Dynamic Top Tens of 2016

Discussions of specific films and franchises.
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Re: Dynamic Top Tens of 2016

#51 Post by Altair » Sun Mar 06, 2016 3:22 pm

1. Silence
2. Manchester by the Sea
3. O.J.: Made in America
4. The Handmaiden
5. Nocturnal Animals
6. Knight of Cups
7. Jackie
8. La La Land
9. Moonlight
10. The Neon Demon
11. Sully
12. Miles Ahead
13. Hail, Caesar!
14. The Nice Guys
15. Everybody Wants Some!!
16. Rogue One
17. Weiner
18. The Salesman
19. War Dogs
20. Jason Bourne
21. Captain America: Civil War
22. Fantastic Beasts and Where to Find Them
23. Finding Dory

Should be consigned to the dustbin of history: Paterson.
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Re: Dynamic Top Tens of 2016

#52 Post by Askew » Thu Mar 17, 2016 8:52 pm

1. Manchester by the Sea
2. Silence
3. 10 Cloverfield Lane
4. Deadpool
5. The VVitch
6. Hail, Caesar!
7. Swiss Army Man
8. Moonlight
9. Arrival
10. La La Land
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Dynamic Top Tens of 2016

#53 Post by Black Hat » Wed Mar 23, 2016 2:55 am

1) Knight of Cups (Malick)
2) Toni Erdmann (Aden)
3) No Home Movie (Akerman)
4) Jackie (Larraìn)
5) Manchester By The Sea (Lonergan)
6) Paterson (Jarmusch)
7) Aquarius (Filho)
8) Arrival (Villeneuve)
9) Elle (Verhoeven)
10) American Honey (Arnold)

Very Good, in order of preference
The Death of Louis XIV (Serra)
In the Shadow of Women (Garrel)
The Lost City of Z (Gray)
Hell or High Water (Mackenzie)
I, Daniel Blake (Loach)
Everybody Wants Some (Linklater)
The Edge of Seventeen (Fremon)
Cameraperson (Johnson)
My Golden Days (Desplechin)
The Son of Joseph (Green)
O.J.: Made in America (Edelman)
Miss Sloane (Madden)
Hacksaw Ridge (Gibson)
Loving (Nichols)
Rules Don't Apply (Beatty)
Cemetery of Splendour (Weerasethakul)
Sunset Song (Davies)
La La Land (Chazelle)
13th (Duvernay)
Sully (Eastwood)
Things to Come (Løve)
Right Now, Wrong Then (Sang-soo)
Doctor Strange (Derrickson)
Mountains May Depart (Zhangke)
A Quiet Passion (Davies)
Bright Lights: Starring Carrie Fisher and Debbie Reynolds (Bloom & Stevens)
Moonlight (Jenkins)
10 Cloverfield Lane (Trachtenberg)
20th Century Women (Mills)
Allied (Zemeckis)
One More Time With Feeling (Dominik)
Certain Women (Reichardt)

Very Interesting
Neon Bull (Mascaro)
The Girl on the Train (Taylor)
Voyage of Time (Malick)

Good with Great Moments but Thin
The Nice Guys (Black)
Neon Demon (Refn)
Rogue One (Edwards)
Swiss Army Man (the Daniels)
The Birth of a Nation (Parker)
Green Room (Saulnier)
Julieta (Almodóvar)
Snowden (Stone)
Graduation (Mungiu)
The Witness (Solomon)
Neruda (Larraín)

So, So
Money Monster (Foster)
Kubo and the Two Strings (Knight)
Hail Caesar (Coens)
Louder Than Bombs (Trier)
Best Worst Thing That Ever Could Have Happened…(Price)
Jack Reacher: Never Go Back (Zwick)

Hated, but too many friends loved so maybe I'm the idiot
The Lobster (Lanthimos)
Personal Shopper (Assayas)

Geneva Convention Banning On Grounds of Torture
The Accountant (O'Connor)
The Maginificent Seven (Fuqua)
Nocturnal Animals (Ford)
Midnight Special (Nichols)
Suicide Squad (Ayer)
The Light Between Oceans (Cianfrance)
Assassin's Creed (Kurzel)
Live By Night (Ben Affleck's Hat)
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Re: Dynamic Top Tens of 2016

