20 to See
in 2016
My 2015
picks included, as usual, several that fell by that year’s wayside or simply
weren't ready. Or which arrived at festivals but not for the general public. As
such, I haven’t re-included Our Kind of
Traitor, Triple Nine, The Sea of
Trees, High Rise, Knight of Cups (or added that
prospective Seattle music scene Terrence Malick picture; one can only
anticipate for so long without any sign of life), Money Monster and Blood
Father (I won't over-egg Mad Mel’s comeback trail, and his directorial effort
is fairly certain to be more interesting).
Of 2015 releases
proper, I’ve yet to see Carol, Anamolisa, Bone Tomahawk, Life, Selfless, The Hateful Eight and The
Revenant. The rest of the bunch were the expected mixed bag; Jupiter Ascending and Child 44 proved fairly atrocious, Blackhat was even worse, and Tomorrowland was an idea stuck for a
viable narrative. Mortdecai was
generally savaged as one of the worst of the year, but I had a reasonably good
time with it. Others, Black Mass, Agew of Ultron, Bridge of Spies, The Martian
and The Force Awakens were merely
good rather than great. But at least a few were surprising in some shape or
form; Kingsman, uneven but
invigorating, MI:5 proved its
director could handle high-stakes blockbusters, and Fury Road exceeded even my high expectations, some feat in an age
of resounding over-hype.
As usual
there’s a strong director-led flavour to the picks, and choices 11, 12, 13 and
16 in particular could well prove to be wild shots in the dark. There are also
four rather obvious picks of superhero fare, but in one form or another they
should all at least be interesting – or discussion-worthy, for better or worse –
examples of the current reigning, and dictating, Hollywood genre.
20. Batman
vs Superman: Dawn of Justice
It’s
difficult to gauge just what is expected of WB/DC’s attempt to make a play for
the superhero legendary line-up market in one foul swoop. Much of the response
to this seems to be borderline, if not full-on, ridicule, from that title to a
trailer that has already announced the “vs”
ain't going to last long and Bats and Supes will be up against a BIG CGI
monster villain (exciting, eh?) Zack Snyder is undoubtedly a talent, but an eye
for a story he hasn't got (see Sucker
Punch), and the generally doom-laden, fun-free visuals suggest an entire team
of people who don't recognise the fine line between over-seriousness and
unintentional self-mockery. The only person here who looks like he has a grip
on the proceedings is Jesse Eisenberg as Lex Luther. As a set up for Justice League, and any number of subsequent
solo outings, this has a lot of heavy
lifting to do and it’s sure to have at least a smattering of strong set pieces,
but I rather doubt it’s going to cement the DC comic book kingdom on the big
screen, which in a world where Man of
Steel was seen as a disappointment, could seriously louse up WB’s big
plans. (25 March)
19. Nine
Lives
It’s a long
time since Barry Levinson has put his name to anything good. Okay, MIB3 was decent enough, but he’s mostly
restricted himself to TV work in the last decade, perhaps wary of an
increasingly indifferent touch on the big screen. The premise of this one is a
great high concept, as an uptight businessman finds himself trapped in the body
of the family cat, and presumably it had enough in the script to get Kevin
Spacey to sign on. Christopher Walken shows up too, as a mystical pet shop
owner. On the trepidation side, none of the writers have much to shout about on
their resumes, and the ones who do include Four
Christmases on their resumés. (27 May US, 27 April UK)
18. Captain
America: Civil War
The Marvel
juggernaut chunders on, but will it continue to reach new heights or will Age of Ultron be seen retrospectively as
the moment the tide began to turn, when the tight ship run by Kevin Feige began
to wear the stifling of creativity on its sleeve? Hopefully not, but, while I
appreciated the scripting for the most part, I wasn't quite as won over by the
directial chops of the Russo brothers on The
Winter Soldier as many, and I’m nervous of their abilities when it comes to
going ever bigger (as they will be, with the forthcoming Infinity Wars).
The premise
of Civil War is a no-brainer, with
Tony Stark and Cap butting heads, but key aspects of the execution raise
question marks. Like, eight people in silly costumes running at each other
across a car park doesn't really scream “epic”. At very least, it will be fun
to see the likes of Ant-Man and Vision integrated with the Avengers line-up.
Oh, and Spidey, whatever they have in store for him (let's hope it’s a bit more
than a Luke Skywalker style tease). (US: 6 May, UK: 29 April)
17. Star
Trek Beyond
I had higher
hopes for Star Trek Beyond before the
first trailer broke. Not that I didn't like the 2009 reboot (I did) or Star Trek Into Darkness (I did-ish,
despite some horrendously ill-judged fan service that merely inflamed tempers);
Simon Pegg and Doug Jung coming board as writers had a certain guarded promise,
particular as the former isn't an die hard fan. And Justin Lin, arriving from a
completely different genre, also promised a break with the established tone. So
why does it all look a bit Insurrection?
