Archive for the ‘Awards’ Category

Awards! (2016)

For the nominations and explanations, go here!

 

The Tommy Lee Jones Screentime Award (for amassing the most screentime of the year):

  • Ethan Hawke (Regression; The Phenom; Born To Be Blue; Maggie’s Plan; In A Valley Of Violence; The Magnificent Seven)

 

The Kevin Spacey Must Have the Best Agent Award (for appearing in the most top ten movies of the year):

  • J.K. Simmons (Zootopia and La La Land)

 

The Marlon Wayans Award (for appearing in two or more of the worst movies of the same year]:

  • Laura Linney (Teenage Mutant Ninja Turtles: Out Of The Shadows and Genius)

 

The Victor Fleming Award (for excellence in directing multiple projects in the same year):

  • Peter Berg (Deepwater Horizon and Patriots Day)

 

The Freddie Prinze, Jr. Award (for the best acting in the worst movie of the year – male):

  • Paul Reiser (The Darkness)

 

The Dina Meyer Award (for the best acting in the worst movie of the year – female):

  • Elodie Yung (Gods Of Egypt)

 

The Tatum O’Neil Best (Female) Child Actor Award:

  • Royalty Hightower (The Fits)

 

The Justin Henry Best (Male) Child Actor Award:

  • Sunny Pawar (Lion)

 

The Nicolas Cage Uneven Performance Award [for the biggest gap in quality between two different performances in the same year (the good one is always listed first)]:

  • Chloe Grace-Moretz (Neighbors 2: Sorority Rising and The 5th Wave)

 

The Peter Sellers Multiple Role Award:

  • Jake Gyllenhaal (Nocturnal Animals)

 

The Sean Connery Best Cameo Award:

  • Snoop Dogg (Popstar: Never Stop Never Stopping)

 

The Casey Affleck Worst Cameo Award:

  • Kevin Conroy (Yoga Hosers)

 

The Alfred Hitchcock In Front of the Camera Award (for the least intrusive appearance by a movie’s own director(s)):

  • Peter Berg (Deepwater Horizon)

 

The Quentin Tarantino In Front of the Camera Award [for the most intrusive – not to mention annoying – appearance by a movie’s own director(s)]:

  • Paul Feig (Ghostbusters)

 

The Drew Barrymore All Grown Up Award:

  • Max Records (I Am Not A Serial Killer)

 

The Martin Scorsese Best Use of a Song Award:

  • Josh Fox for “Bizness” by tUnE-yArDs (How To Let Go And Love Everything That Climate Can’t Change)

 

The Andy Garcia Impossible Shot Award:

  • Charlie Plummer – pavement toss (King Jack)

 

The John Woo Best Shootout Award:

  • Sean Ellis (Anthropoid)

 

The William Friedkin Best Car Chase Award:

  • Ariel Vroman (Criminal)

 

The They Live Best Non-Martial Arts Fight Award:

  • Kwon Soo-Tae vs. Red Name Tag (Proof Of Innocence)

 

The Die Hard 2 Icicle Award (for best use of an otherwise benevolent object as a weapon):

  • locket (X-Men: Apocalypse)

 

The Cast of Nazis from Raiders of the Lost Ark Award (for worst performance of (an) actor(s) in scenes with special effects):

  • Callum Keith Rennie (Warcraft)

 

The Talking Pig Award (for the two movies most alike released in the same year):

  • Florence Foster Jenkins and Marguerite

 

The Mulholland Falls Award (for movie that failed most miserably at being as shocking as it hoped to be):

  • Manchester By The Sea

 

The Mulholland Falls Syndrome Award (for the biggest disappointment from the most promising ensemble cast):

  • The Magnificent Seven

 

The Cecil B. DeMille Award (for best portrayal of oneself)

  • Anna Faris (Keanu)

 

The Godfather Best Sequel Award:

  • Captain America Civil War

 

The Jaws Worst Sequel Award:

  • X-Men: Apocalypse

 

The Breathless Worst Remake Award:

  • Pete’s Dragon

 

The Kevin Costner Worst Accent Award:

  • Chris O’Dowd (Miss Peregrine’s Home For Peculiar Children)

 

The Meryl Streep Award for Best Accent (Female):

  • Ruth Negga (Loving)

 

The Jon Voight Award for Best Accent (Male):

  • Alden Ehrenreich (Hail, Ceasar!)

 

The Jon Voight Best Impression Award:

  • Rachel Weisz of Deborah Lipstadt (Denial)

 

The Still Unnamed Worst Impression Award:

  • Joseph Gordon-Levitt of Edward Snowden (Snowden)

 

The Gary Oldman Chameleon Award (for the most unrecognizable performance by an otherwise recognizable personality):

  • Suzanne Cryer (10 Cloverfield Lane)

 

The Hamlet Best Production Within A Production Award:

  • “No Dames” (Hail, Ceasar!)

 

The “I’m Not The Bad Guy” Award (for the line so bad, it just had to be repeated):

  • “What else is there?” (Billy Lynn’s Long Halftime Walk)

 

The This Is 40 Award (for supporting cast member(s) most deserving of a sort-of sequel):

  • Jane (Bad Moms)

 

The Rosemary’s Baby Creepiest Moment Award:

  • flies (They Look Like People)

 

The Citizen Kane Unseen Ending Award:

  • La La Land

 

The Passenger 57 Award (for the plot most thoroughly ruined by its trailer):

  • Sing

 

The First Annual Jesse Heiman Award (for excellence in background action):

  • freshman girl in the bathroom (I’m Not Ashamed)

 

The Nightwatch Award (for the most heavily promoted movie never to grace us with its presence in a theater):

  • The Space Between Us

The Ten Best Movies – 2016

2016 was not great. Not for all those reasons you just thought of. Mostly because movies weren’t that great. There may have been more good than bad, or more good than usual, but nothing was great. Last year we were seriously discussing whether or not a Mad Max movie should win Best Picture. Sylvester Stallone was a frontrunner for an Oscar for playing Rocky Balboa. Tarantino and Iñárittu gave us what could end up being the best movies of their stellar careers. There were zero DC movies.

 

1. Tunnel – Tunnel was the best anyone could come up with in 2016. And barely at that. Any of the first five movies listed here could just as easily been number one, really. They are all very different from each other, but nothing stood above terribly taller than the rest.

 

Of course, this is all in disservice to Tunnel. Which did everything right. You don’t know it because it was made in Korea and pretty much only came out there, (where it won a Blue Dragon for Popularity, which also means nothing to you) playing only in American theaters that specialize in such things. Not that there weren’t plenty of Korean movies in regular American theaters in 2016. There was critically lauded molasses like The Handmaiden, disappointing spy epic Age Of Shadows, great but bloated Train To Busan and Operation Chromite had Liam Neeson as Genral Douglas MacArthur so of course it got to be in theaters no matter how terrible it was. Obviously, none of these came close to matching Tunnel.

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There was a time not so long ago that America made movies like this though. The closest we’ve come recently was The Martian, which also came out last year and might regret that since it could have been the best movie of this one. Essentially a made up incident that feels like it could be telling a true story, with all the same tension and danger and humor and emotion tugging as something that was true might have.2016-the-tunnel
Tunnel may not carry with the weight of typical award-gathering movies or even typical effects-laden crowd pleasers that might typically make typical top of year end lists. But besides getting nearly everything right (the ending goes on seconds too long) it isn’t just a frivolous endeavor either. In this case, it’s indirectly attacking the infrastructure problem Korea has been suffering for some time. Not exactly world changing, but maybe country changing, and in a tangible way, which could be more important.

 

 

 

2. Weiner – Sure, it’s already hopelessly out of date, but you can still enjoy the madcap follies of the most (unfortunately) famous New York Representative in history. There is a rise and fall, marital strife, great chases, political discourse and the greatest documentary quotes since American Movie.

 

The fact that it’s all real (and not even the whole story) is really not part of it. You can learn real some things, and that’s great, but it doesn’t make this any better. Whenever you hear people say “You can’t make this stuff up” it’s always stupid, you totally could make it up, and probably have, but this is one case where maybe it’s finally true. Not that you’d ever want to. But you don’t have to. You just have to watch Weiner.weiner

 

 

3. Zootopia – Any movie with two important message metaphors, a crushing breakdown by its lead actress and political intrigue all wrapped up in a fantastic mystery and laced with easy humor anchored by the perfect interplay of the leads would be a simple pick for Best Picture, never mind a top ten list. That it is animated and ostensibly for children should really make it all the more notable. Not marginalized into some ancillary category.

But of course that is not how it works.

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4. Sing Street – Did the phrase “drive it like you stole it” really exist in nineteeneightywhatever Ireland? I doubt it. There a lot of strange anachronisms in this otherwise pretty dedicated period piece. But Sing Street is less interested in its specificity of tribute than it is in universally reveling in the power of expression.sing4

 

You may like Sing Street for its uplifting ending filled with promise and fulfillment. I read it more as the imminent demise of these things, because there’s no way they make that crossing alive. But that’s just another thing that’s great about Sing Street. Something for everyone, even when it’s the same thing.sing-street-still

 

 

5. La La Land – Speaking something for everyone. La La Land isn’t totally satisfying to anyone. Including its characters.

