento, or Fight Club did, I feel like I want to talk about its ending. So be aware, there is big spoilers ahead:

What happened?
In the final act of the film, Kevin's 24th identity, the so called "beast", takes over his body. The theories stated in the beginning of the film turn out to be true: People with Dissociative Identity Disorder are able to change their body chemistry. Thus, the beast gains superhuman strength and abilities. Convinced that privileged people are lesser beings and that they do not have the preconditions for such an evolution, he eats two of the abducted girls. When he confronts his last victim, Casey, he finds out that she has been "broken" too (by the sexual abuse of her uncle), and so he spares her and flees the scene.
After Casey has been rescued by the police, we see some people in a diner watching a news report about the events that occurred in the film. The anchor calls Kevin and his different identities "The Horde". As the camera pans across the diner, a girl says that this sort of naming reminds her of the "guy in the wheel chair" they covered in the media a couple of years back. When she tries to recall the name they had given him, a man's voice answers "Mr. Glass". The camera moves around her and that man is revealed to be David Dunn, Bruce Willis' character from the 2000 M. Nigh Shyamalan film Unbreakable.

What does it mean?
Well, it means two things: First of all, that Split was in fact a secret sequel to Unbreakable. Secondly, it means that what we have witnessed is not just a simple thriller about a man with DID, but rather the origin story of a super-villain.

Unbreakable, 2000

To refresh your memory (or if you just never knew), Unbreakable is the story of David Dunn. A security guard that, after being the only survivor of a horrible train crash, realizes he might be, indeed, unbreakable. With its serious tone and the exploration of the character's life, it was the first superhero drama. It grounded the story of a man discovering his superhuman powers long before Christopher Nolan came along with his Dark Knight-Trilogy. Furthermore, it was a story that demanded continuation. Or at least fans thought so, as it popped up in conversations again and again (most notably Patton Oswalt on the The Screen Junkies Show).
Split now apparently takes place in that same heightened reality cinematic universe. And from the looks of it, David Dunn has an eye on the man with 24 identities. In fact, Shyamalan has revealed that he had initially written the character of Kevin for Unbreakable. He scrapped the part from early drafts however, because he thought it distracted from the main story. As a result, some of the scenes in Split were written as far back as 15 years ago. Remember Unbreakable's sequence with the Orange Suit Man? That was supposed to play out like the Split story-line, only with Bruce Willis rescuing the girls.

Why is all of this so cool?
When Split reached its conclusion and it became clear that this film is not going to end in a down-to-earth way, I wasn't sure if I was completely on board. And I think that some people in the audience felt the same way. As soon as I realized though that this movie was part of a superhero world, it recontextualized the whole film. In the fictional world presented by Unbreakable, something like this really could happen. In addition, as said before, it also turned the entire film into a villain origin story and the prospects of exploring that character in a sequel was more than intriguing.
The brilliant thing that Shyamalan did here was that he created two films that completely stand on their own as two different works of art. And still, these films ultimately belong together.
Especially in a time where it is almost painful to see how Warner Bros. and DC create incredibly convoluted films for an interconnected cinematic universe, it is awesome to see that it is actually possible to tell a contained original story that still fits into an overarching concept. Did you ever see a franchise that gave its villain his own solo movie? It's fantastic. It's as if in the end of Nightmare on Elm Street you found out that Batman was looking for Freddy Krueger. (To see how cool Freddy VS Batman would be watch this video).
On top of that, it is also thematically great: On one side is Kevin, who is obsessed with people that are broken and who himself is quite literally split. Four of his personalities want to escape an ordinary life to become something greater. On the other side is an unbreakable man, who at first is reluctant to use the power within him, because he just wanted to live an ordinary life. They are in that way, perfect opposites from their mind-set, but similar enough in their powers that it wouldn't be clear who had the upper hand in a fight. 

