Maybe we just craved the escapism, but for all of the terrible stuff that happened in 2016 there sure were some fantastic films. From surprising comedies to modern musicals to spine-tingling horror films to singular dramas, these are Exclaim!'s top choices for the year in film.
16. Everybody Wants Some!!
(dir. by Richard Linklater)
Indie film great Richard Linklater's latest feature was initially billed as a "spiritual sequel" to Dazed and Confused, but it's so much more. Part college party comedy, part underdog sports drama, part coming of age movie, Everybody Wants Some!! perfectly captures the intoxicating experience of life after high school and all the joy and confusion that comes with finding yourself. This should be required watching for anyone in their early 20s (or anyone who doesn't appreciate the complexities and nuances of pitching, because that shit is really, really hard. )(Read more.)
Matthew Ritchie
15. Under the Shadow
(dir. by Babak Anvari)
Babak Anvari's Under the Shadow is a startling directorial debut, an incredibly tense political horror that feels physically and emotionally claustrophobic. Set almost entirely within one apartment complex during the Iran-Iraq war, Shideh (a magnetic Narges Rashidi) and her young daughter Dorsa (Avin Manshadi, in a promising debut) begin experiencing horrors both inside and outside their home. Every ambient sound and claustrophobic shot is imbued with Shideh and Dorsa's restless frustration and mounting fear as evil slowly begins to build around them. Under the Shadow is masterful at marrying real-life fears with the supernatural, until the audience is no longer sure which is more scary. (Read more.)
Laura Di Girolamo
14. Swiss Army Man
(dir. by Daniels)
When it premiered at Sundance last year, Spike Jonze-superfans-turned-music video directors Daniels' debut feature film was met with massive walkouts. But Swiss Army Man rewards viewers willing to watch past the opening scene, in which Paul Dano, stranded alone on a deserted island, rides Daniel Radcliffe's fart-propelled corpse across part of the Pacific Ocean to safety. Yes, there's a lot of farting, rogue boners and fart-powered weaponry, but Swiss Army Man is also about real emotions, namely love and friendship. Personally, I'd take it over a Whit Stillman movie any day, but maybe I just really like the idea of Harry Potter vomiting gallons of stagnant water into another award-winning actor's mouth. (Read more.)
Matthew Ritchie
13. Midnight Special
(dir. by Jeff Nichols)
For his first film since 2012's critically acclaimed Mud (and first for a major studio), American filmmaker Jeff Nichols decided to stray from the southern character dramas for which he became known for and make a stylish sci-fi film. Casual moviegoers couldn't quite connect with its unfolding narrative and weird ending, but, much like Denis Villeneuve's Arrival, Midnight Special will stand the test of time thanks to its message, moody vibe and mysterious story. This one will leave you thinking. (Read more.)
Matthew Ritchie
12. Hunt for the Wilderpeople
(dir. by Taika Waititi)
Taika Watiti's Hunt for the Wilderpeople is a true original from moment one, offering a delightfully offbeat take on an unlikely family dealing with loneliness. Julian Dennison shines as Ricky Baker, a preteen juvenile delinquent whose curiosity, endless optimism and a hilarious ineptitude for dealing with the New Zealand bush makes him the heart of the film. As he tumbles about the wilderness with surly foster father "Uncle Hec" (an equally wonderful Sam Neill), each teaches the other about friendship, family, loss, and "the skuxx life." Hunt for the Wilderpeople is so fresh and grounded that it succeeds at balancing emotion with silliness, quirk with sincerity, and is sweet without a hint of schmaltz. (Read more.)
Laura Di Girolamo
11. O.J.: Made in America
(dir. by Ezra Edelman)
There aren't exactly any shocking revelations in the nearly eight-hour documentary OJ: Made In America, the crowning achievement of ESPN's marvellous 30 for 30 series, but it's downright masterful in how it contextualizes and re-frames the events we know so well to underscore their cultural significance. Through interviews with many of O.J. Simpson's friends and key players in his "trial of the century," the film details how Simpson went from a supremely talented running back and beloved personality who truly believed his abilities and appeal transcended race to a suspected murderer who walked free and was then forced to embarrassingly attempt to ingratiate himself to a black community he had never shown much interest to in the first place.