#54 Post by Timec » Wed Mar 23, 2016 10:08 am

1. Certain Women
2. The Red Turtle
3. Moonlight
4. Land of Mine
5. I, Daniel Blake
6. The Lobster
7. The Salesman
8. Knight of Cups
9. The Witch
10. Fire at Sea

HM: 10 Cloverfield Lane / Arrival / Birth of a Nation / Creepy / Hell or High Water / Indignation / La La Land / Nocturnal Animals / Sing Street / Zootopia
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Re: Dynamic Top Tens of 2016

#55 Post by connor » Mon Mar 28, 2016 3:14 pm

1. Pee-wee's Big Holiday
2. Hail, Caesar!

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Re: Dynamic Top Tens of 2016

#56 Post by Oedipax » Mon Mar 28, 2016 3:19 pm

1. Knight of Cups (Malick)
2. Horace and Pete (C.K.)
3. Cemetery of Splendour (Weerasethakul)
4. Nocturama (Bonello)
5. Silence (Scorsese)
6. Rester Vertical (Guiraudie)
7. Certain Women (Reichardt)
8. The Witch (Eggers)
9. In Jackson Heights (Wiseman)
10. La fille inconnue (Dardenne)

Also liked:

Manchester by the Sea (Longergan)
American Honey (Arnold)
Paterson (Jarmusch)
Toni Erdmann (Ade)
Moonlight (Jenkins)
Everybody Wants Some!! (Linklater)
The Neon Demon (Refn)
Voyage of Time [IMAX 45' 3.60:1 non-VO version] (Malick)
Francofonia (Sokurov)
Les habitants (Depardon)
Cameraperson (Johnson)
Green Room (Saulnier)
Neruda (Larrain)
Hail, Caesar! (Coens)
Trois souvenirs de ma jeunesse (Desplechin)
Julieta (Almodovar)
The Salesman (Farhadi)
Aquarius (Filho)
Personal Shopper (Assayas)
The Red Turtle (De Wit)

This list is a bit of a hodgepodge because some of these films I saw for the first time in 2015, but were not released in the U.S. until 2016, and others I saw in 2016 in advance of when they might initially be released in the U.S.
Last edited by Oedipax on Mon Jan 16, 2017 8:51 pm, edited 25 times in total.

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Re: Dynamic Top Tens of 2016

#57 Post by therewillbeblus » Sat Apr 02, 2016 4:03 am

1. Manchester By The Sea (Kenneth Lonergan)
2. 20th Century Women (Mike Mills)
3. Toni Erdmann (Maren Ade)
4. Paterson (Jim Jarmusch)
5. O.J.: Made In America (Ezra Edelman)
6. American Honey (Andrea Arnold)
7. Jackie (Pablo Larraín)
8. Elle (Paul Verhoeven)
9. Love & Friendship (Whit Stillman)
10. La La Land (Damien Chazelle)

Past lists: 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005-2000
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Re: Dynamic Top Tens of 2016

#58 Post by cantinflas » Mon Apr 04, 2016 2:34 am

1. Batman v Superman: Dawn of Justice
2. Sully
3. Hacksaw Ridge
4. Suicide Squad
5. How to Be Single
6. Billy Lynn's Long Halftime Walk
7. Deepwater Horizon
8. Shin Godzilla
9. Nerve
10. The Conjuring 2
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Re: Dynamic Top Tens of 2016

#59 Post by dustin » Wed Apr 20, 2016 12:01 pm

so far

Academy of the Muses - Guérin
Mountains May Depart - Jia
Kaili Blues - Bi
Cemetery of Splendour - Weerasethakul
The Fear - Odoul
My Golden Days - Desplechin
Evolution - Hadzihallilovic
The Lobster - Lanthimos
The Witch - Eggers
Valley of Love - Nicloux

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Re: Dynamic Top Tens of 2016

