2016's TOP 10 MOVIES

1- Silence

(Dir. Martin Scorsese)

Scorsese’s latest directorial output is a powerful meditation on the nature of faith. In “Silence” the subject is far more explicit than in any other entry (like “Wolf of Wall Street” or “Mean Streets”). Twenty something years in the making, "Silence" is one of those rare cases in which the movie is actually on par with the book. The pace of the story is slow, much like a "purification" process the audience must endure. Some of the elements that are now staples in a Scorsese movie are missing: The cinematography is restrictive and the soundtrack is practically non-existent. Yet the movie is still an all out epic, with Scorsese making the most powerful use of violence since "Raging Bull". While I was not particularly impressed with Andrew Garfield's performance, Issei Ogata's role as the Inquisitor definitely stole the show (and the actor certainly deserved an Oscar nomination as a supporting actor). A solid 9/10 for this epic which was the best movie I've seen in 2016.

2- La La Land

(Dir. Damien Chazelle)

It may very well be a reflection of the current times, but "La La Land" was able to connect with critics and audiences alike. The "feel good" vibe of the movie contrasts with the gritty reality we must face everyday, making "La La Land" a prime example of why movies were invented in the first place: to provide an escape. But I digress. Ryan Gosling and Emma Stone deliver the goods, while Damien Chazelle creates an environment that pays tribute the the 1940's, 1980's and 2016. The score and original songs are the cherry on top of the cake. "La La Land" deserves all the praise it has been receiving: a movie that takes a simple premise and an average screenplay and makes them work into a 2 hour film that doesn't pollute the mind with politics and has the perfect combination between magical realism and true reality. More than a diluted version of Francis Ford Coppola's "One From The Heart", "La La Land" is a classic in the making.

3- Arrival

(Dir. Denis Villeneuve)

Denis Villeneuve continues to broaden his CV across different genres and he definitely hits a high note with "Arrival". How can you deliver an original movie on a subject that has been explored time and time again? With a strong screenplay, a mesmerizing soundtrack by Jóhann Jóhannsson and a stellar performance by Amy Adams. The plot twist can be spotted a mile away, but it really doesn't matter when you are fully immersed into the visual design of the spaceship and the aliens and the gripping emotional drama that drive the first two acts of the movie. The absence of violence evokes a slightly subtle message that is consistent throughout the movie: an argument for the limits of military might of the US and the global superpowers. After watching "Arrival", I know that the "Blade Runner" sequel is in good hands.

4- Hail Caesar

(Dir. Ethan and Joel Coen)

The "other" tribute to the golden age of Hollywood that was sadly forgotten by many after having premiered just a year ago. "L.A. Confidential" meets "The Player" in this amazing satire about the yesteryears of Tinsel Town. The best comedy of the year explores the excesses of the epics from 1940's and 1950's, the Red Threat and blacklisted actors and even a brief glance of the exaggerated political correctness we see today as Eddie Mannix (played brilliantly by Josh Brolin), convenes Catholic and Greek Orthodox priests, a protestant minister and a rabbi to evaluate if the script is kosher. George Clooney gives a wonderful performance as the aloof superstar, while Ralph Fiennes steals every scene in which he is on. A smart comedy and the best in its genre in 2016.

5- Manchester by the Sea

(Dir. Kenneth Lonergan )

A careful study on the process of grief, "Manchester by the Sea" never slips into melodrama. A plus on the movie's structure is the remarkable usage of flashbacks which serve to build up the drama. Casey Affleck is the Oscar frontrunner for a very specific reason: Lee Chandler is a man that cannot express his grief with words and resorts to violence and rage outbursts to do so. Michelle Williams' Randi appears in the screen for roughly 15 minutes but delivers a character that manages to impact the story in a way that had only been achieved before by Beatrice Straight in "Network". Lucas Hedges' first role highlights the young actor's potential. A depressing entry, but one that must be seen in the big screen in order to fully enjoy it.

6- Nocturnal Animals

(Dir. Tom Ford)

"Nocturnal Animals" is a work of exceptional craft and pure creativity. The one movie that made me think about it, long after I left the movie theater. The story within the story premise that drives the movie is near perfectly executed - the misuse of Amy Adams being the only flaw. While each of the three stories that form "Nocturnal Animals" do coexist as separate entities, with the one element that connects them being Amy Adams' Susan reading of the novel. Jake Gyllenhaal manages establish himself as the most underrated actor currently working with his suberb performance, while Michael Shannon and Aaron Taylor Johnson shine in supporting roles. While Tom Ford can sometimes be "too much in your face" (like the in the opening credits scene) he tries to guide this attitude by following David Lynch's "Blue Velvet" rulebook.

7- Hell or High Water

(Dir. David MacKenzie)

While David MacKenzie's modern day western doesn't add anything new to a genre audiences have become very familiar with it manages to check all the right boxes. Jeff Bridges is the true star of this vehicle that works also as a piece of Americana, reminiscent of 1970's classics like "Charles Varney" and "Dog Day Afternoon". Well paced, the movie does manage to fit right into 2016: It's a tale about the rich and the poor, the establishment and the common man, the faceless corporations and banks and relatable characters. Nobody is a saint and it becomes tougher and tougher to figure out who the antagonist really is. Nick Cave and the Bad Seeds' soundtrack add the additional layer of perfection to this outstanding picture.

8- Hidden Figures

(Dir. Theodore Melfi )

A sleeper hit that has something to offer to everywhere: a historical drama, a tale of winning underdogs, a remarkable story on the evolution of the civil rights movement and the right elements that make it an enjoyable dramedy. While all the members of the trio equally share the screen time, each of them has the opportunity to stand itself out. Janelle Monaé's fierce Mary Jackson was the one that kept me rooting for winning team during the movie's two hours. "Hidden Figures" is not a boring documentary and deserves to be in the same ranks as "The Right Stuff" and "Apollo 13". Simply one of the best movies of the year.

9- Deadpool

(Dir. Tim Miller)

For years I have been openly critical of the superhero genre. It has reached its peak with Nolan’s Dark Knight trilogy, but it was able to reinvent itself with “Deadpool”. The R-rated, tongue in cheek superhero entry has redeemed Ryan Reynolds while delivering the goods. It is filled with pop culture references, constant fourth wall breaking and a degree of self-awareness that has never before been a staple in either Marvel or DC’s comic world. For its originality, value of entertainment and the ability to stand out in a crowded market, “Deadpool” deserves a spot on this list. An action comedy that works as both a superhero spoof and as a standalone origins entry.

10- The Neon Demon

(Dir. Nicholas Winding Refn)

More polarizing than his prior movie, “The Neon Demon” delivered the most provocative story of the year. While the deterrents point out that the movie is shallow and empty, I saw it as an accurate portrayal of the world of fashion and an optimal crossover between “Showgirls” and “Mulholland Drive” via the route of “Suspiria”. The highlights of Refn’s latest output are Elle Fanning and the soundtrack that go hand in hand as the audience accompanies Jesse’s evolution both as a person and as a model. A scary visual journey into the place where dreams go to die in Tinsel town. Less subtle than “Only God Forgives” and “Drive” but nevertheless an effective effort in storytelling.