Kevin Scott
10. Popstar: Never Stop Never Stopping
(dir. by Jorma Taccone and Akiva Shaffer)
There's a history of audiences not immediately appreciating some of our finest comedies and, after a dismal showing at the box office this past summer, it sadly appears as if Popstar: Never Stop Never Stopping will be resigned to the same fate. What people missed the first time around was the Lonely Island (Andy Samberg, Akiva Schaffer and Jorma Taccone) putting their own hilarious spin on the familiar meteoric rise and spectacular flame-out of a musician amidst a cutthroat, celebrity-obsessed culture. It also provides the framework for a whole slew of fantastic new songs from the group, including the ridiculously catchy "Finest Girl (Bin Laden Song)" and the Macklemore-aping "Equal Rights (Not Gay)." (Read more.)
Kevin Scott
9. Green Room
(dir. by Jeremy Saulnier)
Punk movies are almost never good — at this point it's basically a rule. Then again, Jeremy Saulnier has never been one to follow rules, and he's proven the theory wrong with Green Room. The white-knuckle thriller follows a young, amateur punk band as they foolishly take a paying gig at a neo-Nazi compound. A series of mishaps results in their being locked up in the venue's green room. What follows is an absurdly bloody film as limbs are severed and lives are taken. Plus, you've never seen Patrick Stewart in a role like this before. (Read more.)
Josiah Hughes
8. The Witch
(dir. by Robert Eggers)
Much has already been said about Robert Eggers' powerful, terrifying debut about a 17th century New England family torn apart by desperation and religious mania, including how the decision to market the film as a straight-up supernatural horror led mainstream audiences to dismiss it as "boring." But viewers eager for a nuanced, meticulously researched depiction of Puritanism and how the fear of God, the Devil and damnation is far scarier than any creature found it in The Witch. It has been rightly called a new horror classic, and is both an incredibly promising start to Eggers' career as well as an exciting entry in a genre experiencing a new era of smart, subtle and quietly horrifying films. (Read more.)
Laura Di Girolamo
7. Toni Erdmann
(dir. Maren Ade)
With a runtime that approaches the three-hour mark, Maren Ade's Toni Erdmann feels like less of a movie and more like a binge-watch of a miniseries. As with any good binge-watch, however, the wealth of time means you can get to know the characters on a deeper, more intimate level. Toni Erdmann is filled with charms, a sweet and occasionally melancholy caper packed with one-liners and pure slapstick. Most importantly, it's both real and surreal as it explores the unbreakable bond of a father and his daughter. (Read more.)
Josiah Hughes
6. Jackie
(dir. by Pablo Larraín)
Its story was from 1963 and its script from 2010, but Jackie was nothing but relevant in 2016 with its depiction of the assassination of President John F. Kennedy through the perspective of First Lady Jacqueline Kennedy, framed by her attempts to commandeer the public's perception of her husband in the wake of his death. But while the film taps into several of 2016's prevailing narratives (celebrity deaths; contentious American presidential politics; the dissection of the role of the media), Jackie's success is owed to more than just serendipitous timing: Natalie Portman's titular character is rich, complex and utterly compelling, offering a landmark performance that delicately dissects the intersection of public figure and private life. (Read more.)
Matt Bobkin
5. The Handmaiden
(dir. by Park Chan-wook)
Without any doubt, a scene of one woman rubbing down the sharp edge on another's tooth in this film is the most erotic scene released in cinema this year, or at least one of a select few. That's among a number of accomplishments for director Park Chan-wook, who'd previously made Oldboy and Stoker and now returns with this class-leading thriller. The ever-expanding political and cultural dynamics in this film could be sorted through for ages, from sexuality to class to gender to nationality and back to sexuality again. (Always back to sexuality with this film.) At its heart, though, this is a layered, surprising film populated with con artists and monsters. Without diving any deeper, any audience can sit enthralled as the film thrills itself with every twist. (Read more.)