So what will happen next?
Long before Split hit theaters, Shyamalan has said that he had planned Unbreakable as a trilogy. Now, where the sequel has been released, he has reassured people that he was working on a final film of the series. Apparently he already has an outline, but he wants to take time to work on it further until it meets the audience's expectations as well as his own. As it was to be expected, the plan is to have Bruce Willis' and James McAvoy's characters face off against each other. Nonetheless, Shyamalan has stated that just like its predecessor's, the third film was supposed to be able to stand alone. How he will manage that is not quite clear, and neither is the question of how long it will take him. Still, the writer-director has already managed to do something that I never thought to be possible after seeing After Earth: He got me excited for an M. Night Shyamalan film.

The poster should have given it away...

So these are my thoughts on the ending of Split. How did you like the film? Are you excited about the Split/Unbreakable-crossover? Do you even remember Unbreakable? Leave your thoughts in a comment below and don't forget to share this article to let the readership grow.

Sincerely,

Your Cinemartian

SPLIT - Movie Review

 Title: Split

Running Time: 117 min

Director: M. Night Shyamalan

Writer: M. Night Shyamalan

Starring: James McAvoy, Anya Taylor-Joy, Betty Buckley

Review:

"The next Spielberg!" That's what Newsweek called M. Night Shyamalan after he had impressed with his six time Oscar-nominated "The Sixth Sense", the superhero thriller "Unbreakable" and Mel Gibson's last commercial hit "Signs". Then the tide turned. Big time. From 2006 to 2013, the writer-director earned himself a total of 15 Golden Raspberry nominations, winning the infamous award 6 times including accolades for Worst Director, Worst Picture and Worst Screenplay. In fact, "The Happening", "The Last Airbender" and "After Earth" are considered to be some of the biggest piles of garbage when it comes to motion pictures (especially the latter is exceptionally hated by me). The name Shyamalan became synonymous with box-office poison. His career seemed to have ended, but the Indian-American didn't give up, claiming he was simply misunderstood. Sure enough, he made "The Visit", a film that (considering his past entries) was surprisingly well acclaimed. Critics wondered if it marked the beginning of M. Night Shyamalan comeback, and now the director set out to answer that question with his latest flick.
"Split" is indeed the writer-director's return to old form. While not being a perfect film, it is an entertaining thrill ride that is fun to dive into. Revolving around a man with 23 different personalities living inside of him, this film demanded a lot from its leading actor James McAvoy. He was up to the task though, and his performance is a tour de force that makes the supporting cast look pale in comparison. McAvoy manages to play the different parts so distinctively that you often know which personality he switched into, before he even talks. Just by a look on his face or the posture of his head. And yet, his portrayal is subtle enough not to make any of the characters cartoonish. It is a blast just to see him act.
Fans of Shyamalan's early work will be pleased. The director orchestrates this claustrophobic thriller brilliantly. Rather then cutting quickly back and forth, he remains in certain shots, which immediately creates tension. Moreover he plays with off-camera space in such a way that taps into our natural fear of the unknown. West Dylan Thordson's score perfectly accompanies that style.
If however you were buying your movie ticket to see a truthful depiction of DID (Dissociative Identity Disorder), then you will not quite get what you are looking for. Holding a degree in psychology myself, I feel like I have to address this. Additionally, I was lucky enough to watch this film with a friend who even has some practical experience on the matter and so obviously we discussed the realism of it all. On one hand, James McAvoy's way of transforming, as well as his characters' description of his mind as a room where the personalities sit and have to wait until they "get the light" is pretty much accurate. Also differences in gender and age between the identities are not uncommon for people with DID. Even the presented reasons for a so-called "split" are, though simplified, principally correct. On the other hand, the film does not refrain from the Hollywood cliché that there is somehow always one or more identities that are evil in nature. Later in the film it becomes even more fictitious but in such a way that I believe the audience understands that this is not how DID works. Furthermore the psychotherapist in this film is quite incompetent (as 45% of psychologists in movies are according to a study by Bischoff & Reiter, 1999). From the get-go she fails to keep a professional distance to her patient and the "facts" she explains about DID are often of speculative nature at best. To the film's defense however, these are all elements that serve the purpose of the story it tries to tell: A fanciful one, with its own philosophy.
So, when you can accept that this psychological thriller isn't fully grounded in reality and take that little leap of faith, you are in for an attentively crafted, pretty cool movie with a masterful leading performance at its center. If you are familiar with the director's first few movies, you will also be able to put this film into a different context, that will definitely enhance your experience. I certainly had a good time.