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Without prototypical musical song, dance or even storytelling (there is no villain, no matter how much you’d like to say Keith is one) La La Land instead really only backs into being a musical, even when music is essential to its plot. Director Damian Chezelle has gotten a lot of criticism for these shortcomings (and more serious, less accurate ones) but what he never gets credit for is deciding to go with two of the best actors available to us today and worrying about the rest of it later. In doing so, he is able to go to the dramatic and humorous extremes that make this one of the best movies of 2016 without it showing any cracks.

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Sure, I wish they’d had to sing while they were fighting, since that’s what musicals are supposed to do, transpose heightened emotion into song. But maybe we should stop telling La La Land what musicals are supposed to do and accept the things La La Land does do. And does so well.

 

 

6. Christine – I’m not even sure I like this movie, never mind love it enough to put it on so high a personal pedestal as this. But I am because maybe it is great and I just haven’t completely come to terms with that yet. It is the one of these ten that I really ought to watch again, but probably won’t, because it is so divisive, even if only internally.

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Rebecca Hall’s performance deserves all the same words. Both because they are appropriate and because it forms so much of the movie. There is not really anything but her performance of Christine in Christine. Which is the point, of course. But maybe that is the problem? Not that it is so much of the movie, but that it is and there still isn’t a lot to be learned about the actual person, Christine Chubbock. Christine, the movie, isn’t all that interested in answering the questions it raises about her, nor the ones you might have had already, about this prescient tragic figure in media history.

 

And maybe that is something to love. Not in general, but in this specific case, where the singular central event (that you probably know about, even if you don’t know the names involved enough to tie it to what I am saying now, but still, seems like I should give you the chance to find out for yourself, one way or another) is such a mystery, that is why it is so famous, or a major part of why anyway, and letting it remain that is the only way to be truthful. For as much as we may know about all of this, we can’t really know any whys and this movie lets you feel that first hand. And that is something admirable, even if it tends to fly in the face of what we expect, what we may feel we deserve, from a movie.3937e12f00000578-3828585-image-a-44_1475949339427

 

7. Captain America: Civil War – After enjoying the world all to themselves for awhile, Marvel movies are now inexplicably getting put to task for being all the same. Employing a winning formula is hardly a reason to get upset, of course, just ask Coca-Cola how springing a new one on everyone works out. How any lobotomized DC production gets to be compared at all, never mind revered, is beyond my comprehension and I’d prefer it to stay that way if finding auteurism and its inherent artistic merit in Suicide Squad is the alternative.

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But obviously simply being the better comic book move is not what lands Captain America on this list (again.) But Captain America the character continues to be the most compelling in the Marvel Cinematic Universe and having him pitted against the other best character is not a risk that should be taken so much for granted. In comic books when this happens there is not so much consequence. The next series is written and this is all relegated to an editor’s asterisk. A failure at this juncture might prove unsustainable even for the Marvel juggernaut. But not only does making a beloved hero into a quasi-villain work, it turns “just another” super hero movie into something timely. Even prophetic. Never mind the background villain being totally human and only turning prior movie’s events into his weapons. This movie is great even without a perfect Spider-Man or an airport scene. Those things are just nice.cripjpg

 

 

8. The Edge Of Seventeen – Even the fact that I watched this on a screener sent to people more important than most of us in order to entice them to give it awards did not prepare me for what this is. The Edge Of Seventeen has more in common with Diary Of A Wimpy Kid than it probably would want to. And less in common with any other teen dramedy you might have ascribed it, based on its marketing matthe-edge-of-seventeen-2016erial.

 

Diary Of Wimpy Kid movies are mostly terrible, but maybe also a little admirable, because of how awful the protagonist is to everyone around him. The movies do not appear to be very aware of this, forcing said Wimpy Kid to learn from anything he’s done or even become attentive to the idea that he might have been terrible. So The Edge Of Seventeen clearly does not follow this trajectory. But in making Nadine so awful to everyone in her life, this movie does not lay out a clear path to success. Which makes its balancing act all the more impressive. And fruitful. Of course, without Hailee Steinfeld’s tightrope performance, you can have nothing else, she can be normal and funny, tortured and maligned, horrible and nasty and totally self-righteous about it and nearly bring you right along with her, as any movie ought to do.edgeofseventeen-steinfeld-classroom

 

 

9. Rogue One – It shouldn’t be encouraged, the conception of a sequel based on one line of dialog from a 40 year old movie. No matter how poured over and dissected that movie’s dialog might have been throughout that period.

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Rogue One is always headed to one very familiar place, but it shows us that that doesn’t have to matter as much as we might have thought. We can be enthralled and moved and just entertained without any hope of the ending we might find we want and only the one we thoroughly expect (and would be annoyed without, really.)

 

More Wild Bunch than Star Wars and all the better for it. Not simply in being different, but in being the different within such a well established set of parameters. Never mind being better than the prequels or even better than last year’s linear sequel. Rogue One stands on its own as a movie first. Then manages to not generate internet riots about its pedigree and submission to it.rogue-one-trailer

 

 

10. Hacksaw Ridge – 2016 wasn’t such a great year for movies. You can tell because Hacksaw Ridge is only mildly interesting and almost as unintentionally creepy for quite a long time. But that is before it wipes your memory clean of everything that has ever come before.

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I saw Mel Gibson interviewed after a screening of Mad Max one time and during it, he said that he’s always trying to find the line with his portrayal of violence where it makes people run out of the theater and stop right before that. He must means everyone runs out, because I’m sure a great number of people who found themselves in the midst of this extended battle sequence did run out of the theater. Maybe stumbled. It is perhaps the most visceral, hopeless, chaotic battle scene to ever happen. And it is enough, in a year full of mostly middling fare, to elevate it above those.hacksaw-ridge

 

 

 

 

10. – 15.

 

Moonlight – Everything (and everyone) says Moonlight is better than any of the movies I’ve mentioned before. But there isn’t one thing about it that stands out. It’s just very well done and slightly unconventional. What I think I like most about it is that it played to an audience that had no idea what it was getting into and wouldn’t have seen it if they had. Also, Naomi Harris is terrible in this and I fear she will win every award.

 

The Finest Hours – Something released in January should never be on anyone’s list of anything except maybe a movies released in January list. But The Finest Hours is two gripping movies pitted against each other in a race for relevance. They both win. So do you.

 

Eddie The Eagle – Movies that make me cry and few and far between and so one that does it maybe ought to be further up this list. But I know Eddie The Eagle’s limitations. And I’m thankful it never let that stop it.

 

The Secret Life Of Pets – Illumination isn’t ever going to get the recognition for the superb animation that it produces because it’s too concerned with being funny. Which is a way more worthy cause for its celebration.

 

Audrie & Daisy – More documentaries should go for court ordered interviews.

The Ten Worst Movies – 2016

1. Backgammon – There are plenty of examples of people making movies based on their experience watching other movies rather than their actual experiences. The 90s thrived on such things. But it’s at least slightly more rare to find a movie based on someone watching too much philosophical spewing elitist theater.

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The house in which it takes place is obviously some rich relative’s barely used summer home on the coast of Maine. So there is inherent production value. Despite this, Backgammon inexorably feels like a high school production. There are three of the worst performances you’ll ever see. There is an unshakable, uncomfortable feeling that everyone is playing someone much older than they actually are. And that it is all being manipulated by someone they have been conditioned to look up to, an infallible figure that is telling them that yes, this is definitely how you make a movie.

 

Abundant pretension is layered throughout every word that is spoken, to the point where you know they mean for some of it to be satire of such speech and thought, but it becomes so indistinguishable from anything else anyone says because nobody ever talks like a person ever would. So the caricature of a pretentious lout just seems like the most annoying person in a basket of annoying people.

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It might seem as though hundreds of movies like Backgammon get made every year, and how could this one stand above (below) all or any of the others. But that’s because you are only reading about it. Watching it, or really, just listening to it, to what their supposed humans say to each other, seeing how someone in charge or maybe everyone involved thinks humans live, is nearly impossible to endure. There is never an interesting idea posited, a funny quip uttered, a pleasing acting choice or camera movement or lighting design. It is a thorough exhaustion of awful notions, all put together without once making any obvious technical mistake. It is terrible in conception rather than execution, which generally gets lumped in with a difference of opinion. Like not liking a Michael Moore movie simply because of its politics or a Quentin Tarantino one because of a fundamental opposition to violence. But somehow Backgammon forces its way past such subjective terms and emerges as the most neutrally forgettable production of the worst words ever assembled.

 

Reason to watch it anyway: Watch this guy forget how to use a towel because a camera is on him. He can’t stand in a doorway, he can’t sit at a table, he cannot even put a shirt on like a person anymore. That camera totally got in his head and never let go. If he was playing an alien trying desperately to fit in he might get an Oscar. But also the humans would have found him out and killed him by the third scene. So Best Supporting maybe.