James Brotheridge
4. Arrival
(dir. by Denis Villeneuve)
Last year, director Denis Villeneuve made American and Mexican landscapes look alien in Sicario. This year, the Quebecois filmmaker brought aliens to Earth with Arrival, a science-fiction film with Amy Adams as a linguist tasked with making first contact. Villeneuve's always had a bold visual sense, and that's on display here as he takes simple landscapes and architecture and gives them as much impact as the imposing visiting spaceships. At the same time, Adams gives a terrific central performance, accessible enough to keep the emotional stakes immediate while also allowing some uncertainty, a task that's more difficult as the film complicates itself. (Read more.)
James Brotheridge
3. Manchester by the Sea
(dir. by Kenneth Lonergan)
Manchester by the Sea carries with it the sort of emotional heft that makes you feel like you've been punched in the stomach multiple times. When the film's central, brutal revelation is finally unveiled, you'll feel like you're drowning in dread. And yet the film is also a testament to the ways human beings can survive and grow after tragedy. Playwright Kenneth Lonergan does wonders in the director's chair, coaxing truly inspired performances from his actors. It's a tough, fist-clenching drama, but it's also a joy to watch this sort of talent onscreen. (Read more.)
Josiah Hughes
2. La La Land
(dir. by Damien Chazelle)
Disney may occupy the lion's share of screens across North America, but it was a modern day musical made for half the cost of most big budget movies that brought the magic back to theatres in 2016. Director Damien Chazelle's follow-up to Whiplash is everything fans of the film probably weren't expecting. Glitzy and glamorous, at times soft and subtle, La La Land is unlike any other movie out there this year and is bound to inspire a whole new generation of filmmakers to dream big, even if that means making movies that look and feel like the past. (Read more.)
Matthew Ritchie
1. Moonlight
(dir. by Barry Jenkins)
After an eight-year hiatus, Barry Jenkins returned to deliver his second feature film. Moonlight hardly seems like the sophomore outing from a rusty filmmaker, however, instead standing as one of the best films of the last decade. Breathtaking cinematography collides with even-keeled pacing and some truly extraordinary acting to tell a story of one marginalized young man's self-discovery. Stereotypes are shattered and the human spirit prevails. It's easily the best film of 2016. (Read more.)
Josiah Hughes
16. Everybody Wants Some!!
(dir. by Richard Linklater)
Indie film great Richard Linklater's latest feature was initially billed as a "spiritual sequel" to Dazed and Confused, but it's so much more. Part college party comedy, part underdog sports drama, part coming of age movie, Everybody Wants Some!! perfectly captures the intoxicating experience of life after high school and all the joy and confusion that comes with finding yourself. This should be required watching for anyone in their early 20s (or anyone who doesn't appreciate the complexities and nuances of pitching, because that shit is really, really hard. )(Read more.)
Matthew Ritchie
15. Under the Shadow
(dir. by Babak Anvari)
Babak Anvari's Under the Shadow is a startling directorial debut, an incredibly tense political horror that feels physically and emotionally claustrophobic. Set almost entirely within one apartment complex during the Iran-Iraq war, Shideh (a magnetic Narges Rashidi) and her young daughter Dorsa (Avin Manshadi, in a promising debut) begin experiencing horrors both inside and outside their home. Every ambient sound and claustrophobic shot is imbued with Shideh and Dorsa's restless frustration and mounting fear as evil slowly begins to build around them. Under the Shadow is masterful at marrying real-life fears with the supernatural, until the audience is no longer sure which is more scary. (Read more.)
Laura Di Girolamo
14. Swiss Army Man
(dir. by Daniels)
When it premiered at Sundance last year, Spike Jonze-superfans-turned-music video directors Daniels' debut feature film was met with massive walkouts. But Swiss Army Man rewards viewers willing to watch past the opening scene, in which Paul Dano, stranded alone on a deserted island, rides Daniel Radcliffe's fart-propelled corpse across part of the Pacific Ocean to safety. Yes, there's a lot of farting, rogue boners and fart-powered weaponry, but Swiss Army Man is also about real emotions, namely love and friendship. Personally, I'd take it over a Whit Stillman movie any day, but maybe I just really like the idea of Harry Potter vomiting gallons of stagnant water into another award-winning actor's mouth. (Read more.)
