Monday, May 01, 2017

April 2017

“April…come she will…When streams are ripe and swelled with rain…” How many times did that Simon & Garfunkel chestnut emanate from my stereo back in the 1970s? We didn’t have much rain here in April, and the month seemed to zip by. Following spring break, Cindy and I resumed our tutoring at Santa Monica’s John Muir Elementary School, where I teach reading to a first grader named Jace. (We only have a handful of sessions left, and I’m going to miss it when it’s over.) This month, Ray Lee and I shot a dozen boats at Lake Elsinore with five swimsuit models. It was a fun day and would provide content for Speedboat magazine for months to come. AUDIOBOOKS: After finishing While You Were Sleeping (Kathryn Croft), I moved on to The Girl Before by (Tony Strong writing as JP Delaney), Sharp Objects (Gillian Flynn) and Traitor (Pete Johnson). I am now listening to One Perfect Lie by Lisa Scottoline. TV: Homeland finished its sixth season, while the network shows I watch faithfully are all barreling toward their season finales. MUSIC: After grading various hits of 2016-2107, I listened to albums by Radiohead and Charlie Puth.
Here are the movies I saw in April:



THE ZOOKEEPER’S WIFE (2017)—Schindler’s List meets We Bought a Zoo in this true story of a couple in Poland who hide Jews in the basement of their zoo in Warsaw. Jessica Chastain, as the character, is perfectly cast as the woman who must use her sexuality to distract the local Nazi (deliciously nasty Daniel Brühl). Entertaining, but my strongest memory is of Joan saying during the closing credits, “I want to see if they mention that no animals were harmed in the making of this movie.” Sure looked to us like there was plenty of animal harming! (8)


COLOSSAL (2017)—Anne Hathaway plays Gloria, a woman who discovers a most unusual ability: she is somehow controlling the movements of a gigantic Godzilla-type monster that’s terrorizing Seoul, Korea. But the movie is more concerned with Hathaway’s relationships with two men: boyfriend Dan Stevens and a friend from her childhood (Saturday Night Live alumnus Jason Sudeikis). The story of how these characters—and the monster—are intertwined are the subject of this unusual fable, which is just quirky enough not to be unlikable, and just original enough to overcome its flaws. Sudeikis really shines as a man with many layers—most of them slimy. (7.5)


MOKA (2016)—A French psychological thriller about a mother trying to track down the hit-and-run drivers who killed her teenage son. There are some unforgettable twists in this drama, and some great performances. Based on a novel by multilingual Tatiana de Rosnay (Sarah’s Key). I adored this deeply moving story. (10)


GIFTED (2017)—Chris Evans (better known as Captain America) plays the uncle of Mary, a 7-year-old girl whose mathematical mind exceeds Einstein’s. Evans has been raising the kid following his sister’s death. Enter Evans’ mother, a bitch who sues him for custody. Mckenna Grace is astonishingly convincing—and cute as a button—as Mary; she makes us believe that she really is a child prodigy. What a great little actress! Meanwhile, Lindsay Duncan is perfectly cast as the grandmother. (9)


GHOST IN THE SHELL (2017)—The manga-turned-anime franchise, which dates back to 1989, has been transformed into a full-blown live-action sci-fi epic starring Scarlett Johansson. The result is a cyberpunk-looking movie for robots—or for humans who thought Blade Runner and Terminator were too warm and fuzzy. ScarJo plays a Bionic Woman sort of character (human brain in a robot’s body) who has been trained as a commando…until she starts to realize that the people she’s working for may not be the good guys after all. (It’s the age-old “Heel Realization” trope, as depicted in Iron Man and most recently in the great Men Against Fire episode of Black Mirror.) Approximately the first half of GITS is flashy but dull, loaded with great FX and noisy sound effects, but too little story. I debated walking out, but finally, when the Big Twist is revealed, things got interesting enough to take me to the end. But man, that first hour needs work. (6.5)


THEIR FINEST (2017)—During WWII, the British government sought to ease tensions among its bomb-ridden citizens by promoting a specific type of propaganda: movies featuring war heroes and a dubious connection to the truth. To better connect with the women in their audiences, the British Ministry of Information hires a female writer (gorgeous Gemma Arterton) to do some of the writing on a movie about the famous Dunkirk evacuation. There’s a bit of romance thrown in for good measure. Not bad, but not as engaging as I’d hoped. (8)


BORN IN CHINA (2017)—This Disney-produced nature documentary focuses on four animal families: snow leopards, snub-nosed monkeys, pandas and antelope, in descending order of interest. The photography is exquisite, and much of the action captured is simply uncanny. The snow leopard and monkey sequences have the most to offer in terms of an ongoing story, and the leopard section (involving a mama leopard and her two cubs) is genuinely heartbreaking. Disney, as usual, does a bit too much anthropomorphizing (“Tao Tao finally realized he’d grown up a lot that day!” says narrator John Krasinski), but this is an undeniably educational and awe-inspiring film. NOTES: My friend who actually works for Disney in China informed me that the film was not widely seen in her country. Also, the poster depicted is not the more popular Panda-only version; this one is better and more accurate. (8)