 

 

 

2. The BFG – It’s difficult to discuss all the infinite flaws of The BFG without intoning Steven Spielberg’s name. But that runs the risk of letting it off the hook as simply his career worst. Clearly, as the 2nd worst movie of 2016, it is far worse than that.

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I don’t know enough about Roald Dahl to speak on it, but maybe The BFG was also his career worst. It was far from his last work and he did write Matilda afterward, so at least, if there are connective lines to be drawn, they do not necessarily spell doom for Spielberg.

 

The blame matters little though, in a case such as this. Nothing is going to be learned. It’s not as though no one will allow Steven Spielberg to make another movie. Or could stop him. Not will they be preventing any more Roald Dahl books from getting adapted. Maybe even by Steven Spielberg. This kind of lightning just couldn’t strike twice.

And here I’ve gone two paragraphs lamenting The BFG as the 2nd worst movie of 2016 without telling you why. It does seem beyond the point though. Maybe we should all just wallow in this terrible turn of events. Here, drink some of this bubbly liquid that totally will not turn the rest of the movie into a field of farts.

 

Reason to watch it anyway: This pains me to say, but there isn’t one. Even The Terminal has that living in the airport montage that is pure Spielbergian cinema. But this has nothing. Please don’t watch it and allow yourself to remember Steven Spielberg for his relative masterworks like War Horse and 1941.

 

(John Williams does do the score so maybe there’s a reason to listen to it.)

 

 

 

3. Mercy – Netflix is pretty proud of its content, putting it front and center when you turn it on, making it play automatically if you take more than a second or two to read the description. And with all the stand up specials and Adam Sandler vehicles popping up, that isn’t going to work out most of the time. But certainly you wouldn’t want to dismiss it all out of hand. You’d miss great documentaries and confusingly entertaining episodic endeavors (previously know as television.)

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And so I cannot dismiss it when they present one of the worst movies of the year, despite the fact that it never played in a theater, as far as I can tell. (Obviously, it didn’t deserve to, but that doesn’t generally stop anything.)

 

Mercy is never clear about what is happening, mostly because it wants to obscure its final twist, which is among the dumbest you’ve ever seen. Like, you might even suspect it while you are watching, but you will talk yourself out of it, because it is too dumb. Even now, after having read this, you will think well, maybe it could be that, he did say it was very dumb, but no, you will shake it off, because it is still too dumb. You’re ashamed for even considering it. But you are probably right. Because even in its ludicrous dumbness (something it is definitely not aware of) it isn’t all that mysterious. You’re more likely to be surprised because you checked out of paying any attention to the preceding dullness than any clever wrangling of plot points the movie has done for you. You’re even more likely to be surprised by anything that happens that you understand because so often the picture and sound are so muddled, you should probably rewind it if you want to know what’s going on, but not only will you not because you don’t care, you know if you did, it would still be basically unintelligible.

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I’m sure Netflix has a very advanced formula for choosing the movies it not only makes available to us but for what it puts its name on. Turns out though, that even math is not infallible. Especially when it comes to poorly executed backdoor religious thrillers.

 

Reason to watch it anyway: It’s that guy who looks like a young Josh Brolin! It’s still weird, even though he isn’t playing young Josh Brolin, obviously. Just another career ruined by Labor Day.

 

 

 

4. Norm Of The North – In the beginning of Norm Of The North, Norm catches a seal and proceeds to tell it why he isn’t going to eat him. He explains that he can speak to humans. That he just instinctively started dancing like a human. And also seems to have grown a Walkman from his ears. Never mind that a polar bear that doesn’t eanorm-of-the-north-trailert will die. Never mind that the ‘human’ Norm speaks is English, with all the contemporary slang necessary to make jokes in kids’ movie these days. Never mind that all his friends and relatives speak the same language and yet ostracize Norm because of it. Never mind that Norm’s dancing, meant to give the human tourists a show, causes the humans to bring him out of the arctic and into society rather than flood the area with scientists and the media. Never mind all of these things. The only important thing to know about this story Norm is telling is that it puts the seal to sleep.

 

You could shrug most of this off by saying it’s a cartoon and for children and you just have to go along with it. But there are so many animated movies being released now and most of them do not feel the need to abandon all the usual things that govern movies and storytelling. They also aren’t content with some of the worst voice acting, the dullest visual style and the lazy meta half jokes in years. The world has stopped putting up with cartoons existing outside of the normal standards. Even Trolls and Angry Birds had more developed standards than this (to varying degrees of success.) There’s no reason to accept such garbage, whether you’re protecting the children or not.

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Reason to watch it anyway: You miss Rob Schneider? I can understand that. It’s just this probably isn’t the way back. He does make one unbelievabl;y homophobic joke that you won’t believe made it into the movie. And not because it’s funny.

 

 

 

5. The Darkness – It begins like the obligatory establishing scene for an amusement park ride. There’s sweeping shots of a beautiful location followed by painful exposition and cringy family dynamics. There’s even wasted star power meant to distract you from all the awful things they just have to fit into the few opening minutes.

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But then there is no ride. There is just all of the same stuff minus the nice location. They are all transported to a generic suburbia where children are such jerks it takes a million years to determine whether it’s just their autism acting up or they are being possessed by vengeful indigenous spirits with incredibly dirty hands as weapons.

 

There is a lot of typical possession movie nonsense in the middle, but mostly that is botched as well, with lots of familial strife that ultimately means absolutely nothing because the Indians are just like “white people problems, yawn.” But you’re barely reminded of the origins of the spirits, since a Mexican mother-daughter team is dispatched to fight them, which probably only makes them more angry, but we’ll never know, that’s not something they’ll bother showing.

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And in the end, the spirits cause their own demise as much as anyone beats them, creating a porthole from the possessed kid’s bedroom directly to the one place they can be defeated. Turns out they just wanted their special rock collection back. Not like, revenge for genocide or anything. They even re-sheet rock the wall they burned on their way out.

 

Reason to watch it anyway: Paul Reiser is Kevin Bacon’s boss who is a terrible role model, coaxing Kevin Bacon into cheating on Radha Mitchell (yes, all these people were in this movie!) and just generally being a walking exaggeration until one lucid scene in a parking garage that is one of the best acted scenes you might have seen all year. Like actors might be learning this monologue for auditions, which might even work until they’d say what movie it was from and just get blank stares in return.

 

 

 

6. Beyond The Gates – At first glance, this might seem like the sort of movie that would be happy to be called one of the worst movies of the year. Its treacly neo-80s packaging appears to be celebrating that falsely ironic worship of select pieces of a period now distilled into squishy keyboard sounds.

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But Beyond The Gates, while it does revel in those notions (as well as slightly more specific ones like low budget, shameless horror and VCRs) isn’t aware of its badness. Not entirely anyway. It really seems to think it is paying long overdue homage to VHS games, and then, somewhere down the line maybe, VHS in general. There is hardly a trace of irony involved, which is nice, but quickly forgotten when everything is handled so poorly. From the obvious (acting) to the obligatory (dialog idolizing VHS and lamenting its loss) to the obscure (you’re meant to get some thrill out of seeing Barbra Crampton speaking lifelessly from a 4:3 screen.)

 

There’s nothing to like about Beyond The Gates, except for maybe a passing hope for the notion behind it. Ultimately though, it can’t help but be awkward, plodding and devoid of any sense whatsoever. Just like the VCR games it is trying to honor.

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Reason to watch it anyway: Chase Williamson seems content to employ his considerable (if not overwhelming) talents in unheralded niche quasi-horror movies. And perhaps this should have us appreciating him more than we would if he were just some mildly funny lab tech in anything of a grander scale. But it could make you sad that he’s wasting himself on such things, so this could really go either way.

 

 

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7. Ice Age: Collision Course – There was a time when an Ice Age movie was a very promising entity. The first two are among the better animated features of the modern age. The third has dinosaurs. Then clearly something went wrong. You could make a great case for they just should have stopped there, but that isn’t quite enough of a justification and I think you know that.

 

I suppose it can never be fully explained what causes an otherwise fruitful franchise to crash out of the sky. But you can seeice-age-collision-course-trailer the root of Ice Age: Collision Course’s problem right on its poster. “Kiss Your Ice Goodbye” it says. This ad line appeals to exactly no one. It’s not funny to the overtly intended audience of small children, in fact it may even repel their parents from bringing them in some cases, especially if they’ve been asked to explain it. It doesn’t appeal to the secondary audience of those parents for the same reasons. It doesn’t appeal to any adult unaffiliated with children because it’s a dumb joke that doesn’t really even make any sense in context of the movie. I mean, these characters have been supposedly dying out for more than a decade now, unless they are saying perhaps that this will be the final Ice Age, but that wouldn’t matter either, since we will never believe that if this does end up being the last installment, that it was anybody’s choice but the audience that never showed up for it.

 

Reason to watch it anyway: There’s a really good joke in one of the Scrat sequences, but that’s hardly surprising and you could just watch the trailer for it.