For Fans of:

10 Cloverfield Lane (2016)
Identity (2003)
Unbreakable (2000)
Signs (2002)
Hannibal (TV Series, 2013-2015)

Click Here To Watch Trailer!

HELL OR HIGH WATER - Movie Review

Title: Hell or High Water
Running Time: 102 min
Director: David Mackenzie
Writer: Taylor Sheridan
Starring: Chris Pine, Ben Foster, Dale Dickey, Jeff Bridges, Gil Birmingham

Review: 

If you say you will do something come hell or high water, you mean you are determined to do it whatever difficulties might occur. Take this phrase as the title of a heist film, give it a dusty Texas setting and add a mumbling Jeff Bridges in the role of a ranger and you have yourself a promising neo-western crime drama. The script with the working title "Comancheria" landed on 2012 Blacklist (a list of the most promising, unfilmed screenplays) and four years later the finished product received a total of four Oscar-Nominations including its writer Taylor Sheridan.
"Hell or High Water" is the story of two men, Toby (played by Chris Pine) and Tanner Howard (played by Ben Foster), who are not only brothers by blood, but also brothers in arms when in comes to robbing banks. While Tanner has always been a troublemaker and even spent time in jail, Toby has so far lived an ordinary man's life. It is the death of their mother that puts Toby on the path of a criminal. As she was left broke and in debt due to a reverse mortgage of the Texas Midland Bank, the brothers seek revenge by robbing banks of that exact branch, planning to pay them back with their own money.
Whereas the premise of the film might not be the newest thing under the sun, the movie stands out through its characters, dialogue and specific atmosphere. For one, even though this movie takes place in modern times, you really get the old western vibes. There are deserted small towns, outlaws, cowboy hats, shoot-outs and even something resembling the old-school horse-ride-pursuit sequences. Its style sucks you right into the film. In addition, the characters are written in such a way that you understand and care about all of them, even when they are on opposing sides. Toby is a man who does wrong things for the right reasons. Tanner is quick-tempered (think Joe Pesci in "Goodfellas") and gets into trouble. But every now and then you can see that he loves his family very much, he just feels like his path is set and he can't escape it. Jeff Bridge's Hartigan has very hard shell, but you get more and more glimpses at the soft core underneath it as the movie progresses. His colleague Alberto (portrayed by Gil Birmingham) is an all around good guy, so much so, that he even expresses sympathy for the brothers they chase.
In fact, there is no bad guy in this film. At least not one of flesh and blood. The real villainous force in this film is the banks and a reprobate system that works at the expense of the common people. It is a phenomenon that strongly shapes the area the movie is set in, including all of its inhabitants, and the film really captures that very specific zeitgeist. As a result, the movie feels completely authentic and you can quickly empathize even with the smallest secondary characters.
The actors are all giving a hundred per cent across the board and especially Jeff Bridges gives a multi-layered performance that is simply excellent. Director David Mackenzie tops it all off with some marvelously composed shots, cleverly constructed sequences and a distinct dusty look. It is an atmospheric piece of cinema that finds a good balance between character exploration and action. Worth the ticket. Worth your time.

For Fans Of:
The Town (2010)
True Grit (2010)
Killing Them Softly (2014)
No Country For Old Men (2007)
The Place Beyond The Pines (2012)
Public Enemies (2009)
Money Monster (2016)

Click Here To Watch Trailer!

MANCHESTER BY THE SEA - Movie Review

Title: Manchester by the Sea
Running Time: 137 min
Director: Kenneth Lonergan
Writer: Kenneth Lonergan
Starring: Casey Affleck, Lucas Hedges, Michelle Williams, Kyle Chandler

Review:
Matt Damon had big plans for "Manchester by the Sea". After pitching writer Kenneth Lonergan the idea for a script and immediately falling in love with its first draft, he decided he did not only want to produce, but also direct and star in this film. But Damon is a busy man and the production of "The Martian" and his fourth "Bourne" outing brought production of this movie to a halt. To make sure the film got made, he handed the director's chair to Lonergan, but said he would only give up the leading role for one actor: Casey Affleck. Well, Affleck took the role and Damon was left "just" producing the film. And as good of an actor as Matt Damon, it seems like it was the right decision.