#60 Post by worriedfire » Thu May 12, 2016 2:59 am

1. Toni Erdmann (Maren Ade)
2. Fire at Sea (Fuocoammare, Gianfranco Rosi)
3. Certain Women (Kelly Reichardt)
4. The Yard (Yarden, Måns Månsson)
5. Cemetery of Splendor (Rak ti Khon Kaen, Apichatpong Weerasethakul)
6. Things to Come (L'avenir, Mia Hansen-Løve)
7. Midnight Special (Jeff Nichols)
8. Knight of Cups (Terrence Malick)
9. Everybody Wants Some!! (Richard Linklater)
10. Hail, Caesar! (Joel & Ethan Coen)
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Re: Dynamic Top Tens of 2016

#61 Post by rohmerin » Tue May 17, 2016 12:35 pm

1- Julieta
2- Theo et Hugo dans l'même bateau
3- The Handmaiden
4- The nice guys (the best commercial American movie I remember since The hangover)
5- Carol
6- Son of Saul
7- Elle
8- Suburra
9- Hell or Highwater
10- Mon Roi (Maiwenn)

I liked Tarde para la ira (Raul Arevalo), Captai Fantastic, Everybody Wants Some!!, Techine's Being 17, La tete haute, and Zootopia.
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Re: Dynamic Top Tens of 2016

#62 Post by Banasa » Mon Jul 04, 2016 7:10 am

1. The Wailing
2. Moonlight
3. American Honey
4. The Witch
5. The Handmaiden
6. Fire at the Sea
7. Elle
8. Hunt for the Wilderpeople
9. The Neon Demon
10. Three
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Re: Dynamic Top Tens of 2016

#63 Post by zedz » Sun Jul 31, 2016 7:58 pm

Well, I’ve seen over 130 films in the last couple of weeks (a few dozen of those were shorts). Still more to come, but I feel prepared enough to compile a rough top ten. Lots of fantastic films this year, but mostly not from Cannes (of the dozen or so I’ve seen, only one makes my top ten, but there are plenty of very good films from the Cannes line-up).

Edit: a week and a dozen films later, I've shaken up my top ten with two new additions and a very strong also-ran.

Top 10

Happy Hour (Hamaguchi Ryosuke) – I loved this so much I started a thread for it. 100+ films later, it’s still lodged in my brain and one of the best things I’ve seen in years.

The Son of Joseph (Eugene Green) – Or, Eugene Green’s Greatest Hits. A step back from the stylistic extremity of La Sapienza, and perhaps the most enjoyable film he’s yet made. Dense with allusion (mostly Biblical, and mostly subtle and unexpected), with a twisty, expansive plot and cast, frequently hilarious and ultimately very moving. It’s only the second of those characteristics that should come as a surprise to Green veterans. He’s one of the greatest working filmmakers, so if you haven’t caught up, here’s the ideal opportunity.

Life After Life (Zhang Hanyi) – This was produced by Jia Zhangke, and it bears a stylistic similarity to early works like Platform, but there’s also a strong whiff of Sokhurov’s otherworldly side. The story is extremely simple: a dead mother inhabits the body of her son in order to get her husband to do something important (which, in a subdued running gag, mystifies the mere mortals they encounter: “You came back from the dead for that?”) The film is so quiet and low-key that it manages to sell its outré premise(s) completely, but the real coup comes in the closing seconds when
a trapdoor opens under us into an abyss of existential horror.

Sieranevada (Cristi Puiu) – Another domestic epic, and like Happy Hour, it’s nothing like the plush, manicured character study that description might imply. Here, it’s an incredibly detailed examination of one sprawling family, on one afternoon, at an endless family dinner in a poky apartment that might as well have been catered by Samuel Beckett. Puiu’s formal discipline is hugely impressive (oftentimes, the camera will be stranded in the hallway, panning back and forth as doors open and close on the major and minor dramas unfolding behind them), and the characters are built up casual gesture by casual gesture with incredible care, but there’s nevertheless a freewheeling, improvisatory feel to everything. It’s also extremely funny. Our focal character, Lary, is burly and buoyant and spends most of the time wryly amused by the emotional chaos swirling around him. Most of the time.

The Five Minute Museum (Paul Bush) – Bush photographed thousands of museum artifacts, and then edited single frames of them together to create fantastic, pulsating Ur-arrowheads, or to show pottery shards reassembling themselves in the fourth dimension, or to create found animation of battle scenes or galloping horses from the images on hundreds of vases or coins. An animation tour-de-force.