Matthew Ritchie
13. Midnight Special
(dir. by Jeff Nichols)
For his first film since 2012's critically acclaimed Mud (and first for a major studio), American filmmaker Jeff Nichols decided to stray from the southern character dramas for which he became known for and make a stylish sci-fi film. Casual moviegoers couldn't quite connect with its unfolding narrative and weird ending, but, much like Denis Villeneuve's Arrival, Midnight Special will stand the test of time thanks to its message, moody vibe and mysterious story. This one will leave you thinking. (Read more.)
Matthew Ritchie
12. Hunt for the Wilderpeople
(dir. by Taika Waititi)
Taika Watiti's Hunt for the Wilderpeople is a true original from moment one, offering a delightfully offbeat take on an unlikely family dealing with loneliness. Julian Dennison shines as Ricky Baker, a preteen juvenile delinquent whose curiosity, endless optimism and a hilarious ineptitude for dealing with the New Zealand bush makes him the heart of the film. As he tumbles about the wilderness with surly foster father "Uncle Hec" (an equally wonderful Sam Neill), each teaches the other about friendship, family, loss, and "the skuxx life." Hunt for the Wilderpeople is so fresh and grounded that it succeeds at balancing emotion with silliness, quirk with sincerity, and is sweet without a hint of schmaltz. (Read more.)
Laura Di Girolamo
11. O.J.: Made in America
(dir. by Ezra Edelman)
There aren't exactly any shocking revelations in the nearly eight-hour documentary OJ: Made In America, the crowning achievement of ESPN's marvellous 30 for 30 series, but it's downright masterful in how it contextualizes and re-frames the events we know so well to underscore their cultural significance. Through interviews with many of O.J. Simpson's friends and key players in his "trial of the century," the film details how Simpson went from a supremely talented running back and beloved personality who truly believed his abilities and appeal transcended race to a suspected murderer who walked free and was then forced to embarrassingly attempt to ingratiate himself to a black community he had never shown much interest to in the first place.
Kevin Scott
10. Popstar: Never Stop Never Stopping
(dir. by Jorma Taccone and Akiva Shaffer)
There's a history of audiences not immediately appreciating some of our finest comedies and, after a dismal showing at the box office this past summer, it sadly appears as if Popstar: Never Stop Never Stopping will be resigned to the same fate. What people missed the first time around was the Lonely Island (Andy Samberg, Akiva Schaffer and Jorma Taccone) putting their own hilarious spin on the familiar meteoric rise and spectacular flame-out of a musician amidst a cutthroat, celebrity-obsessed culture. It also provides the framework for a whole slew of fantastic new songs from the group, including the ridiculously catchy "Finest Girl (Bin Laden Song)" and the Macklemore-aping "Equal Rights (Not Gay)." (Read more.)
Kevin Scott
9. Green Room
(dir. by Jeremy Saulnier)
Punk movies are almost never good — at this point it's basically a rule. Then again, Jeremy Saulnier has never been one to follow rules, and he's proven the theory wrong with Green Room. The white-knuckle thriller follows a young, amateur punk band as they foolishly take a paying gig at a neo-Nazi compound. A series of mishaps results in their being locked up in the venue's green room. What follows is an absurdly bloody film as limbs are severed and lives are taken. Plus, you've never seen Patrick Stewart in a role like this before. (Read more.)
Josiah Hughes
8. The Witch
(dir. by Robert Eggers)
Much has already been said about Robert Eggers' powerful, terrifying debut about a 17th century New England family torn apart by desperation and religious mania, including how the decision to market the film as a straight-up supernatural horror led mainstream audiences to dismiss it as "boring." But viewers eager for a nuanced, meticulously researched depiction of Puritanism and how the fear of God, the Devil and damnation is far scarier than any creature found it in The Witch. It has been rightly called a new horror classic, and is both an incredibly promising start to Eggers' career as well as an exciting entry in a genre experiencing a new era of smart, subtle and quietly horrifying films. (Read more.)
