Best (and worst) of 2016

First - this has moments of transcendent beauty, primarily because of the visualization by Jenkins. He uses all the tools cinema affords him - power of the singular image, complex emotional/psychological expression of montage, exquisite sound design. But the transcendence wouldn't be possible without flawless performances (crafted by on-set pacing and editing in-camera). All incarnations of Chiron are perfect. The pacing is wise, intuitive, and unteachable. Jenkins is clearly a talent who, hopefully, has a long, prolific career ahead of him. The triptych structure of the narrative contributes to how fluid and engrossing it is. The minutes fly by. Could've watched three hours of this. The ending offers such subtle catharsis. My love will grow overtime. Masterpiece.

Portrait of a lost soul - that of a celebrity and the city he made his name in.

Many things all at once: an examination of youth, love, the illusion of possession, and the inevitability of nature's influence. A demonstration of authenticity on all fronts - the acting, direction, sound design, always spot-on diegetic music. No score. Andrea's intent is to observe the shifting emotions and sensations of the characters. But, most of all, this is a portrait. Of a young woman who is lost and, in the fullest sense of the word, free. And thereby a portrait of America itself.

It's like Nolan if he tried to understand human beings and had a sense of humility. I love that how within the first three or four shots, there are rigid aesthetic rules being established (it's either super tight/shallow focus on Adams or ponderous wides). We are 100% in Louise's perspective throughout, which I can't praise enough for a movie like this. The most personal sci fi film since Solaris maybe? (Hard to overlook Upstream Color if it qualifies). Fav Villeneuve I've seen so far

I didn't have the same problems with the main character as many - he's revealed to have a thorough philosophy on the world (his Sisyphus monologue) which allows him to remain relatively uncombative in his social life. The lack of drama is replaced by mannerisms, clashing ideologies, and an abundance of culture. In other words, a Richard Linklater movie. Should be no surprise to anyone familiar with the man's work. As for comparisons to his other work - another unsuspectingly profound slice of perfection.

The White Ribbon meets Blair Witch with some Antichrist imagery. Excellent performances and dialogue. The themes are rich and explored every scene. Surprisingly entertaining and doesn't overstay its welcome. The very ending is a bit over the top but still appropriate.