 

 

 

 

8. My Big Fat Greek Wedding 2 – There wasn’t a lot to like about the first My Big Fat Greek Wedding. It was mostly overwrought ethnic caricature, eye rolling and sighing and of course one note jokes where the punchline is a country of origin. The good news is all that is back again, even though its been fifteen years and those jokes were hopelessly old to begin with. But what little might have worked the first time around, namely the crux of the plot, the romance between Toula and Ian, is now a weird and awkward reunion of actors who don’t remember their parts, which is odd considering at least one of them was always supposed to essentially be playing herself. They don’t seem to have ever met before, never mind have been married and living together and raising a child ever since.

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The central joke this time of course is that Toula is the same as the rest of her family that tortured her all her life. We know this already though, as a result of depressing masquerading as joke ending of the first movie. Worse yet, Toula is back working at the family diner she struggled so strenuously to escape in the first movie. So not only is this Toula apparently meeting her husband again for the first time, she’s taken other steps backward in her life as well. You might think this is some kind of It’s A Wonderful Life parable playing out, showing Toula what would have happened if the events of the first movie didn’t happen. It’s no wonder she’s taking all this out on her poor daughter Paris, who is rebelling a lot earlier more effectively than Toula ever did.

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The wedding in question this time is of Toula parents, who haven’t been married all this time due to a technicality, and so we are treated to a barrage of tired how terrible marriage is jokes from everyone, which I guess given the Toula/Ian situation are fairly warranted.

 

Reason to watch it anyway: Nat Wolff’s brother plays the daughter’s prom date and you can glimpse the same sort of thing that ought to have made both of them stars already. As if the Beatys and Fondas and Fannings didn’t already prove this to be genetic.

 

 

 

9. Darling – It’s much easier to identify when a movie fails if it’s trying to be a regular movie and can’t make that happen. You’ve seen Happy Feet, and while it’s weird and dumb and cloying and not good, it’s still better than most movies. You know Norm Of The North is worse because you’ve seen a bad version of the movie it is hoping to be, and it can’t even manage that much.

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But when a movie isn’t making even the tiniest bit of sense, it sort of removes itself from the running of being labeled worst. It’s experimental maybe, so maybe it should exist on another plane. It doesn’t want any part of this one and can’t be judged alongside the pedestrian regular movies. You don’t even get it anyway. Only a few people will get it and this movie is for those few people. Except don’t call it a movie, please. Is what the people who made Darling would say. It doesn’t even want to be put on the same plane of existence as those comic book things or children’s nonsense built by Hollywood factories.

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Unfortunately for Darling, it is a movie. It played in theaters right alongside other (most likely independent, but still traditional) fare and now it’s on Netflix right alongside The Hunger Games and Do Over. Unlike those things though, Darling is devoid of humor, of story and of anything remotely human. There is bulging eyes and non-sequitur screaming, there is a looming demon (I guess) and an unbroken cycle that suggests Darling could potentially go on forever. Or at least leaves room for endless pre and sequels. Thankfully, Darling will consider itself above such things.

 

Reason to watch it anyway: If you didn’t get enough of actors forgetting how to perform regular human tasks from Backgammon, Darling has some more for you, including one scene in which titular Darling doesn’t seem to know what water is.

 

 

 

10. Lights Out – I was already angry with Lights Out for stealing its title away from a movie that deserved it more and really could have used it: Don’t Breathe. So when it began shruggingly not awful I started to accept that I was being unfair to it.

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But after that initial few minutes, the opening kill or however it is referred to in genre trope terms, Lights Out takes a precipitous dive into nothingness. And I don’t mean that as a metaphor, like a black hole of inept filmmaking. I mean literal nothingness, where a movie that has one idea refuses to take it beyond that initial opening. The thing that’s killing people never finds new ways of doing so. The people getting chased (but rarely ever killed) by it know the basic way to fight against it, but never come up with any new ways of combating it. In fact, mostly they are saved by accident.

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Lights Out wants you not only to fill in its literal darkness for it, creating your own scary monster in the shadows before it ruins those notions by showing it to you anyway, it also wants you to conjure your own situations and resolutions. It gives you next to nothing. Like tossing you out into the wilderness with no food or clothes or tools to get either and then expecting you to not only survive but to recreate society as you had come to know it. It is unreasonable and impossible and more than that, just plain annoying.

 

Reason to watch it anyway: There’s this one moment where somebody uses their key fob to turn some headlights on and temporarily get away from the shadow ghost or whatever and everyone in the theater went crazy for it. And it is good but using a key fob cannot be a movie’s crowning achievement. . It only serves to remind you that nothing has happened and that the movie you are watching is totally uninterested in coming up with clever solutions or even clever problems.

 

 

 

10.-15.

 

Teenage Mutant Ninja Turtles ~ Out Of The Shadows – Racially stereotyped humanoid animals and disembodied brains are actually the highlights.

 

The Disappointments Room – Obvious jokes aside, because no one was expecting anything from this anyway.

 

Ratchet & Clank – There is so much death in this animated definitely for children’s movie and not the nice kind. So there’s even less reason than usual for it to be this excruciating.

 

Gods Of Egypt – Complaining about the whitewashing of this story is wrong because you just called it a story.

 

Dirty Grandpa – Put this cast together a thousand times and you wouldn’t get this bad a result ever again.

 

 

 

 

Top Five Wasted Efforts – 2016

1. John TollBilly Lynn’s Long Halftime Walk

 

John Toll has two Oscars. He won them in consecutive years. He’s shot some of the prettiest movies (and TV) in history and has absolutely nothing to prove to any of you. When he signed on to shoot Ang Lee’s new experimentally formatted movie, he was probably pretty excited about it. For someone so thoroughly experienced, this groundbreaking venture might have been enticing even without the cache of Ang Lee being attached. Being among the first to shoot in color or Cinemascope or 3D or HD or whatever technological advancement isn’t necessarily always going to garner accolades, it probably leans a little toward the opposite even, because nobody likes change and our eyes are just about the least open minded part of our bodies. So how then could shooting Billy Lynn’s Long Halftime Walk in 128fps 3D be a wasted effort?

 

Well, mostly because what John Toll signed on for originally was not Billy Lynn’s Long Halftime Walk, but an (as yet unnamed) entirely different project that would have reportedly been a more intricate and effects heavy.

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Instead John Toll, triple nominated double Oscar winner, American Society of Cinematographer’s Lifetime Achievement Award winner, is stuck working out the kinks of a revolutionary new cinematic format on a droll drama that feels like a high school play where everyone in the class had to be included regardless of their abilities. He had to figure out that he needed five times the lighting as he normally might, which was extra annoying since he simultaneously discovered that he needed to shoot real locations because the picture would not hide most of the tricks regularly employed by Production Designers to mask the fact that the whole thing is being done on a set. All of this coming at the expense of time he could have been shooting something slightly more conventional, but infinitely more influential and/or important. Something good. Something that anyone saw. Something that anyone who saw it wasn’t stunned at the fact that the theater they were watching it in hadn’t turned off their motion smoothing setting.

 

 

 

2. Oona LaurenceBad Moms

 

From originating Matilda on Broadway to playing little Pennsatucky on Orange Is The New Black, Oona Laurence has already shown the capability and versatility that makes her the envy of actors three and four and five times her age. She was Jake Gyllenhaal’s typically movie-advanced child in Southpaw last year and filled the typically forgotten love interest proxy role in Pete’s Dragon in this one. But the best performance on her young (but extensive) career is in an otherwise forgettable and blunted supposed shock comedy, Bad Moms. In a movie filled with cartoon versions of people who never existed in the first place, all in the service of dangerous laughs for safe people, Oona Laurence’s Jane is an already anxiety ridden child now in the throes of her parents’ separation and is probably losing her mind. The movie really should be about her, but toonahen I guess the title would have to be changed since a movie called Bad Moms is obviously about mothers who want to have their own life outside of motherhood once in awhile but still love their children and will do outlandish things for them.

 

 

3. Stunt TeamHardcore Henry

 

Stunt people risk their lives every day. And for movies! It’s crazy. So really, most stunt teams are wasting their effort by the definition as I have laid out here. But they love it and they’re like magicians or con artists or something, incredibly protective about their jobs and how they do them. So it isn’t a waste, not to them; they’d probably be jumping off buildings and crashing cars on their own if they didn’t have the movies. And what a nightmare that would be for the rest of us.

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Singling out Hardcore Henry then seems so speak fairly negatively of the movie, if I‘m saying these crazy people were crazier than the rest of their ilk. And I am. It’s an awful thing. But that isn’t all of it. The stunt team on Hardcore Henry had a few other outstanding circumstances. First of all, they did it in Russia. There’s no stunt union governing the safety of their members there. There’s barely any laws at all unless you’re trying to be gay or Ukrainian. Second, it’s generally freezing. And here you are jumping around on and off moving vehicles with not quite as much blood in your extremities as there usually is. But neither of these is something particularly exclusive to Hardcore Henry. What makes this stunt team somewhat singular is the fact that they were also largely responsible for operating the cameras.