"Manchester by the Sea" is an emotional drama that stands and falls with the leading man's performance, and Casey Affleck absolutely kills it in this role. The story revolves around a lonesome man, Lee, from Boston who unexpectedly becomes the guardian of his nephew when his brother dies of a heart disease. On top of all the struggle that usually comes with such a situation, the boy lives in Lee's old hometown, a place that he deliberately moved away from to escape his most painful memories.

Kenneth Lonergan's screenplay is beautiful, unpolished and real. Not one scene is romanticized or overly dramatized. People in real-life just don't go out and have outbursts all the time, and thus, a lot of moments in this film play out less pompous than you think. Sometimes they are somewhat awkward and at multiple points even unexpectedly funny. It is a script that doesn't cry for your attention, it earns it. Lonergan creates tension by having his characters share very little about their feelings through the dialogue, having their repressed emotions build up over time. Through a pointedly use of flashbacks he then withholds or reveals information in a way that maximizes their effectiveness.

This also means, of course, that the script calls for great actors that can display all those hidden emotions non-verbally, and Affleck is absolutely perfect for that. It just takes one look in his eyes to see all the pain that lies behind them. His portrayal of Lee is subtle, nuanced and yet endlessly expressive. The character is a hugely withdrawn person, but Affleck evokes so much empathy for him, that when he finally opens up, even just a little bit, it hits you. And it hits you hard. It is an absolutely masterful and heartbreaking performance. His Academy Award nomination is more then deserved, and so would be a win. All of the members of his supporting cast however are on the top of their game as well (Hedges and Williams also with Oscar nominations), and so when the characters interact, it feels like you are watching actual people.
"Manchester by the Sea" is an incredibly effective drama that is as genuine as it gets. Although it is a very sad film, it takes time to give you enough light moments in between so that the sadness you are left with is one that makes you appreciate the good things in your life. Come for Affleck's performance. Stay for the wonderful story. You will not regret it.

For Fans Of:
Locke (2013)
Wild (2014)
We Need to Talk About Kevin (2011)
Up In The Air (2009)

Click Here To Watch Trailer!

LA LA LAND - Movie Review

Title: La La Land
Running Time: 128 min
Director: Damien Chazelle
Writer: Damien Chazelle
Starring: Emma Stone, Ryan Gosling,  Rosemarie Dewitt, John Legend, J.K. Simmons

Review: 

"And the Golden Globe goes to... La La Land.“ Yes, this film broke records by winning a total of 7 Golden Globes including awards for its actors, director and music. As a result, in countries where the film is still playing in theaters, the lines for this movie are huge. But what does this romantic musical have that makes it earn so much praise? Can you believe the critical hype?
Well, once you have watched „La La Land“, it becomes clear why the Hollywood Foreign Press Association celebrates it that much: The whole film is a love letter to Hollywood. It is also, so it seems, director Damien Chazelles' apology to all those who felt he misrepresented the spirit of Jazz in „Whiplash“. Our two protagonists are just two lonely souls trying to make it big in the City of Angels (or the City of Stars as Gosling sings of it). One as an actress, the other as a pianist. Both of them dwell on the past, admiring the classic stars of their craft and the glamour of it all.
For the third time, Gosling and Stone are pairing up to play an amorous couple, and their familiarity with each other becomes apparent on screen. They have great chemistry together and since their both playing very much within their wheelhouse (Emma Stone even gets to do a short lip sync performance as she did on the Tonight Show), they play their parts with such an ease that their characters and their relationship seem incredibly natural. On top of that, of course, they had to manage the singing, the dancing and in Gosling's case the piano playing. They pass on all three of those. Sure, there might be better singers than Stone and better dancers than Gosling, but its their comprehensive package that totally sells the film. And Ryan Gosling's skills on the ivories are impressive, especially when you consider he had to learn it from scratch for this film.
But our two actors are not the only players that do their job more than well. Damien Chazelle's direction is incredibly beautiful. Through a pointed use of long takes and conspicuous lighting, he manages to accentuate the musical performances in a way that they feel almost detached from the actual story line. Paradoxically, this makes the musical aspect of the film more believable as you don't have the impression that the characters randomly break out into a song, but rather that (like a dream sequence) the act is just an artistic representation of the characters' innermost thoughts and emotions. You will notice that he usually refrains from doing so, when the characters actually play music for others within the story. In addition, Chazelle also avails himself of the L.A. setting of the film. On every occasion, he stages his scenes around the city in a way that underlines their tone or visually expresses what the characters are going through. It's a treat for the eyes.
The story itself is not only a cute love-story but a tale of dreams, hopes and wishes and how we go about them as our life progresses. The afore mentioned magnificent work of the talents involved manages to save the film from becoming too cheesy, and just when you think you a schmaltzy Hollywood ending is coming up, the film turns it around and delivers a strong conclusion.
So does "La La Land" deserve the hype? Is it even worthy of a Best Picture Oscar? I can't say for sure. It doesn't have the relevance of a "12 Years a Slave", the philosophy of a "Birdman" or the big emotional punch of  a "Spotlight", but then again the conversation whether only heavy-hearted dramas are worthy of prestigious Awards is long overdue. What I can say however, is that this is not a chick-flick, but rather a carefully crafted, charmingly acted and delightfully told romantic musical that will enchant and entertain you for its entire run time. Is there more you could ask for?