Certain Women (Kelly Reichardt) – Reichardt has always been a gifted miniaturist, so the ‘lightly interrelated short stories’ form is far better suited to her than to most directors (who generally manage to fudge at least one of them). It’s just great work all around here, particularly from those certain women (Laura Dern, Michelle Williams, Lily Gladstone, Kristen Stewart).

Les Démons (Philippe Lesage) – Commanding first fiction feature from Canada. Stylistically it flips between ominous formalism (long, slow lateral tracks back and forth, 360° pans, very slow zooms) and busy Pialat intimacy (including one of the most shocking and convincing family rows I’ve ever seen in a non-Pialat film). It all revolves around a very young protagonist navigating a world of random adult hostility, parental betrayal, casual cruelty (his own), burgeoning, and confusingly contradictory, sexuality, and the bewildering chaos of real world horror, with young Felix understandably unsure about what threats are exaggerated and which are real. It’s mesmerizing and extremely tense, though nothing really plays out as you expect, dramatically – which is not to say that there aren’t several major dramatic payoffs. There’s an unusual and assured use of music, with the heavy, dread-inducing score playing over scenes that seem completely innocuous (but which get tied in with other scenes featuring the same score much later on in the film), and with Miriam Makeba’s insanely joyous ‘Pata Pata’ successfully dispelling a feeling of dread in other scenes. In the long run, the film is in some respects a competition between which music will prevail. A really terrific, mature and complex work that marks the emergence of a major talent. I suppose Haneke is the obvious contemporary reference point, but I found this film a lot more tonally supple and fruitfully complicated than most of his work.

A Quiet Passion (Terence Davies) – The most autobiographical film Davies has made since his actual autobiographical films, and perhaps also the best (The House of Mirth is really the only serious competition). He conceives of Emily Dickinson as a kind of 19th century Dorothy Parker, and the dialogue of the film is highly stylized to be 80% aphorisms. This gives the film a brisk wit, but as the film progresses the wordplay becomes less and less capable of masking Dickinson’s pain. Great performances by Cynthia Nixon and Jennifer Ehle (and Keith Carradine, of all the people to find in a Terence Davies film) in roles that require very precise balance between comedy and drama.

Fire at Sea (Gianfranco Rosi) – The great Italian documentarist delivers one of the most starkly beautiful films of the year. Like the far more functional (but also very good) Austrian documentary Lampedusa in Winter, it’s a portrait of the remote Italian island that has become the target destination of thousands of African refugees (thousands of whom die on the voyage). The film is split between documentation of the rescue and care of some of those refugees (and the horror they have endured), and relating the experiences of a local boy with a lazy eye and a slingshot. Rosi has such a great eye that he finds images that evoke beauty and awe wherever he looks, and there are a whole lot of night-time shots (punctuated by dancing torchlight or the psychedelic gold-green shimmer of space blankets) that are just spectacular, but he also has an extremely firm grasp on the human dimension of a serious international tragedy, which makes for a much more focussed film than his previous, Golden Lion-winning, Sacro GRA.

Anatomia Sonora: Sentinels of the Tides (Phil Dadson) – A two screen work in which Dadson kayaked around the back canals of Venice. Each doubled, matched shot shows the approach to identical bridges (in most cases, the shots are the same bridge approached from different directions, but there are some delightful ringers smuggled in amongst them), identically framed, with each bridge reflected in the calm water. Overall, the film has an abstract identity (approaching and passing through looming circles), though every component is itself a unique micro-documentary. And if you cross your eyes, it’s an even more radically psychedelic 3D movie than Adieu au Langage.

The Great

Apple Pie (Sam Hamilton) – Extremely ambitious and accomplished experimental New Zealand feature – a bunch of descriptors that get to be combined all too seldom (and which also apply this year to Adam Luxton and Summer Agnew’s On an Unknown Beach). The various sections are linked by cosmological gobbledygook and named after planets (and the Sun, and the Moon), but they stand or fall as individual short films, mostly predicated on visual metaphors for cosmic movement. Different sections evoke Anger (the hieratic nighttime masked procession of ‘Jupiter’), Barney (a man bound to / suspended from a gnarled tree in ‘Mars’), Paradzhanov (figures racing around one another on perfectly symmetrical mini-hilltops in ‘The Sun’), or the Whitneys (mesmerizing mandalas of pulsating rings evoking Saturn) and there’s a brilliant use of landscape throughout.