 

If you haven’t heard, Hardcore Henry is entirely recorded from the point of view of Henry himself. You never see his face because his face is the camera. Which means what Henry does, the camera operator must do. Which in turn means the camera operator is jumping around on and off moving vehicles with little to no organized supervision and not as much blood in the extremities. And in order to do this, the camera operator has to wear experimental head gear that not only impairs vision but is significantly heavier than the regular head one is used to carrying around. Even a head as big as a stuntman’s might theoretically be. (After all the swelling, I mean, not that they are egotitsts.)

 

Any behind the scenes footage from Hardcore Henry will tend to look extra insane. But only as insane as all those Jackie Chan end credit sequences. There we can see a person we recognize who for all intents and purposes does not need to be putting himself in such danger. But what cannot be seen is the monstrous effort put into even creating the environment in which men in Daft Punk helmets are doing awkward parkour in and around very dangerous materials. All so we could watch a live action version of a thing we’ve become inured to as a result of the infinitely less dangerous act of animating a video game.

 

 

4. Nigel Booth and Mark CoulierZoolander 2

 

The original Zoolander was never given a chance, with a(n intended) release date of September 14th, 2001 it was then delayed for two weeks, you know, until everybody was over it. It’s not that Zoolander was ever going to be a blockbuster, but it took a very long time to find a significant audience. That audience was never significant enough to warrant any sort of sequel, but such a long lay over seemed preposterously egregious. Even in this time of reviving most everything that has ever existed. So you might think anything involved with a sequel to a box office failure fifteen years after the fact would qualify as a waste. And you wouldn’t be wrong.

 

But the fact is, they made a Zoolander 2. And there was a larger percentage of the world’s population excited about that notion than were the original. Whether that is because it was now a known commodity or because there is a direct correlation between that percentage and the percentage that has no memory of September 11th, 2001 is not something we can definitively research (not because it would be impossible, but because the funding is understandably unavailable.)

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I suppose the biggest waste in all this falls on the person who came up with the idea to call it Twolander because other more powerful people decided against that and it is very unfortunate. But the second biggest waste involved with Zoolander 2 is the extensive make up effects and prosthetics that so many of the jokes rely upon. Jokes that mostly don’t work, but that’s just most of the jokes in Zoolander 2. It certainly has nothing to do with the quality of the work. Some of them are even designed as literal throwaways, where a character will tear off the prosthetic and toss it aside, which is the entire joke. I guess. Sometimes it’s difficult to tell where a joke begins and ends in Zoolander 2. Or if they begin at all.

 

 

Ava DuVernayThe 13th

 

The 13th is obviously not a waste of a movie, as the naming of the director in this light might imply. It is a fairly staid documentary though, which might have more to do with it going straight to Netflix than any sort of nobility and/or freedom of information that seems to be the assumption.

 

There’s not any reasonable disputing the importance of the information provided. That it isn’t so interesting as a movie is beside the point, I suppose. Plenty of people make bland movies out of interesting subjects. Even people who have done great work before. There is an element of blowing a chance to make this particular subject essential viewing beyond the basics. But that isn’t the true wasteful part.

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Towards the end of The 13th, the movie shifts dramatically into a warning, which at this point is fairly standard stuff for documentaries. If there isn’t something to scare us with it’s almost as if there isn’t a reason to make it in the first place. But more than that, it turns into a political platform. By the end it becomes an unabashed Clinton campaign commercial though, and besides just being bizarre and making the movie an instant time capsule, it clearly was a waste of effort, knowing what the election results turned out to be. One could argue that maybe more such documentaries could have turned the tide just enough, and no effort could have been a wasted one, nor will it ever be, but watching this on November 10th as I did, it couldn’t have felt like anything else. I can’t imagine what watching it on next November 10th might be like. No matter what side you’re on or even if you’re without one, you’ll have to turn it off at that point, it will be laughably obsolete by then. And for a movie to qualify as important in any way, any such reaction probably has to be avoided above all else.

Nominations! (2016)

Winners are in bold. If you’d rather just the winners without all the other business, go here.

When you feel that something is missing, go here for the ongoing list of 2016 movies I’ve seen.

(Not all awards are represented here as many do not warrant multiple nominees.)

 

The Tommy Lee Jones Screentime Award (for amassing the most screentime of the year):

  • Tom Hanks (A Hologram For The King; Sully; Inferno; Ithaca)
  • Ethan Hawke (Regression; The Phenom; Born To Be Blue; Maggie’s Plan; In A Valley Of Violence; The Magnificent Seven)
  • Anna Kendrick (Mr. Right; Get A Job; Mike And Dave Need Wedding Dates; The Accountant; Trolls; The Hollars)
  • Matthew McConaughey (Sea Of Trees; Free State Of Jones; Kubo And The Two Strings; Gold; Sing)
  • Teresa Palmer (Knight Of Cups; The Choice; Triple 9; Lights Out; Hacksaw Ridge; Message From The King)
  • Natalie Portman (Knight Of Cups; Jane Got A Gun; A Tale Of Love And Darkness; Jackie)
  • Michael Shannon (Complete Unknown; Frank & Lola; Midnight Special; Batman vs. Superman: Dawn Of Justice; Elvis & Nixon; Loving; Nocturnal Animals)
  • J.K. Simmons (April And The Extraordinary World; Kung Fu Panda 3; Zootopia, The Meddler, The Late Bloomer; The Accountant, La La Land; Patriot’s Day)

This is the largest field I’ve ever had to consider and it makes me worry there are people I’m missing. Michael Shannon and Ethan Hawke are essentially tied, but Midnight Special has enough non-Michael Shannon in it to given Ethan Hawke the edge. Matthew McConaughey could be tied too, but with two animated appearances, he’s securely in third place.

The Kevin Spacey Must Have the Best Agent Award (for appearing in the most top ten movies of the year):

  • J.K. Simmons (Zootopia and La La Land)

You could have pieced this one together yourself from the available information. But you probably didn’t.

The Victor Fleming Award (for excellence in directing multiple projects in the same year):

  • Peter Berg (Deepwater Horizon and Patriots Day)
  • Mike Flanagan (Hush and Oujia: Origin Of Evil)
  • Jim Jarmusch (Gimme Danger and Paterson)
  • Pablo Larraín (Jackie and Neruda)
  • Jeff Nichols (Midnight Special and Loving)
  • Gavin O’Connor (Jane Got A Gun and The Accountant)

This award does not get handed out very often and maybe shouldn’t be this year either. But with so many possibilities (usually there are zero people who have directed two things in a year and rarely more than two) it seems like it has to be. I never did see Gimme Danger and so this comes with your protest already noted and could change someday if I do and it’s great. Still, Deepwater Horizon and Patriots Day are unfairly maligned perfectly serviceable true life action movies. A genre Peter Berg seems to be have a personal agenda for taking to the big screen.

The Freddie Prinze, Jr. Award (for the best acting in the worst movie of the year – male):

  • Zac Efron (Dirty Grandpa)
  • Paul Reiser (The Darkness)
  • Ray Romano (Ice Age: Collision Course)

Zac Efron shines in a bad movie, but he’s not totally on his own. As bad and annoying as Dirty Grandpa is, there are bright flashes from a few people, even Robert DeNiro. Ray Romano isn’t even the best part of his terrible movie, that’s Scrat, as usual.  Paul Reiser isn’t in The Darkness much, but he makes one scene impossibly better than the movie appears capable of both before and after it.

The Dina Meyer Award (for the best acting in the worst movie of the year – female):

  • Lily Rose Depp (Yoga Hosers)
  • Kristen Stewart (Billy Lynn’s Halftime Walk)
  • Elodie Yung (Gods Of Egypt)

Essentially all by herself, Lily Rose Depp makes Yoga Hosers not one of the worst things your eyes will never forgive you for putting them through. Kristen Stewart is great, as is generally the case, in a weird movie. But Garrett Hedlund isn’t terrible in the same movie and he almost always is, so that kind of ruins her chances. Elodie Tung isn’t even good the whole time, but at a certain point she becomes the reason to endure Gods Of Egypt. She’s funny and maybe a little annoyed she has to be there.

The Tatum O’Neil Best (Female) Child Actor Award:

  • Shree Crooks (Captain Fantastic)
  • Royalty Hightower (The Fits)
  • Soo-an Kim (Train To Busan)
  • Oona Laurence (Bad Moms)
  • Angourie Rice (The Nice Guys)
  • Ida Rohatyn (Maggie’s Plan)
  • Claudine Vinasithamby (Dheepan)

I finally split these categories along gender lines, which seems like exactly the wrong time to be doing such a thing. Maybe I will change it to age brackets, but that’s so difficult to determine what with how long it can take for a movie to get from production to a on which screen I can see it. Of course, it wasn’t until a SAG screening where Shree Crooks came out on the panel that I knew for sure what gender she was in the movie, so I don’t know if this way is any easier. Point is, it seems as though there are so many great child performances, the hardest thing to do would be to only choose one. Hard enough here, limiting myself to only female ones.