Rather so-so, with Luther caked in sub-TV prosthetics and a half-arsed attempt
to imbue the material with discussions of ethics and principles amid the
explosions. Hopefully I’m wrong, and the attempt to wash away the general bad
taste of Into Darkness has succeeded
rather than self-detonated. Karl Urban’s McCoy, at least, continues to be spot-on.
(22 July)
16. A
Hologram for the King
This was on
last year’s list, where I (mostly) wrote…
Tom Tykwer
is an always-interesting director. Well, maybe not so much on Sense8. His English language pictures (The International, Perfume: The Story of a Murderer, Cloud Atlas) have been intriguing and different, even if box office
success has been elusive. Tom Hanks is the lead here, but his star is on the
wane, and I’m doubtful this adaptation of Dave Eggers’ satire will reach a
broader audience (shades of Charlie
Wilson’s War?) Hanks plays a broke businessman attempting to sell an IT
contract to a member of Saudi Arabian royal family.
15. Rogue
One: A Star Wars Story
I’m yet to
be convinced of the value of the first batch of Star Wars spin-offs, since every idea seems to be entirely devoid
of inspiration (now, a Ewan McGregor/Obi-Wan trilogy would make sense, but
doesn't seem to be brewing). Indeed, it’s only really the caliber of the
filmmaking talent that lends this and the Han Solo movie a modicum of interest.
Gareth
Edwards is a talented up-and-comer, but his first Hollywood foray (Godzilla) stumbled because its script
and characters were crummy. Can his Jedi-free tale of an attempt to secure the
Death Star plans learn from that? The screenplay contributors don't necessarily
invite confidence, nor does Andre Desplat (toss a coin on whether his scores
are inspired or dirges). But Felicity Jones heads up an eclectic cast, and it
will at least be interesting to see if Rogue
One can divest itself of the evil spectre of fan service (that word again) and
deliver something surprising. (16 December)
14. Finding
Dory
Much as
this and the also forthcoming The Incredibles
2 are entirely redundant, there’s a sense with both that a quality cash-in
is at least preferable to a straight cash-in. So while Monsters University and Cars
2 were awaited by few and venerated by fewer, they lined the Pixar coffers
without pause for trivialities like creative acumen. Finding Nemo was the big
post-Toy Story success for the
studio, a high water mark in terms of quality and box office. If it doesn't seem like there’s much story left to
tell (hence the reversal of the title), that shouldn't dim its prospects and,
with Andrew Stanton having something to prove following the disaster (albeit
not so much in terms of quality) of John
Carter, this could well be every bit as enjoyable as the original. (US: 17
June, UK: 29 June)
13. Hacksaw
Ridge
Mel Gibson,
vilified by Hollywood for saying not very nice stuff. Rather than actually, you
know, doing not very nice stuff. Which isn't to defend the not very nice stuff
he said, but it is to draw a line between the double standards of a town
accustomed to closing ranks and protecting doers of not very nice stuff. Gibson
as an actor still has it when he’s drawing on the rage machine (of which Blood Father may well be an
under-the-radar gem, even if it’s unlikely to put bums on seats in any great
numbers). As a director, his personal trials arrived just as he appeared to be
peaking creatively. Apocalypto may
not have endeared itself to anyone seeking historical authenticity (see also Braveheart) but it was unanimously
recognized as a masterful piece of visceral, adrenalised filmmaking.
His latest,
following Leo pulling out of, and so kyboshing, a Viking pic (who believed Leo
would make a good Viking anyay? Probably the same people who think he makes a
convincing wilderness man) and the disappearing Maccabes movie, boasts a cast
including Andrew Garfield (and, er, Vince Vaughn, and, er, Sam Worthingon) and concerns
a World War II conscientious objector who received the Medal of Honor for
saving 75 of his fellows. So it’s a blend of deep conviction and entrails,
which sounds about as pure Mel as you can get. This could well be one of the
most interesting of the year (on the other hand, his last war movie We Were Soldiers, from fellow God
botherer and frequent collaborator –as here – Randall Wallace, was criticised
as a pro-Vietnam Christian paean).