Bleak Street (Arturo Ripstein) – Content-wise, this seemed very standard to me, but Ripstein’s drastically updated noir style (basically noir lighting, but with the addition of copious shadow detail and gliding Steadicam) made this one of the most visually compelling films I’ve seen this year. Through that lens, this is kind of like the first twenty minutes of a ‘couple on the run’ film, stretched out and derailed. Hardly surprising from a miserabilist social realism point of view, but more novel if considered as a modern noir.

The Death of Louis XIV (Albert Serra) – Albert Serra doesn’t really make movies of ideas: they’re movies of texture and corporeality, and this is really an extended painterly mood piece that you either get absorbed in or reject. It’s another chapter in his ongoing project of humanizing mythic figures, and while it may appear to be just be a big heap of burnished molasses, there are nevertheless moments of punctuation in the form of humour and shock. I found it absorbing and the time flew, but if your mileage doesn’t vary, Serra would have failed at what he set out to do.

The Exquisite Corpus (Peter Tscherkassky) – A detourned old naturist film erupts into an erotic fever dream. Yet another dazzling tour-de-force of cinema eating itself alive from Tscherkassky.

Francofonia (Aleksandr Sokurov) – Explores, more explicitly, a lot of the ideas that were implicit in Russian Ark (including the idea of a great museum as a ship carrying the cargo of culture through time, though this time the vessel is at the mercy of a mammoth storm and needs to throw its cargo overboard in order to survive). It’s a dreamlike collage of found footage, artfully recreated period scenes (in Academy ratio and antique colour, with a visible optical soundtrack), metaphorical pantomime, dodgy Skype, and diary-film reflections. It’s actually one of Sokurov’s most stylistically diverse and content-rich films: I can’t think of another of his works that really resembles this, which is great to see in a career encompassing more than fifty films and now entering its fifth decade.

Julieta (Pedro Almodovar) – It’s been a long, long time since I was especially engaged by any of Almodovar’s films, but I surrendered to this one and had a great time. As usual, the plot is basically an old Hollywood melodrama of the 40s or 50s shot in ravishing widescreen with luxurious close-ups and a Pop Art use of colour. I still find the narrative pastiche kind of hollow (the storyline touches on all sorts of potential issues, but is never actually about anything other than the elaborate machinations of its plot), but stylistically this was incredibly seductive. Beautiful filmmaking from start to finish.

Kate Plays Christine (Robert Greene) – This is a hard one to rank, and it’s occupied every tier of this summary (or none of them) while I was working things out. It’s a making of the Christine Chubbock biopic, focussed primarily on lead actress Kate Lyn Sheil’s struggle to get a handle on the real life Christine. We see her do lots of research, track down people who worked with her, and have doubts about the exploitative nature (and quality) of the entire project. We also see glimpses of the film she’s making, which looks frankly awful. For an hour and three-quarters it’s a kind of interesting document of a filmmaking process that might not have been a good idea in the first place. I had already decided to avoid Antonio Campos’ Christine, on the basis of his utterly mediocre Simon Killer, and the glimpses we get of the film here inspired no confidence whatsoever. But wait a minute: Christine doesn’t star Kate Lyn Shiel, and the bearded Campos-a-like directing the film in Kate Plays Christine isn’t actually Campos. And then we get the final scene, which is. . . quite something. And clues us in to what is really going on here. Definitely one of the most violently original documentaries of the year.