For Fans Of:
The Artist (2011)
Singin' in the Rain (1952)
West Side Story (1961)
Crazy Stupid Love (2011)

Click Here To Watch Trailer!

TOP 10 FILMS OF 2016

 Hello there puny humans,
2016 was an weird year. Politically, for me personally and even movie wise. There were so many highly anticipated blockbusters. Star Wars was back, Independence Day, Marvel Studios, DC, Star Trek, The X-Men and even Harry Potter. Some of these even with two new entries to their franchise. Quite a few of them were huge hits, others were destroyed by critics and audiences alike, and in between we even got indie flicks about blood drinking models or corpses with a thirst for adventure. And while, having a life and all that, I was not able to watch every single movie that came out this year (I've missed gems like Sing Street, The Lobster or the afore mentioned The Neon Demon), I think I've covered all the big ones and a few more. So much so, that for the first time, I acquired a "Most Disappointing Films of 2016"-list this year (coming soon). Further more, this list is based on German release dates, meaning that some films from late 2015 could still make it, while other more recent films couldn't. It was tough to put this list together, but for this year I decided to look at what movie personally stuck with me the most. But now without further ado, here are my 10 favorite films of 2016:

10. "DEADPOOL"
The number ten spot on my list was hard-fought, but in the end, the Merc with a Mouth came out on top (his healing factor might have something to do with that). I initially missed this film in theaters and only caught up on it recently on DVD. Till then, the movie had already been hyped up so much that it annoyed me, and I went into full "I read Deadpool Comics before he was mainstream"-huffy-Hipster-Mode. But exactly that statement is one of the reasons I ended up enjoying this film so much. Deadpool is a spot-on adaptation of the comic-book character. It's bloody, it's vulgar, it's childish and just a whole lot of fun. Additionally, it was refreshing to see a small-scale superhero film for once. To all who couldn't get enough of Wade Wilson, I recommend to read Deadpool: Dracula's Gauntlet and Deadpool/Spider-Man Vol. 1 - Isn't it bromantic.

9. "ZOOTOPIA"
I usually don't watch a lot of animated movies. Even though they entertain me well enough, they usually fail to make a big impression. Zootopia however was different. On the one hand, it took heavy inspiration from the classic film-noir. Its story-line played out less like a kids movies and more like the mystery crime dramas I love so dearly. With the addition of the comedic buddy cop element, the whole thing felt like a film that Shane Black would write if someone forced him to go PG. And there were pop-culture references galore. It was fantastic. On the other hand, the film very openly dealt with the topic of discrimination, which I feel quite strongly about. While some accused the movie of being unfocused on that regard, I think it just holistically depicted the complexity of the topic. My future children will have to watch this!