The Justin Henry Best (Male) Child Actor Award:

  • Julian Dennison (The Hunt For The Wilderpeople)
  • Sunny Pawar (Lion)
  • Harvey Scrimshaw (The Witch)
  • Charlie Shotwell (Captain Fantastic)

Sunny Pawar deserves the Oscar nomination that Dev Patel has even though all he does the whole time is give Google Maps the stink eye.

The Nicolas Cage Uneven Performance Award [for the biggest gap in quality between two different performances in the same year (the good one is always listed first)]:

  • Chloe Grace Moretz (Neighbors 2: Sorority Rising and The 5th Wave)
  • Abby Lee (The Neon Demon and Gods Of Egypt)
  • Wayne Pére (Free State Of Jones and Miracles From Heaven)

Wayne Pére is barely in Free State Of Jones and Abby Lee is barely in Gods Of Egypt. Plus, she’s pretty good in Office Christmas Party and so maybe this was always a one person race. But even so, Chloe Grace Moretz is inexplicably bad in The 5th Wave and “buckets of money” is the greatest running joke of 2016 and she is a major part of that, so this might not have been a difficult decision regardless.

The Peter Sellers Multiple Role Award:

  • Sharlto Copley (Hardcore Henry)
  • Jake Gyllenhaal (Nocturnal Animals)
  • Tilda Swinton (Hail, Ceasar!)

This is certainly not the obvious choice. One could argue that Jake Gyllenhaal is really only playing his own character’s image of himself in the book he’s written. But there are subtle differences, beyond the accent, and those are much more admirable than the Aladdin Genie act Sharlto Copley is putting on in Hardcore Henry. And of course Tilda Swinton is great as twins, but part of the point/joke is that nobody really believes they are twins.

The Sean Connery Best Cameo Award:

  • Anna Camp (Café Society)
  • Billy Crystal (The Comedian)
  • Bradley Cooper (10 Cloverfield Lane)
  • Sterling Jerins (Paterson)
  • Melissa McCarthy (Central Intelligence)
  • Snoop Dogg (Popstar: Never Stop Never Stopping)
  • Sigourney Weaver (Ghostbusters)

Anna Camp might deserve this more. Her scene is the best Café Society has to offer and its a pretty good movie. She has way more to do than Snoop ever could dream of doing. But it works so well, in a movie populated with jokes that do not. No matter what your 20 year old cousin might say.

The Casey Affleck Worst Cameo Award:

  • Dan Aykroyd (Ghostbusters)
  • Kevin Conroy (Yoga Hosers)
  • Jennifer Garner (Mother’s Day)
  • Robert Loggia (Independence Day: Resurgence)
  • Ozzy Osbourne (Ghostbusters)
  • Ally Sheedy (X-Men: Apaocalypse)
  • Michael Sheen (Nocturnal Animals)

Robert Loggia’s Independence Day cameo is creepy and probably not actually him but a computer generated simulation. Ozzy Osbourne’s is one of the most tellingly terrible moments in Ghostbusters. But nothing is worse than an sinjgle note in joke cameo from somebody you wouldn’t even know was supposed to be a cameo if not for those single note in jokes you aren;t getting because calling them jokes is being very very kind.

The Alfred Hitchcock In Front of the Camera Award (for the least intrusive appearance by a movie’s own director(s)):

  • Roxanne Benjamin (Southbound)
  • Peter Berg (Deepwater Horizon)
  • Perry Blackshear (They Look Like People)
  • Johnny Ma (Old Stone)
  • Chris Renaud (The Secret Life Of Pets)
  • Taika Waititi (The Hunt For The Wilderpeople)

Peter Berg’s greatest talent might be in finding exactly the right spot to show up in his own movies. He is also in Patriots Day but is so far away from the camera you could never know it was him. A mistake Hitchcock would never make.

The Quentin Tarantino In Front of the Camera Award [for the most intrusive – not to mention annoying – appearance by a movie’s own director(s)]:

  • Mike Birbiglia (Don’t Think Twice)
  • Ben Falcone (The Boss)
  • Paul Feig (Ghostbusters)
  • Max Landis (Me Him Her)
  • Kevin Smith (Yoga Hosers)

I still think Mike Birbiglia should have acst someone else to star in his movie, but it’s still not quite the problematic appearance I look for here. Plus he’s a major character and you can get used to anything. Paul Feig needed to never remind us that he was behind this Ghostbusters that wears proudly all of his worst usual mistakes. Not least of which is keeping himself out of it.

The Drew Barrymore All Grown Up Award:

  • Kara Hayward (Manchester By The Sea)
  • Max Records (I Am Not A Serial Killer)
  • Morgan Saylor (White Girl)

The Where The Wild Things Are kid probably did need to grow up fast, so this should be no surprise.

The Martin Scorsese Best Use of a Song Award:

  • Peter Atencio for “Father Figure” by George Michael (Keanu)
  • Tim Burton for “Run, Rabbit, Run” by Flanagan And Allen (Miss Peregrine’s Home For Peculiar Children)
  • Damien Chazelle for “I Ran” by the pool party band (La La Land)
  • Josh Fox for “Bizness” by tUnE-yArDs (How To Let Go And Love Everything That Climate Can’t Change)
  • Josh Kriegman and Elyse Steinberg for “Back In The New York Groove” by Ace Frehley (Weiner)
  • Pablo Larraín for “Camelot” by Richard Burton (Jackie)
  • David E. Talbert for “Ain’t No Woman Like The One I’ve Got” by Four Tops (Almost Christmas)
  • Nitesh Tiwari for “Haanikaarak Bapu” by Aamir Khan (Dangal)
  • Ben Wheatley for “S.O.S.” by Clint Mansell / Portishead (High-Rise)

Lots of great choices and so maybe this wound up going to best song, as a tie breaker. But man is that Dangal song climbing the charts.

The Andy Garcia Impossible Shot Award:

  • Robert DeNiro and Leslie Mann get pregnant (The Comedian)
  • Charlie Plummer – pavement toss (King Jack)
  • Eddie Redmayne and Katherine Waterston – tea kettle catch (Fantastic Beasts and Where To Find Them)

When Leslie Mann says she is pregnant in The Comedian, a woman in the theater exclaimed, “In one shot? No way.” Afterward she told one of the producers that happened to be there that she loved the movie but didn’t believe anybody got pregnant in one shot.

The John Woo Best Shootout Award:

  • Peter Atencio (Keanu)
  • Jacques Audiard (Dheepan)
  • Peter Berg (Patriots Day)
  • Sean Ellis (Anthropoid)
  • Mel Gibson (Hacksaw Ridge)
  • Gavin O’Connor (The Accountant)

Is a battle scene different than a shootout? In doesn’t have to be, but in this case, Anthropoid is beating Hacksaw Ridge on that technicality. Still, that ought to tell you something about the climactic shootout in Anthropoid, namely that you should watch it right away.

The William Friedkin Best Car Chase Award:

  • Joe and Anthony Russo (Captain America: Civil War)
  • Ariel Vroman (Criminal)
  • Andrew Stanton (Finding Dory)
  • Taika Waititi (Hunt For The Wilderpeople)
  • Chris Renaud and Yarrow Cheney (The Secret Life Of Pets)

Not a great year for car chases. And Shane Black made a movie. So that’s extra dumb.

The They Live Best Non-Martial Arts Fight Award:

  • Paul vs. Harry (A Bigger Splash)
  • Billy Lynn vs. Hajji (Billy Lynn’s Long Halftime Walk)
  • Geeta vs. Jassi (Dangal)
  • Alex vs. The Blind Man (Don’t Breathe)
  • Healy vs. Michigan (The Nice Guys)
  • Kwon Soo-Tae vs. Red Name Tag (Proof Of Innocence)

Dangal is in second place here, and it might be better cinematically, but it lacks the fight to the death aspect that I crave.

The Die Hard 2 Icicle Award (for best use of an otherwise benevolent object as a weapon):

  • mouse (The 5th Wave)
  • belt (The Accountant)
  • lamp (Criminal)
  • locket (X-Men: Apocalypse)

Not a great year for this either. Seems silly to give it to an effects-only scene, but that Magneto opening is the best thing about that bad X-Men sequel.

The Cast of Nazis from Raiders of the Lost Ark Award (for worst performance of (an) actor(s) in scenes with special effects):

  • Cara Delevigne (Suicide Squad)
  • Chloë Grace Moretz (The 5th Wave)
  • Callum Keith Rennie (Warcraft)

Chloe Grace Moretz being bad in The 5th Wave has a lot to do with her not being able to see the computer generated things around her. But it’s just more shocking that this otherwise great actor can’t handle this now standard part of movie acting. It’s not like she’s too old to understand. Callum Keith Rennie has a very small part in Warcaft, but Warcraft is entirely populated with computer generated imagery and he wants none of it. Like he is angry about the way movies have gone and is trying to fight a rebellion from the inside.