Personal Shopper (Olivier Assayas) – I don’t know what everybody was complaining about, unless some people just find the presentation of genre material in arthouse language too distasteful to countenance. Let’s not forget that Assayas has done this a number of times before (Demonlover, Boarding Gate), and he’s taken a critical hit every time he does so. For me, Assayas took a couple of wacky premises (ghost story plus erotic thriller – if this had been a Mario Bava film, nobody would have batted an eyelid at the narrative), subverted them and mined them for new ideas – and delivered plenty of set-piece thrills along the way. There’s stuff here that doesn’t work (most notably a big expository scene that provides the fulcrum for the plot but seems way out of character on top of being shoddily written), and while Kristen Stewart has presence, she hasn’t demonstrated much range yet (though that’s not necessarily required for this role), but overall this is an involving thriller, with interesting takes on its genres and some really effective understated special effects. The final ‘conversation’ in the film ‘explains’ many of the film’s concerns and ideas, without resolving anything at the level of plot (and if you couldn’t figure out the point of the big text-messaging set-piece in the middle of the film, here’s its analogue analogue). If parts of this film don’t make sense, it might be because you’re considering them in the wrong mode: some scenes just don’t work if you’re assuming that everything’s going to boil down to art house normality, with apparently supernatural goings-on largely packed neatly away into lightly ambiguous realism. Likewise, if you’re following the genre template, you’re going to expect all the supernatural and psychopathic shenanigans to be tied up in a great big bow, with criminals caught and restless spirits calmed. You’re also going to expect the protagonist to behave like an idiot, which, in what might be my favourite fakeout in the film (and it’s a subtle one that happens entirely off-screen), she doesn’t. This film is very much a companion piece to Paul Verhoeven’s Elle, which attempts a lot of the same tricky things with genre (in a more bombastic and confrontational way). That film had a much stronger central performance, but I think this one wins on points.

The Red Turtle (Michael Dudok de Wit) – Masterful wordless animated feature, the first product of EuroGhibli. A film of great beauty, with exquisite use of negative space throughout. The early going where it’s a straight survival tale is the most compelling section, but the latter parts are no less accomplished. I was surprised and delighted to see that this was written by Pascale Ferran (though the bird’s-eye-view section of Bird People certainly showed that she could tell a story very effectively without dialogue.)

The Really Good

Aquarius (Kleber Mendonca Filho) – This is a much more conventional film than Filho’s debut Neighbouring Sounds, and it’s kind of disappointing in those terms, but the direction of this film is so full of subtle tricks and touches – all at the service of the story – that I have to admire it.

Chevalier (Athina Rachel Tsangari) – I’m not 100% on board with the new wave of Greek absurdism revolving around the Tsangari / Lanthimos axis, but this is one of the best films from that gang so far. Again, there’s an obsession with high-stakes game- / role-playing, though this time it’s in the somewhat more naturalistic context of the pissing contest to end all pissing contests. Masculine pretensions are predictably skewered, but there are enough laughs along the way to keep the satire afloat.

Paris 05:59 / Theo & Hugo dans la meme bateau (Olivier Ducastel / Jacques Martineau) – As the original title implies, this is, in a very perverse way, a gay Celine et Julie. The film opens with about twenty minutes of hardcore gay sex (including, during penetration, a stylized fantasy sequence) in a Paris sex club that’s exclusively electric blue and dayglo orange, and then continues to unfold in real time as the two guys wander around the streets of Paris in the middle of the night dealing with the fallout of their erotic encounter. The real coup (and challenge) is that it turns into a rather sweet relationship movie, with not another fuck in sight.

Paterson (Jim Jarmusch) – I went into this not knowing whether the title referred to the place, the name of the main character, or William Carlos Williams. Spoiler: it’s all three. And it’s a really sweet and relaxed low-concept film for Jarmusch. Just sit back and enjoy.

Toni Erdmann (Maren Ade) – A hell of a lot of fun, but if this really was the best thing at Cannes (I don’t think it was) then it was definitely an off year. Formally very ordinary, and I felt like the father was far more a plot device than a complete character, but this was nevertheless consistently entertaining and genuinely hilarious at (the right) times.

Winter Song (Otar Iosseliani) – More of the same from Iosseliani, which – since nobody else makes films like this – is more than enough.
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Re: Dynamic Top Tens of 2016

#64 Post by barrym71 » Mon Aug 22, 2016 10:09 am

1) Manchester by the Sea
2) 20th Century Women
3) Hell or High Water
4) Elle
5) High Rise
6) Don't Breathe
7) Nocturnal Animals
8) Cloverfield Lane
9) The Wailing
10) The Witch
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Re: Dynamic Top Tens of 2016

#65 Post by franco » Thu Sep 01, 2016 5:55 pm

The Bad Batch (Ana Lily Amirpour)
Paterson (Jim Jarmusch)
Nerve (Henry Joost, Ariel Schulman)
Certain Women (Kelly Reichardt)
Bacalaureat (Cristian Mungiu)
Manchester by the Sea (Kenneth Lonergan)
Jackie (Pablo Larraín)
10 Cloverfield Lane (Dan Trachtenberg)
The Son of Joseph (Eugène Green)
La La Land (Damien Chazelle)
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Re: Dynamic Top Tens of 2016

#66 Post by dda1996a » Thu Sep 01, 2016 6:02 pm

1)Everybody Wants Some!!!
2) Green Room
3) Sing Street

Not including 2015 releases like the Witch and Lobster, and sadly I live in a hole with no Cannes releases...