8. "NOCTURNAL ANIMALS"
When I first saw the trailer for this December release, I wasn't quite sure what to make of the film. I decided to skip this one for now, and catch it some time later. After a recommendation of a trusted friend however, I bought the ticket anyways, and I am so very glad that I did. Nocturnal Animals was a cunning thriller that was suspenseful through and through. It is a tale of love and revenge, two things we can all relate to, and it completely engages you. You can tell that writer-director Tom Ford is first and foremost a visual artist, as this is an incredible visually driven film. The way he weaves the two stories into each other is brilliant, and as the film progresses he even begins toying with the audience's expectations. With its recurring themes and images, the film is so carefully crafted that I felt I immediately had to watch it again to analyze it.

7. "THE NICE GUYS"
I mentioned earlier that I liked Zootopia because it felt a little bit like a Shane Black movie. Well, this one actually is a Shane Black movie. And a damn good one. The creator of Kiss Kiss Bang Bang has done it again. This film is a neo-noir buddy cop movie that is absolutely hilarious. Russell Crowe and Ryan Gosling get to show off their great comedic chops, and as usual the dialogue, no, the whole film is written with a very special kind of humor. Wrapped inside of it, is a fun mystery that demands to be solved. Black has the gift to make his characters seem like everyday-people by letting them make mistakes and have their stupid moments. It is so beautifully random that it is almost impossible to foresee when a scene will be told straight or end in a goofy way. Therefore, it becomes incredibly unpredictable. The Nice Guys is one of those films where you quote your favorite scenes back and forth with your friends with whom you just left the theater. Absolutely Golden.

6. "ARRIVAL"
If the name Denis Villeneuve doesn't ring a bell by now, it should after this article! The french-canadian director has one hell of a resumé, with psychological thrillers like Prisoners, Enemy and Sicario under his belt. Arrival marks his first venture into sci-fi and shows that the guy can apperently do anything. The film is an incredibly intelligent science-fiction piece, that takes a more realistic approach than some others: The aliens do not land only in America (nor on its landmarks), they are not immediately aggressive and the first action of the government is not to draw weapons, but to find a way to comunicate with them. It is in a way a film about language and how it affects our way of thinking. Might sound boring to some, but I assure you it is the exact opposite. Villeneuve is a master of suspense and even catches you off guard with an unexpected plot twist. On top of that, the design and concept of the heptapods, their space-ships, and they're language is so imaginative that you want to explore it just as much as our main characters do. This film is smart. I love smart films.

5. "10 CLOVERFIELD LANE"

Kicking off the Top Five is a film that I knew I would enjoy, but didn't know I would enjoy this much. 10 Cloverfield Lane sucked me in from minute one and gave me an absolute thrill ride. In its core, the premise is simple: After a car accident, a young women finds herself in a locked shelter/bunker with two men who claim the outside world was contaminated by a chemical attack. But as you read this you are already asking yourselves some intriguing questions, that the film attempts to answer. Sure, there are a lot of claustrophobic thrillers where a person doesn't quite know what's going on, but this film stands out because of a few simple things. Firstly, there is John Goodman's performance as Howard, the man in charge. He proves once and for all that he is one of the best character actors working today. He creeps you out and simultaneously evokes empathy. Few actors can do that. Secondly, Mary Elizabeth Winstead's Michelle is not your typical helpless protagonist you often see in such films. On the contrary, she is smart and inventive and thinks of possible solution before the audience does, rather than afterwards. Lastly, the whole film refrains from jump scares or cheap tricks, and instead masterfully combines the actors, the plot, the camera work and the music to create an atmosphere with a huge tension. And then at the very end, the film goes wild and almost enters a new genre, but viewer's who actually read the title of the film will know what's going on.

4. "CAPTAIN AMERICA: CIVIL WAR"

So many big budget blockbusters came out this year, but only Captain America: Civil War managed to make this list. Why? Because it is just f**king entertaining. The Russo brothers completely nailed this film. They properly adapted the themes of the original comic book story-line (incidentally being one of my favorites) for the Marvel Cinematic Universe. They managed the difficult task of handling so many different iconic characters. They introduced a brand-new and spot-on Spider-Man. They crafted amazing action-pieces that just make you jump with joy. They even managed to put in a little plot twist in and create an unexpected third act. They were the perfect directing duo to make this film. My initial review had nothing but love for this film, and eight month later I still stand by every word. It is a dream-come-true for Marvel fans, and a nightmare for the Warner Bros.-executives in charge of the DC cinematic universe. I want to watch that airport scene again right now. Man, what a blast it was!