The Talking Pig Award (for the two movies most alike released in the same year):

  • Batman vs. Superman and Captain America: Civil War
  • The BFG and Pete’s Dragon and A Monster Calls
  • Christine and Kate Plays Christine
  • Florence Foster Jenkins and Marguerite
  • Me Before You and The Fundamentals Of Caring
  • Miles Ahead and Born To Be Blue

It’s quite a coincidence that two movies focused on Christine Chubbock in 2016. But one was a documentary that was actually focused on the Kate part. Whereas Florence Foster Jenkins inspired two movies as well, its just that only one got the rights to name itself after her.

The Mulholland Falls Award (for movie that failed most miserably at being as shocking as it hoped to be):

  • Arrival
  • Bad Moms
  • Batman vs. Superman
  • Dirty Grandpa
  • The Girl On The Train
  • Les Innocents
  • Manchester By The Sea
  • Suicide Squad

When you see those kids in the first flashback, you have to see where this is going, if just not the specifics.

The Mulholland Falls Syndrome Award (for the biggest disappointment from the most promising ensemble cast):

  • Dirty Grandpa
  • Ghostbusters
  • The Magnificent Seven
  • Suicide Squad

Ugh. I don’t even want to talk about it.

The Cecil B. DeMille Award (for best portrayal of oneself)

  • Anna Faris (Keanu)
  • Ringo Starr (Popstar: Never Stop Stopping)
  • Martha Stewart (Bad Moms)
  • Ben Stiller (Don’t Think Twice)
  • Sigourney Weaver (Finding Dory)

Tough because Ringo Starr might give the joke of the year. But the reveal that Anna Faris is actually playing Anna Faris and might be dead, that’s hard to quibble with.

The Godfather Best Sequel Award:

  • Captain America: Civil War
  • Kung Fu Panda 3
  • Rogue One
  • Take Off 2

Rogue One is a prequel (and also not quite as good.)

The Jaws Worst Sequel Award:

  • Jack Reacher: Never Go Back
  • Jason Bourne
  • Ice Age: Collision Course
  • Independence Day: Resurgence
  • My Big Fat Greek Wedding 2
  • Ride Along 2
  • X-Men: Apocalypse

The biggest plummet in the shortest amount of time. It’s just physics.

The Breathless Worst Remake Award:

  • Ghostbusters
  • Pete’s Dragon
  • Pride And Prejudice And Zombies

Jim Dale we miss you.

The Kevin Costner Worst Accent Award:

  • Luke Bracey (Hacksaw Ridge)
  • Adam Driver (Silence)
  • Rebecca Hall (Christine)
  • Martin Henderson (Miracles From Heaven)
  • John Malkovich (Deepwater Horizon)
  • Chris O’Dowd (Miss Peregrine’s Home For Peculiar Children)
  • Wayne Pére (Miracles From Heaven)
  • Forrest Whitaker (Arrival)

Why cast Chris O’Dowd in a mostly non-comedic role in a movie that takes place in England? It’s just silly.

The Meryl Streep Award for Best Accent (Female):

  • Lily Rose-Depp (Yoga Hosers)
  • Judy Davis (The Dressmaker)
  • Scarlett Johansson (Hail, Ceasar!)
  • Ruth Negga (Loving)
  • Angourie Rice (The Nice Guys)
  • Rachel Weisz (Denial)

The Academy agrees.

The Jon Voight Award for Best Accent (Male):

  •  Zac Efron (Mike And Dave Need Wedding Dates)
  • Alden Ehrenreich (Hail, Ceasar!)
  • Jared Harris (Certain Women)
  • Toby Kebbell (Gold)
  • Kurt Russell (Deepwater Horizon)

Would that it were so simple.

The Jon Voight Best Impression Award:

  • Daisy Coleman of her mother (Audrie & Daisy)
  • Robert Downey Jr. of himself as Tony Stark circa 1991 (Captain America: Civil War)
  • Dakota Johnson of Rebel Wilson as Robin (How To Be Single)
  • Natalie Portman of Jackie Kennedy (Jackie)
  • Parker Sawyers of Barack Obama (Southside With You)
  • Rachel Weisz of Deborah Lipstadt (Denial)

This is why she didn’t win accent. Because it was way more than that.

The Still Unnamed Worst Impression Award:

  • Ralph Garman of Al Pacino (Yoga Hosers)
  • Joseph Gordon-Levitt of Edward Snowden (Snowden)
  • Jared Leto of Randy “Macho Man” Savage (Suicide Squad)
  • Jon Lovitz of Howard Cosell (Mother’s Day)
  • Usher Raymond IV of Sugar Ray Leonard (Hands Of Stone)
  • Robb Skyler of Howard Cosell (Hands Of Stone)

Just don’t put the real guy in the movie if he doesn’t actually talk on 33 speed.

The Gary Oldman Chameleon Award (for the most unrecognizable performance by an otherwise recognizable personality):

  • Bill Camp (Jason Bourne)
  • Suzanne Cryer (10 Cloverfield Lane)
  • Oscar Isaac (X-Men: Apocalypse)
  • Ted Levine (Bleed For This)
  • Gabrielle Union (Birth Of A Nation)

As one of only two Two Guys And Girl (And A Pizza Place) fan on Earth, I am the only one who should have recognized Suzanne Cryer. But still, I didn’t until the other one asked me about it later.

The Hamlet Best Production Within A Production Award:

  • Burying Jack (Don’t Think Twice)
  • “Nazi Punks Fuck Off” (Green Room)
  • “No Dames” (Hail, Ceasar!)
  • secret ballet (Holy Hell)
  • The Chance Of Possibility (I’m Not Ashamed)
  • The Invitation video (The Invitation)
  • Money Mon$ter (Money Mon$ter)
  • Nocturnal Animals (Nocturnal Animals)
  • La Pasion de la Pasion (The Secret Life Of Pets)
  • “The Riddle Of The Model” (Sing Street)

Although I think I’d sooner pay to see that secret ballet.

The “I’m Not The Bad Guy” Award (for the line so bad, it just had to be repeated):

  • “What else is there?” (Billy Lynn’s Long Halftime Walk)
  • “Kelp cake” (Finding Dory)
  • “Help me get one more.” (Hacksaw Ridge)
  • “I can take care of you.” (Loving)
  • “Is this who I am?” (X-Men: Apocalypse)
  • “Soory aboot that.” (Yoga Hosers)

I got so happy when this happened. This award makes me happier than pretty much anything.

The This Is 40 Award (for supporting cast member(s) most deserving of a sort-of sequel):

  • Jane (Bad Moms)
  • Dana (The Boss)
  • Erwin Kim (The Edge Of Seventeen)
  • Mayor Bradley (Ghostbusters)
  • Tad (Green Room)
  • disgruntled cowboys (Hell Or High Water)
  • Janet (The Nice Guys)
  • scuba cops (Sully)

Scuba Cops should be a TV show though.

The Rosemary’s Baby Creepiest Moment Award:

  • home invasion (Criminal)
  • Destiny’s bucket (Finding Dory)
  • red lanterns (The Invitation)
  • Doss stares at Dorothy (Hacksaw Ridge)
  • meeting Rama (Lion)
  • The Twins show their faces (Miss Peregrine’s Home For Peculiar Children)
  • waking Aurora (Passengers)
  • flies (They Look Like People)
  • Black Phillip speaks (The VVitch)

I don’t know that there’s anything creepier than the sound of flies in They Look Like People. And yet I had a hard time going against the home invasion in Criminal.

The Citizen Kane Unseen Ending Award:

  • Indignation
  • The Invitation
  • La La Land
  • Miss Sloane
  • Remember

You still don’t see it coming.

The Passenger 57 Award (for the plot most thoroughly ruined by its trailer):

  • Captain America: Civil War
  • Deepwater Horizon
  • Miracles From Heaven
  • Money Mon$ter
  • The Nice Guys
  • Sing

This is one of the most lamentable trailers in history. I mean, they had a perfectly good one already. And it’s not as though singing animals have ever had a problem at the box office.

The First Annual Jesse Heiman Award (for excellence in background action):

  • guy sitting between Annette Benning and Elle Fanning at the dinner table (20th Century Women)
  • freshman girl in the bathroom (I’m Not Ashamed)
  • guy driving the car two back from the girl who starts the first song (La La Land)

Emma Redmond! It’s nice to know the name of the first recipient of this new award. I doubt I ever will again. And while she was almost a bit part, she was listed in the credits under extra, so it’s justified as far as I’m concerned.

The Nightwatch Award (for the most heavily promoted movie never to grace us with its presence in a theater):

  • The Space Between Us

This could the final year for The Nightwatch Award. It’s gotten nearly impossible to find movies that do not play in theaters. Maybe I’m just better at knowing they do play in theaters though because it seems like it should be getting easier. Still, mostly the winner ends up being something like this, something that will get released in a theater, only a year or so after it had a weird media blitz. Seems like a different award, one I will probably never give out.

 

 

Awards! (2015)

For nominees and explanations, go here.