12. A Cure
for Wellness
Gore
Verbinski’s had a rather unsettled time of it of late, what with BioShock falling through and The Lone Ranger going belly-up (a more
interesting movie than the takings and critical response might suggest,
though). This supernatural horror features Dan DeHaan, and was written by
Justin Haythe (who rewrote The Lone
Ranger). More suggestive of The Ring
remake than Verbinski’s Depp blockbusters, this is a smaller scale affair in
which DeHaan searches for his boss, who has gone missing at a Swiss wellness
clinic, and finds himself trapped there. Jason Isaacs brings some menace. (23
September)
11. The
Neon Demon
I’m a bit
on the fence with Nicolas Winding Refn. His pictures are arresting and visually
compelling, but I’m non-comittal about how much is really going on under the
hood. The Neon Demon sounds like it
could be out of the Lynch scrapbook of arcane plots, as an aspiring model in
Hollywood finds herself preyed upon by a gaggle of beauty-obsessed women. The
cast features Elle Fanning, Jena Malone, Christina Hendricks and Keanu.
Given
Refn’s rep, The Neon Demon is sure to
be a talking point even if it falls into the less accessible category of Only God Forgives (as opposed to the
audience-friendly Drive). One thing
seems guaranteed with his pictures, though; expect some particularly unseemly
violence to figure into the proceedings somewhere. With regard to Keanu, he’ll
be quite busy this year, including a cannibal movie with Jim Carrey from Ana
Lily Amirpour (The Bad Batch) and a
science fiction excursion as a scientist (Keanu as a scientist!) attempting to
bring his family back from the dead (Replicas).
10. Suicide
Squad
It isn't as
if David Ayer has a track record to
shout about, so it certainly isn’t him fueling anticipation for Suicide Squad. Rather, despite the
prerequisite DC moodiness, it's the sense that he’s actually out there making
something a bit different, unrestricted by a mandated style or approach the way
Marvel fare is. That’s not to say it will be any good. It could be an End of Watch (so pretty good) or,
perhaps more likely given the team dynamic, it could be another Sabotage. But with a cast of less-shining-of-late
stars (Will Smith) wackos (Jared Leto), bright young things (Margot Robbie) and
who-thes (Jai Courtney, a man with an outstanding agent), Suicide Squad is at least the second most interesting sounding
superhero movie of 2016, and more so than the year’s other franchise spin-off (Rogue One). It it’s a mess, it won't be
because Ayer didn't have lots of tools to play with (and Jai Courney). (5
August)
9. Paterson
Jim
Jarmusch directs Emo-Ben Solo Adam Driver as a bus driver and poet in Pateron,
New Jersey. I suspect it probably had most interested parties at “Jarmusch”.
8. Doctor
Strange
The casting
of Benedict Cumberbatch as the titular marvel magician and former surgeon, who
turns to super heroism after his hands get mangled, might be the least inspired
piece of casting of the last decade (if in doubt, offer it to Cumberbatch). And
there’s a possibility that, this being Marvel supermodel Kevin Feige’s personal
favourite property, it will be proportionately much less distinct than its outré premise promises; he will no doubt be looking over Scott Derrickson’s
shoulder, a not untalented director but one with a determinedly
middle-of-the-road, populist spook-show approach. An ideal fellow to submit to
Feige whispering in his ear, essentially. It will be a pity if this turns out
to be more standard-issue Marvel, reluctant to really stretch the envelope of
what the audiences might accept, even after Guardians
of the Galaxy, rather than taking the properly riskier tack of, say Hulk, and daring viewera to engage with
something different. (US: 4 Nov, UK: 28 Oct)
7.
Passengers
This one
has been doing the rounds for a while, with Game
of Thrones’ Brian Kirk attached as a director, and Keanu and Reese
Witherspoon/Emily Blunt involved. I’m not sure it's current incarnation is one
to savor exactly, as it reeks of convenient agent deals at the expense of a
really robust creative team. I liked Headhunters,
but The Imitation Game was just
another mediocre biopic. Jennifer Lawrence and Chris Pratt are a team fashioned
from box office figures rather than, necessarily, chemistry or suitability for
the parts. But this still deserves to be assumed innocent until proven guilty,
an original science fiction effort, character rather than spectacle-led (well…
we’ll see about that), and from a writer (Jon Spaihts, see also Doctor Strange above) who also currently
gets the benefit of the doubt (his Prometheus
screenplay was rewritten, although those who credit it as superior to the
finished product seem to be about 50-50). (US: 21 Dec, UK: 23 Dec)
6. War on
Everyone
The return
of Jon Michael McDonagh, following The
Guard and Cavalry. No sign of
Brendan Gleeson this time, as the writer-director transfers to New Mexico in a
tale of two crooked cops encountering someone who may or may not be more
dangerous than they are. With the new Tarzan Alexander Skaarsgard, Ant-Man’s
best bud Michael Pena and, er, Theo James. First responses shouldn't be too far
off, since it arrives at the Berlin Film Festival in February, but if past form
is any indication this should be funny, twisted and even occasionally a little bit
profound.