3. "CAPTAIN FANTASTIC"

Just above Captain America, on the third spot on my list, sits yet another Captain. But the film at hand is not about caped vigilantes or spandex wearing super-humans. It is in fact an independent comedy-drama about a man who is forced to travel to the "outside world" with his kids, who he has so far raised in the woods under intensive physical and intellectual education. This movie is as funny as it is thought-provoking, as charming as it is surprising. It has a message, something to say about our society, but it doesn't paint things black and white. While other indie-flicks are just all about a bunch of hipsters and/or misfits sticking it to "The Man", this film dares to question its protagonist. Its big themes are obviously parenting and the down-sides of modern society, but what gets overlooked by many viewers and reviewers is the beautifully realistic, respectful and subtle way the film portrays manic-depression and how such a mental disorder affects a whole family. This film is wonderfully sweet and endlessly charming. I've said it before in my review. This film is, indeed, fantastic.

2. "SWISS ARMY MAN"

Yes. That "farting corpse movie" you heard about is my second favorite film of 2016. It is almost frustrating to try to talk to people about how good this film is. Most people are already put-off when I explain the plot to them. "A guy walks around with a dead body and uses it as a multi-functional tool? That can't be a proper movie. That is just too damn weird!" Of course that is weird. But it is glamorously weird! Swiss Army Man is unlike anything you have ever seen before, and while original doesn't always mean good, this film will certainly surprise you if you give it a chance. It is a heartfelt story about friendship, love, loneliness, social etiquette and life itself. In all its oddness, it is a very sincere movie. Radcliffe and Dano have great chemistry and sell every single scene their in, no matter if it is emotional or outrageous. Further more the two directors, the Daniels, have a unique visual voice and their film is highly stylized. Coming from a music-video background, they are quite experienced in saying things through images rather than words. Speaking of music, the Soundtrack of this movie is something quite special as well. It is used as an additional canal to bring the thoughts and feelings of the characters across. I praised it in my initial review and gave it a Cinemartian Movie Award. So when you put it all together, Swiss Army Man is truly one of a kind. I really wish more people would have checked it out.

...

1. "ROOM"

There was never any doubt! No movie was able to top the emotional response this film evoked in me when I watched it early this year. Having premiered as early as September 2015 in the US, this film deservingly took home an Academy Award for Best Actress at last years ceremony (and if you asked me, it could have gotten even a few more).
Its pre-Oscar buzz had intrigued me, and yet I had no idea what the move was about when I sat down and watched it. From then on, it made me curios, thrilled me, scared me, made me laugh, made me incredibly sad, and filled me with joy. It broke my heart and patched it up again all in the course of 118 Minutes. I was blown away. Completely. And after buying the DVD and having re-watched it multiple times, it still has that same effect. While the movie convinces on so many different levels, its greatest strength is that it feels very real and very honest. A brilliantly written, beautifully acted and perfectly executed roller coaster, this is the best film I've seen in 2016. As well as one of the best films I have seen, period.

There you have it. My Top Ten of 2016. As you might have noticed, not many big budget films made the cut and my Top Three solely consists of independent films. Maybe I am suffering from a little bit of blockbuster fatigue, or this was just an especially strong year for smaller films, who knows. But what do you think? Do you agree or disagree with my choices? Are you a hardcore Potterhead that now hates me for not including Fantastic Beasts and Where to Find Them? Or a Star Wars geek that would prefer Rogue One over any of these films?* Feel free to comment below and don't forget to spread the word by liking and sharing. And if you wonder what movies could end up on next year's list, you might want to check out my "Top 10 Most Anticipated Films of 2017".

Sincerely,
Your Cinemartian

*FYI: I did enjoy those two films quite a lot, just like Doctor Strange, but the competition was too strong this year.