 

The Tommy Lee Jones Screentime Award (For amassing the most screentime of the year):

Ryan Reynolds (The Voices; Woman In Gold; Self/less; Mississippi Grind)

 

The Kevin Spacey Must Have the Best Agent Award (For appearing in the most top ten movies of the year):

Jennifer Jason Leigh (The Hateful Eight and Anomalisa)

 

The Marlon Wayans Award (for appearing in two or more of the worst movies of the same year.]:

Jeremy Irvine (Beyond The Reach and Stonewall)

 

The Freddie Prinze, Jr. Award (For the best acting in the worst movie of the year – male):

Thomas Jane (Vice)

 

The Dina Meyer Award (For the best acting in the worst movie of the year – female):

Anna Kendrick (The Last Five Years)

 

The Anna Paquin Best Child Actor Award:

Jacob Tremblay (Room)

 

The Nicolas Cage Uneven Performance Award [For the biggest gap in quality between two different performances in the same year (the good thing is always listed first)]:

Tom McCarthy (Spotlight and The Cobbler)

 

The Peter Sellers Multiple Role Award:

Tom Noonan (Anomalisa)

 

The Sean Connery Best Cameo Award:

Josh Peck (The Wedding Ringer)

 

The Casey Affleck Worst Cameo Award:

Carrie Brownstein (Carol)

 

The Alfred Hitchcock In Front of the Camera Award (For the least intrusive appearance by a movie’s own director(s)):

F. Gary Gray (Straight Outta Compton)

 

The Quentin Tarantino In Front of the Camera Award [For most intrusive – not to mention annoying – appearance by a movie’s own director(s)]:

Quentin Tarantino (The Hateful Eight)

 

The Drew Barrymore All Grown Up Award:

Liam Aiken (Ned Rifle)

 

The Martin Scorsese Best Use of a Song Award:

Pierre Coffin and Kyle Balda for “You Really Got Me” by The Kinks (Minions)

 

The Andy Garcia Impossible Shot Award:

through the bathroom door (Self/less)

 

The John Woo Best Shootout Award:

Michael Mann (Blackhat)

 

The William Friedkin Best Car Chase Award:

George Miller (Mad Max: Fury Road)

 

The They Live Best Non-Martial Arts Fight Award:

Max (and Nux) vs. Furiosa (et al) (Mad Max: Fury Road)

 

The Die Hard 2 Icicle Award (for best use of an otherwise benevolent object as a weapon):

building(s) (Avengers: Age Of Ultron)

 

The Cast of Nazis from Raiders of the Lost Ark Award (For worst performance of (an) actor(s) in scenes with special effects):

Jason Clarke (Terminator Genisys)

 

The Talking Pig Award (For the two movies most alike released in the same year):

Montage Of Heck and Soaked In Bleach

 

The Mulholland Falls Award (For movie that failed most miserably at being as shocking as it hoped to be):

Goodnight Mommy

 

The Mulholland Falls Syndrome Award (For the biggest disappointment from the most promising ensemble cast):

Krampus

 

The Cecil B. DeMille Award (For best portrayal of oneself):

Miley Cyrus (The Night Before)

 

The Godfather Best Sequel Award:

Creed

 

The Jaws Worst Sequel Award:

Taken 3

 

The The Man Who Knew Too Much Best Remake Award:

Mad Max: Fury Road

 

The Breathless Worst Remake Award:

Point Break


The Kevin Costner Worst Accent Award:

Garrett Hedlund (Pan)

 

The Meryl Streep Award for Best Accent (Female):

Bel Powley (The Diary Of A Teenage Girl)

 

The Jon Voight Award for Best Accent (Male):

John Boyega (Star Wars: Episode VII ~ The Force Awakens)

 

The Jon Voight Best Impression Award:

Anthony Ingruber of Harrison Ford as William (The Age Of Adaline)

 

The Still Unnamed Worst Impression Award:

Melissa Rivers of Joan Rivers (Joy)

 

The Gary Oldman Chameleon Award (for the most unrecognizable performance by an otherwise recognizable personality):

Richard Jenkins (Bone Tomahawk)

 

The Hamlet Best Production Within A Production Award:

Mosasaurus show (Jurassic World)

 

The “I’m Not The Bad Guy” Award (for the line so bad, it just had to be repeated):

“Be a good man.” (Chi-raq)

 

The This Is 40 Award (for supporting cast member(s) most deserving of a sort-of sequel):

Kill Club (Dark Places)

 

The Rosemary’s Baby Creepiest Moment Award:

post rape snuggles (The Tribe)

 

The Citizen Kane Unseen Ending Award:

Slow West

 

The Passenger 57 Award (for the plot most thoroughly ruined by its trailer):

Southpaw

 

Top Five Wasted Efforts – 2015

Antonio Pinto and Kaylin Frank (MacFarland, USA)MacFarland, USA isn’t nearly as bad as you probably think it is, but even if it was something that belonged in the Disney sports movie Hall of Fame, the work done compiling the soundtrack would deserve recognition it was never going to get.

McFARLAND, USA..L to R: Johnny Sameniego (Hector Duran), Victor Puentes (Sergio Avelar), Coach Jim White (Kevin Costner), and Damacio Diaz (Jamie Michael Aguero)...Ph: Film Frame..?Disney 2015

It is nearly impossible to distinguish what is score and what is a pre-existing song dropped into the scene, which isn’t on it’s own something to report, but is a confusing experience when you are watching the movie. The seamless blending is something we maybe ought to take for granted but I don’t know when the last time was that happened even one time in a movie never mind kept happening throughout.

But even taken separately, MacFarland, USA’s score and soundtrack operate as surgical enhancements of the otherwise blandly effective manipulations of the drama the visual accompaniment is adequately providing. Which is perhaps the biggest compliment the music of a movie can get, that maybe it is the thing being accompanied, and not the other way around.

 

 

Dakota Johnson (50 Shades Of Grey) – The Dina Meyer Award is for the best acting (by a female) in the worst movies of the year. So it would seem this sort of effort would not go unrecognized. But Dakota Johnson is so good as otherwise cardboard cut out Anastasia Steele that she makes 50 Shades Of Grey not one of the worst movies of the year. Her performance alone elevates this obligatory afterthought production into the top of the bottom third of movies from 2015. That’s confusing geography, but you don’t make a list of the worst 100 movies of a single year. If you did, this might be at number 100 or so, sure, but that’s something to shrug off pretty easily. Especially when the source material would suggest much worse.

50 Shades 1

Of course, the effort wouldn’t seem wasted on a giant production with so much anticipation and the threat of sequels looming. But I don’t think anyone ever considered that there might be something worth watching throughout all of it. Dakota Johnson has made sure that there is. And while more than anyone that will probably ever be on this list, she is getting recognition for it, and that might negate much of the waste, it still could not have been the plan, to be the unignorable best thing in a stupid movie based off a thoroughly publicly throttled book. It certainly never occurred to anyone else involved in making it. Except maybe the person who thought of casting Dakota Johnson.

 

 

The Cast of Love The Coopers (Love The Coopers) – When Arthur Hiller was President of the Director’s Guild of America, it seems as though all his movies were populated by the biggest and best actors that had to have been pressured by the position into appearing. Director Jessie Nelson does not appear to have any of that sort of influence (although her husband did direct Career Opportunities) but the cast she has assembled seems similarly under the gun. Unlike those Arthur Hiller movies however, every one of them is delivering as though someone important is watching. As though anyone is watching.

lovethecoopers

Love The Coopers is a weird movie with a weird title and while that has worked out quite well for movies of Christmas past, it does not appear to be the destiny of this one.

 

 

Robbie Amell (The DUFF) – Like 50 Shades Of Grey, The DUFF isn’t quite as bad enough to qualify any of its performers for awards that might require such badness. But The DUFF makes it close. Allison Janney also stops by briefly to be awesome as usual and titular DUFF Mae Whitman is obviously not the worst lead of a teen movie there’s ever been. Which makes Robbie Amell’s standing out all the more noteworthy.

robbie-amell-in-the-duff

But standing out is not the only requisite here. It’s hard to say a performance by a relative unknown in a major release, no matter the final quality, to be a wasted effort. But regardless of the gender or sexual orientation of the lead in a teen romantic comedy, the object of that lead’s affection is pretty much always a thankless forgettable position to be put in. Never mind that in this case, Amell had the unenviable job of explaining meaning behind the movie’s awful title. Through it all though, if you are able to get through all the rest of The DUFF, Amell will treat you to a thoroughly comedic and charismatic performance that will make you think you’re seeing Tom Cruise in 1982 somehow transported through time and making the same sort of mark he did then.

 

V. Srinivas Mohan (I) – First, you need to watch the trailer for this movie.

Now that you’ve done that, if you even bothered to come back here rather than track down the whole movie immediately, you know I must be talking about the visual effects supervisor. 1267937I hope you didn’t track down the whole movie though, because it never gets better than the crescendoing nonsense you just saw. But the effects are a marvel, maybe even moreso because they never mean anything. That said supervisor V. Srinivas Mohan and the director were ever able to get anywhere in a discussion about what the effects should accomplish without any notable context is astonishing enough. That the result made one the best trailers of 2015 is something else entirely. Something that might have forced you to find the one theater in your state showing this movie, and then because you didn’t know any better, asking to see it in the wrong language, as if that would make any difference. For a totally made up example.