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Re: Dynamic Top Tens of 2016

#67 Post by Brevity » Thu Sep 15, 2016 8:41 am

1. Paterson (Jarmusch)
2. Toni Erdmann (Ade)
3. A Quiet Passion (Davies)
4. The Happiest Day in the Life of Olli Mäki (Kuosmanen)
5. Arrival (Villeneuve)
6. Elle (Verhoeven)
7. One More Time with Feeling (Dominik)
8. Certain Women (Reichardt)
9. Machines (Jain)
10. The Yard (Månsson)
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Re: Dynamic Top Tens of 2016

#68 Post by felipe » Mon Sep 26, 2016 4:27 pm

1. The Neon Demon
2. The Handmaiden
3. Love and Friendship
4. Aquarius
5. The Nice Guys
6. Arrival
7. Hail, Caesar!
8. Hunt for the Wilderpeople
9. Always Shine
10. Captain Fantastic
Last edited by felipe on Mon Dec 26, 2016 7:51 pm, edited 1 time in total.

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Re: Dynamic Top Tens of 2016

#69 Post by Brood_Star » Sat Oct 01, 2016 5:16 pm

What I ended up submitting for polls:

1. Elle (Paul Verhoeven, 2016)
2. Nightlife (Cyprien Gaillard, 2015)
3. La mort de Louis XIV (The Death of Louis XIV, Albert Serra, 2016)
4. Sieranevada (Cristi Puiu, 2016)
5. Der traumhafte Weg (The Dreamed Path, Angela Schanelec, 2016)
6. Nocturama (Bertrand Bonello, 2016)
7. Sixty Six (Lewis Klahr, 2015)
8. Toni Erdmann (Maren Ade, 2016)
9. 025 Sunset Red (Laida Lertxundi, 2016)
10. O Ornitólogo (The Ornithologist, João Pedro Rodrigues, 2016)

11. Luna e Santur (Joshua Gen Solondz, 2016)
12. Certain Women (Kelly Reichardt, 2016)
13. A Quiet Passion (Terence Davies, 2016)
14. Incantati (Danièle Huillet & Jean-Marie Straub, 2015)
15. John From (João Nicolau, 2015)
16. El Auge del Humano (The Human Surge, Eduardo Williams, 2016)
17. AS WITHOUT SO WITHIN (Manuela De Laborde, 2016)
18. Mimosas (Oliver Laxe, 2016)
19. Twoja i nie tylko twoja (Yourself and Yours, Hong Sang-soo, 2016)
20. Vertigo Sea (John Akomfrah, 2015)
21. Singularity (Albert Serra, 2015)
22. El Viento Sabe Que Vuelvo A Casa (The Wind Knows I'm Coming Home, José Luis Torres Leiva, 2016)
23. Austerlitz (Sergei Loznitsa, 2016)
24. Ta'ang (Wang Bing, 2016)
25. Montañas ardientes que vomitan fuego (Burning Mountains That Spew Flame, Helena Girón & Samuel M. Delgado, 2016)
26. Knight of Cups (Terrence Malick, 2015)
27. Ang araw bago ang wakas (The Day Before the End, Lav Diaz, 2016)
28. Ang Babaeng Humayo (The Woman Who Left, Lav Diaz, 2016)
29. Kékszakállú (Gastón Solnicki, 2016)
30. Kurîpî (Creepy, Kiyoshi Kurosawa, 2016)
31. Hermia & Helena (Matías Piñeiro, 2016)
32. Cilaos (Camilo Restrepo, 2016)
33. Anima, Silueta de Cohetes, Firework Piece (Ana Mendiata)
34. I tempi felici verranno presto (Happy Times Will Come Soon, Alessandro Comodin, 2016)
35. Mister Universo (Tizza Covi & Rainer Frimmel, 2016)
36. El futuro perfecto (The Future Perfect, Nele Wohlatz, 2016)
Last edited by Brood_Star on Tue Jan 10, 2017 4:43 pm, edited 1 time in total.

