Find the best movies and show to watch from the year 2016. These handpicked recommendations are highly-rated by viewers and critics.
Former activists Ben Cash (Viggo Mortensen) and his wife Leslie drop out from modern consumerist society to raise their six children in the wilderness of the Pacific Northwest. They teach them how to raise and kill their own food, to survive in nature through boot-camp-like workouts, and homeschool them in literature, music, and left-wing philosophy. Instead of Christmas, they celebrate Noam Chomsky's birthday. Then, one day, this unusual family life is shaken by a phone call and they are forced to leave their life of adventure to reintegrate into American life.
Directed by Matt Ross, who also brought you Good Night, and Good Luck, the film offers a poignant look at alternative living, the effects of modern technology, and the nature of good parenting. Viggo Mortensen is indeed fantastic as the grizzled father and was rightly nominated for a Golden Globe and the Academy Award for Best Actor. George MacKay and the entire cast of “children” also deliver terrific performances. As emotionally raw and thought-provoking as it is funny, Captain Fantastic will have the viewer decide if Ben Cash is the best father in the world or the worst.
Like all great documentaries, Angry Inuk is about way more than its tagline. At first glance, it's about how anti-sealing activism has been harming Inuit communities since the 1980s, to the point of instituting the highest rates of hunger and suicide anywhere in the "developed" world. But beyond, it's about the complicity of the government of Canada. A crushed seal-based economy means that the Inuit have to agree to oil and uranium mining in the Arctic.
Angry Inuk is also about the corrupt behavior of animal rights organizations like Greenpeace: seals are actually not on the endangered animal list but NGOs focus on them because they make them money.
It's an infuriating but incredibly important documentary. One that is not about how Canada has a bad history, but about how Canada is harming the Inuit right now.
This autobiographical documentary covering the span of Brian DePalma’s 50+ year filmmaking career is taken from the man himself. From budget-less independent films to multi-million dollar box-office projects, he offers a fascinating professional history. But don’t expect critical analysis of his frequently controversial choices (such as the infamous oversized drill used as a murder weapon in Body Double)—he will acknowledge the existence of these issues, if only to grin and shrug them off, at times literally. What you can expect is to feel you are taken by the hand through Hollywood filmmaking experiences over the course of decades: negotiations, rewrites, stolen scripts, scuffling actors; tours of technical points of interest from his movies with commentary on deftly chosen film clips. You don’t have to be a fan to get a wealth of entertainment here. Not to be missed.
A zombie virus breaks out and catches up with a father as he is taking his daughter from Seoul to Busan, South Korea’s second-largest city. Watch them trying to survive to reach their destination, a purported safe zone.
The acting is spot-on; the set pieces are particularly well choreographed. You’ll care about the characters. You’ll feel for the father as he struggles to keep his humanity in the bleakest of scenarios.
It’s a refreshingly thrilling disaster movie, a perfect specimen of the genre.
This slow-burning drama is set in an Indigenous reservation in South Dakota, where Johnny is a teenager who dreams of moving to L.A. with his girlfriend. He would have to leave behind his little sister, who is just grappling with the recent loss of their father.
Director Chloé Zhao (The Rider, Nomadland) worked with amateur actors whose lives mirror the characters, often adapting the script to the actors' stories. She filmed 100 hours of footage that she then distilled into an hour and a half.
The result is a film shot from the outside but which is grounded in local stories. And these stories are rough, sad, complex - but so important to listen to and understand. It's an incredible feat to make an observational film that's so grounded in reality - only a genius could: that's Chloé Zhao, and this mature work is -somehow- her first feature film.
This startling debut from Chinese director Bi Gan is a mesmerizing synthesis of cinema and poetry. A man searching for his nephew goes on a journey that blurs the boundaries between time and space, and dreams and reality. All this is expressed through gorgeous and understated camerawork reminiscent of Apichatpong Weerasethakul’s languorous lens. However, Bi Gan’s style is all his own, including spectacular long takes whose sophistication and complexity only become apparent once they are done.
Kaili Blues’ hypnotic aesthetics are like a mud bath for you to soak and luxuriate in. There are no easy answers for putting together its past/present/future puzzle-box, and it’s best to leave the deconstructions for later viewings as repeated trips to Bi Gan’s dreamy recreation of his hometown will reveal even more.
I can’t get a song out of my head from this movie: the 1985 UK hit Desire As from Prefab Sprout.
It plays when the two main characters, a sensitive kid who’s bullied by his school for not liking rugby, and the school’s rugby star; talk over the “Berlin Wall” that separates their dorm room.
The song echoes “It's perfect as it stands, so why then crush it in your perfect hands?”. These two seemingly incompatible personalities form a friendship that comes under threat from their school’s traditional authority, especially as one of them is revealed to be gay.
It might seem like a tough premise, but Handsome Devil is actually a comedy. It’s a sweet and easy coming-of-age comedy.
It’s always fun to watch something that makes you second guess each move, that shifts seamlessly from one thing to another. Frantz is that kind of film, and as the deceptively simple premise unfolds—a widow befriends her late husband’s friend—you’re never really sure if what you’re watching is a romance, a mystery, or a sly combination of both.
It helps that Frantz is also more than just a period piece, packed as it is with tiny but thoughtful details. When it is filled with color, for example, it does so in the muted palette of 1900s portraits, making each shot look like a picture come to life. When it talks about love, it goes beyond heterosexual norms and hints at something more potent and, at times, political. And when it takes a swing at melodrama, its actors ground the moment with enough restraint and reserve so that it never teeters on excess. All this results in a well-executed, gripping, and overall lovely film to watch.
Annette Bening, Greta Gerwig, and many other big names star in this comedy-drama directed by Mike Mills (Beginners, Thumbsucker.) The story spans multiple generations but starts in 1979, where Dorothea Fields (Bening) is finding it increasingly difficult to raise her son alone. She enlists the help of two other women, one her son’s age and the other a New Yorker in her twenties who is very active in the punk scene. The three women, of three different generations and personalities as well as takes on the concept of “only a man can raise a man,” play different roles in this kid’s life. 20th Century Women is based on director Mike Mill’s own upbringing in Southern California.
If you’ve never heard of Sonia Braga, you’re in for a ride with this movie. She is, in my opinion, one of the best actresses alive today. In Aquarius, she stars as a 65-year-old trying to keep the home in which she pledged to die. In a quiet, yet stoically powerful performance, she reminds us that identity often intersects with the spaces in which we live.
Probably the weirdest film you'll ever see. Paul Dano plays a borderline suicidal man who befriends a farting corpse that washed up from the sea as played by Daniel Radcliffe. It's an adventurous, witty and hilarious film yet it is filled with discreet and very deep lessons about society and norms. The soundtrack is so charmingly unique as well, it's a definite must-watch for anyone looking for a refreshing comedy.
In the West, South Korean film is largely defined by the ingenious (oft violent) bombast of directors like Park Chan-wook (Oldboy) and Bong Joon-ho (Parasite), but there is a quieter tradition championed by director Hong Sang-soo that is just as imaginative and worthy of your time. This fascinating film serves as a perfect entry point to a director whose filmography is full of similar riches.
A film director arrives in town to deliver a lecture, and having some time to kill, ends up sharing a day with a stranger. This simple set-up recalling Before Sunrise leads down a charming and quietly romantic route that would be delightful on its own, but Right Now, Wrong Then is about much more than just a chance encounter. It’s a film more concerned with how little moments here and there can change everything, and how much our lives are governed as much by chance and timing as the choices we make.