5. The
Bourne legitimacy
It’s
difficult to gauge where Paul Greengrass is coming from at times. On the one
hand he’s a liberal moviemaker with great acumen as a kinetic storyteller. On
the other, he’s prone to servicing fictionalisations of recent history with a
dubious veneer of propaganda. He might reliably claim he isn't responsible for
people regarding his United 93 and Captain Phillips as the last word on those
cases, but he’s smart enough to understand the way a dramatisation can become
the salient text in the popular consciousness.
As such,
he’s on more reliable ground bringing his sensibility to a wholly fictional
character, and none more so than Jason Bourne, the fourth pairing between the
director and Matt Damon. It will be nine years since Jason’s ultimatum, and the
duo believe enough water has passed under the bridge to provide juicy pickings
for commentary on the changing state of the US in the global scheme of things.
It’s a respectable approach to take in terms of sucking the franchise teat;
they continue to look credible while making big bucks, only compounded by the
mediocre business of The Bourne Legacy.
So Bourne 4.1? Our hero will be doing
more heroic stuff, positioned once more against the system that once fed him,
and you can bet it will be post-Snowden relevant and wholly thrilling.
Must-see, basically. (US: 29 July, UK: 28 July)
4.
Zoolander 2
The sorry
spectacle of Walter Mitty (well,
content rather than spectacle; visually it was a feast) might have raised
questions of whether Ben Stiller’s comic facility had left him. Certainly,
three Night at the Museums have at
least meant his bank manager is jolly happy. It did confirm, however, that he’s
a far more reliable director than necessarily performer or writer (in good
company with another director on this list, Mel Gibson, although it’s doubtful
they’d want to share a pint). Prior to Mitty,
both the first Zoolander and Tropic Thunder made for two of the
funniest and (a rarity) best shot comedies of the last 15 years.
So there’s
good reason to expect Zoolander 2 to
be better than the (similarly, in some quarters) much-awaited Anchorman 2. The first trailer looked
promising, with jokes at the expense of Justin Bieber and the return of Will
Ferrell (Mugatu is still possibly his best big screen role). I’m doubtful this
will make a whole lot of money for Paramount, but I’d be surprised if it hasn’t
been worth the wait. It has to be. Billy Zane is back, and he’s a cool dude.
(12 February)
3. Silence
Scorsese’s
priestly tale was on my list last year, enthusiastic as I was to see it. This
is what I wrote:
Martin
Scorsese’s long-in-development adaption of Shusaku Endo’s novel Chinmoku. There was even a lawsuit over
the delays in bringing it before cameras. Previously adapted in 1971, the story
concerns two Jesuit priests seeking out their mentor in seventeenth century
Japan, where Christians are undergoing persecution. An examination of faith and
suffering (Neeson’s character has committed apostasy, and similar doubts face
his protégés), Silence promises to be
as personal and compelling as other Scorsese
pictures influenced by his spiritual questing and questioning (Last Temptation of Christ, Kundun).
The chances
are it won’t be hugely commercial, then, but it is likely to provoke many column inches in discussion of its
themes. Originally (back in 2009) to have starred Daniel Day Lewis and Benicio
Del Toro, Silence now features Liam
Neeson, Andrew Garfield and Emo-Ben Solo Adam Driver.
2. Hail,
Caesar!
The Coens
do period, Clooney does comedy mugging and the assembled cast is as rich as ever.
Hail, Caesar! finds the brothers
easing back into broad strokes mode, which isn't to everyone’s taste; most
prefer their more serious, less funny movies (so, the reverse of Woody Allen,
then). A tale of a dim-witted, ‘50s Hollywood fixer (Brolin) attempting to
recover a kidnapped, dim-witted Hollywood actor (Clooney), everyone and anyone
appears to have been the given the chance to climb aboard this excursion, from
Channing Tatum to Christopher Lambert and Dolph Lundgren. Sure not to receive
the kudos that greeted the likes of No
Country for Old Men and Inside Lewyn
Davis, fingers crossed this is closer to O Brother Where Art Thou? than The
Ladykillers (although even The Ladykillers
is better than most Hollywood comedy fare). (5 Feb US, 6 March UK)
1. The Nice
Guys
The first trailer for Nice Guys has already arrived, and it bears all the semblance of a thoroughly Shane Black affair; a hardboiled crime tale stuffed with jet black humour, colourful dialogue, delightful twists, memorable characters and it’s Christmas. Set in the ‘70s, the movie pairs Russell Crowe and Ryan Gosling and looks like they could rival Kilmer and Downey Jr in Kiss Kiss Bang Bang for chemistry. Black himself has more than proved his mettle as a director in the wake of the best Marvel movie to date (Iron Man Three). The only question is, will anyone want to see Nice Guys? The picture will be released peak summer, amid an overcrowded field, and could get rather lost in the scrum. Which would be a great shame, as we need as many Shane Black movies as possible, and sooner rather than later. (20 May)