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The Untamed One
Joined: Tue Feb 27, 2007 2:22 am

Re: Dynamic Top Tens of 2016

#70 Post by Shrew » Sun Oct 30, 2016 11:50 pm

1) Certain Women
2) Moonlight
3) La La Land
4) Manchester by the Sea
5) Hell or High Water
6) Arrival
7) Love and Friendship
8) Jackie
9) Paterson
10) The Handmaiden

The Others: Mountains May Depart, The Nice Guys, 20th Century Women, Silence, Cafe Society, Midnight Special, American Honey, Hello, My Name is Doris, The Lobster, Don't Think Twice, Star Trek Beyond, Sully, The Jungle Book, Hail, Caesar, The Birth of a Nation, Captain America: Civil War, Rogue One, Money Monster, The Secret Life of Pets, Miss Peregrine's Home, Suicide Squad
Last edited by Shrew on Sat Mar 25, 2017 12:16 pm, edited 8 times in total.

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Re: Dynamic Top Tens of 2016

#71 Post by rockysds » Mon Oct 31, 2016 9:03 pm

Reichstag 9/11 (Ken Jacobs)
Hermia & Helena (Matías Piñeiro)
Luna e Santur (Joshua Gen Solondz)
Personal Shopper (Olivier Assayas)
Certain Women (Kelly Reichardt)
Nocturama (Bertrand Bonello)
Shivaay (Ajay Devgan)
Paterson (Jim Jarmusch)
Everybody Wants Some!! (Richard Linklater)
The Shallows (Jaume Collet-Serra)
Last edited by rockysds on Thu Jul 13, 2017 5:24 pm, edited 6 times in total.

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Re: Dynamic Top Tens of 2016

#72 Post by Aunt Peg » Sat Nov 12, 2016 12:54 am

01. Elle (Paul Verhoeven)
02. A Quiet Passion (Terence Davies)
03. The Bacchus Lady (Je-yong Lee)
04. Paterson (Jim Jarmusch)
05. The Death of Louis XIV (Albert Sera)
06. Toni Erdmann (Maren Ade)
07. The Diary of Anne Frank (Hans Steinbichler)
08. Uncle Howard (Aaron Brookner)
09. De Palma (Noah Baumbach & Jake Paltrow)
10. Things to Come (Mia Hansen-Love)

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Re: Dynamic Top Tens of 2016

#73 Post by goblinfootballs » Wed Nov 16, 2016 1:21 pm

1. Moonlight
2. Elle
3. Toni Erdmann
4. American Honey
5. Certain Women
6. 13th
7. Manchester by the Sea
8. The Lobster
9. Things to Come
10. Eisenstein in Guanajuato

Honorable Mentions: De Palma, Hail, Caesar!, High-Rise, Swiss Army Man

updated 29 January 2017
Last edited by goblinfootballs on Sun Jan 29, 2017 1:42 pm, edited 2 times in total.

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Re: Dynamic Top Tens of 2016

#74 Post by flyonthewall2983 » Thu Nov 17, 2016 2:19 am

1. Arrival
2. The Nice Guys
3. Hell or High Water
4. Sully
5. Zootopia

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Re: Dynamic Top Tens of 2016

#75 Post by perkypat » Tue Nov 29, 2016 9:03 am

Released in UK 2016. Looks like a Latin American year.

1. Son of Saul (Laszlo Nemes)
2. Embrace of the Serpent (Ciro Guerra)
3. The Club (Pablo Larrain)
4. The Clan (Pablo Trapero)
5. The Wailing (Na Jong-Hin)
6. Paterson (Jim Jarmusch)
7. The Witch (Robert Eggers)
8. From Afar (Lorenzo Vigas)
9. Youth (Paolo Sorrentino)
10. Childhood of a Leader (Brady Corbet)
Last edited by perkypat on Fri Dec 09, 2016 5:50 am, edited 1 time in total.

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