Laura Di Girolamo
7. Toni Erdmann
(dir. Maren Ade)
With a runtime that approaches the three-hour mark, Maren Ade's Toni Erdmann feels like less of a movie and more like a binge-watch of a miniseries. As with any good binge-watch, however, the wealth of time means you can get to know the characters on a deeper, more intimate level. Toni Erdmann is filled with charms, a sweet and occasionally melancholy caper packed with one-liners and pure slapstick. Most importantly, it's both real and surreal as it explores the unbreakable bond of a father and his daughter. (Read more.)
Josiah Hughes
6. Jackie
(dir. by Pablo Larraín)
Its story was from 1963 and its script from 2010, but Jackie was nothing but relevant in 2016 with its depiction of the assassination of President John F. Kennedy through the perspective of First Lady Jacqueline Kennedy, framed by her attempts to commandeer the public's perception of her husband in the wake of his death. But while the film taps into several of 2016's prevailing narratives (celebrity deaths; contentious American presidential politics; the dissection of the role of the media), Jackie's success is owed to more than just serendipitous timing: Natalie Portman's titular character is rich, complex and utterly compelling, offering a landmark performance that delicately dissects the intersection of public figure and private life. (Read more.)
Matt Bobkin
5. The Handmaiden
(dir. by Park Chan-wook)
Without any doubt, a scene of one woman rubbing down the sharp edge on another's tooth in this film is the most erotic scene released in cinema this year, or at least one of a select few. That's among a number of accomplishments for director Park Chan-wook, who'd previously made Oldboy and Stoker and now returns with this class-leading thriller. The ever-expanding political and cultural dynamics in this film could be sorted through for ages, from sexuality to class to gender to nationality and back to sexuality again. (Always back to sexuality with this film.) At its heart, though, this is a layered, surprising film populated with con artists and monsters. Without diving any deeper, any audience can sit enthralled as the film thrills itself with every twist. (Read more.)
James Brotheridge
4. Arrival
(dir. by Denis Villeneuve)
Last year, director Denis Villeneuve made American and Mexican landscapes look alien in Sicario. This year, the Quebecois filmmaker brought aliens to Earth with Arrival, a science-fiction film with Amy Adams as a linguist tasked with making first contact. Villeneuve's always had a bold visual sense, and that's on display here as he takes simple landscapes and architecture and gives them as much impact as the imposing visiting spaceships. At the same time, Adams gives a terrific central performance, accessible enough to keep the emotional stakes immediate while also allowing some uncertainty, a task that's more difficult as the film complicates itself. (Read more.)
James Brotheridge
3. Manchester by the Sea
(dir. by Kenneth Lonergan)
Manchester by the Sea carries with it the sort of emotional heft that makes you feel like you've been punched in the stomach multiple times. When the film's central, brutal revelation is finally unveiled, you'll feel like you're drowning in dread. And yet the film is also a testament to the ways human beings can survive and grow after tragedy. Playwright Kenneth Lonergan does wonders in the director's chair, coaxing truly inspired performances from his actors. It's a tough, fist-clenching drama, but it's also a joy to watch this sort of talent onscreen. (Read more.)
Josiah Hughes
2. La La Land
(dir. by Damien Chazelle)
Disney may occupy the lion's share of screens across North America, but it was a modern day musical made for half the cost of most big budget movies that brought the magic back to theatres in 2016. Director Damien Chazelle's follow-up to Whiplash is everything fans of the film probably weren't expecting. Glitzy and glamorous, at times soft and subtle, La La Land is unlike any other movie out there this year and is bound to inspire a whole new generation of filmmakers to dream big, even if that means making movies that look and feel like the past. (Read more.)
Matthew Ritchie
1. Moonlight
(dir. by Barry Jenkins)
After an eight-year hiatus, Barry Jenkins returned to deliver his second feature film. Moonlight hardly seems like the sophomore outing from a rusty filmmaker, however, instead standing as one of the best films of the last decade. Breathtaking cinematography collides with even-keeled pacing and some truly extraordinary acting to tell a story of one marginalized young man's self-discovery. Stereotypes are shattered and the human spirit prevails. It's easily the best film of 2016. (Read more.)
Josiah Hughes