Saturday, April 01, 2017

March 2017

Although I first used my Fitbit (a birthday present I’d received in January) in February at the Miami Boat Show, I didn’t properly start walking again until this month. So my Fitbit has been “counting my steps” for the last couple of weeks. Now that it’s not cold outside anymore, it’s been nice to take my evening strolls again. Because of these evening strolls, I’ve been listening to more audiobooks than usual. In March, I burned through Behind Her Eyes by Sarah Pinborough (outstanding), The Girl You Lost by Kathryn Croft (good, but with a disappointing ending) and The Couple Next Door by Shari Lapena (excellent). I am also fast approaching the halfway point in Croft’s latest mystery, While You Were Sleeping. It occurred to me a few hours ago that I have had a more pleasure experience reading than watching movies, and that I should probably focus on writing a reading blog. The only problem with that idea is that it would curtail me from reading—I have more than 50 audiobooks in the queue! On the non-audio front, I have been reading plays. First up was Larry David’s Broadway comedy Fish in the Dark, followed by Alan Ayckbourn’s Intimate Exchanges, a very ambitious linking of interrelated plays with 16 possible endings. TELEVISION: I am still working my way through all of 30 Rock again during mealtimes, and am still enjoying my favorite broadcast series (Big Bang Theory, Mom, Law and Order: Special Victims Unit, Modern Family, Homeland, The Mindy Project, Real Time With Bill Maher, Last Week Tonight With John Oliver, and my favorite nightly political shows on MSNBC. MUSIC: I spent a lot of the month “drilling” hit songs from 2016 and 2017; among the tunes that got four-star ratings: “When We Were Young” (Adele), “Closer” (Chainsmokers), “We Don’t Talk Anymore” (Charlie Puth), “Hymn for the Weekend” (Coldplay), “Let Me Love You” (DJ Snake), “Exes and Ohs” (Elle King), “Starving” (Hailee Steinfeld), “Like I’m Gonna Lose You” (Meghan Trainor), “Same Old Love” (Selena Gomez), “Treat You Better” (Shawn Mendes), “Cheap Thrills” (Sia) and “I Feel It Coming” (The Weeknd, doing an uncanny impersonation of Michael Jackson). Mark Weinfeld has also continued to turn me on to alternative rock songs via our monthly music exchange.
Here are the movies I saw in March:



 GET OUT (2017)—Following up last year’s infantile cat-comedy Keanu, writer Jordan Peele (of the comedy duo Key & Peele) turns his attention to horror…and it turns out to be a much more suitable genre for the comedian. Peele not only writes but directs this time; it’s an engaging thriller with a few well-placed moments of comedy. Mostly, though, it’s a kind of conspiracy shocker in the tradition of The Stepford Wives, with an excellent cast that includes Daniel Kaluuya as the black boyfriend of white-girl Allison Williams, who takes him home to her very liberal parents (Catherine Keener and Bradley Whitford). But are they as tolerant of their daughter’s African-American squeeze as they let on? After Keanu, I had pretty much written off Peele, but he does an excellent job with this kind of material—mostly playing it straight, but with brief moments of comic relief. (9)


LION (2016)—Roughly the first half of this real-life drama is superb. A young Indian boy wanders onto a sitting train, falls asleep and gets separated from his older brother. When he awakes, the train is well on its way to Calcutta. When he arrives, hundreds of miles away, he can barely make himself understood to anybody by speaking his native Hindu. Adopted by an Australian family, he grows up and is approaching 30 before he becomes obsessed with tracking down his family. It was at this point, where the young man (Dev Patel) becomes detached from his girlfriend (Rooney Mara) and his adoptive parents that I found myself getting bored for the next 25 minutes or so. But when the film plays its final hand—Patel finally puts the pieces of his childhood together—the movie recovers, and it’s time to reach for the tissues. It’s a real pity that the entire movie couldn’t have been as electrifying as the beginning and end. Note: Lion reminded me of two different films: The first is one that I saw in elementary school: Escapade in Japan (1957), which also involved a boy separated from his parents and getting lost in a foreign country. Then there’s the excellent French picture Forbidden Games (1952), in which a young girl, suddenly orphaned after a bomb drops, wanders around the countryside and forced to connect with strangers. (8)


KONG: SKULL ISLAND (2017)—An unabashed monster movie for kids, with respected stars like John Goodman, Brie Larson, Tom Hiddleston and Richard Jenkins slumming it up for an easy paycheck. I went to see the special effects, which were very good, but there’s barely any story and some of the dialogue had the audience members giggling nonstop. Samuel L. Jackson is on hand to play the one character he knows how to play. John C. Reilly provides adequate comic relief. The real stars here are the island full of monsters—dinosaurs, giant spiders and, of course, the giant gorilla. Not a good movie by any stretch of the imagination, but worth seeing for the FX. (7)


MY SCIENTOLOGY MOVIE (2017)—It seems a bit pointless to create yet another documentary about the inherent evil of Scientology, but that’s just what writer/star Louis Theroux has done with this entertaining exercise. He and director director/cowriter John Dower gather up several ex-cult members, who explain the machinations of how the group continues to exist, despite repeated charges of outlandish behavior behind the scenes. It doesn’t break a great deal of new ground in the wake of 2015’s Going Clear: Scientology and the Prison of Belief, but it does have its low-budget charm and its own unique perspective. The film centers most of its focus on former Scientology senior executive Mark Rathbun, who honestly and methodically tells how the “church” works—and how he was, for many years, one of those who strong-armed members as a kind of “mess cleaner.” It’s a horrifying adventure, well made and quite unnerving—we’re left with the sickening revelation that brainwashing people is confoundingly simple to pull off. (9)


THE RED TURTLE (2016)—Of the five 2016 films nominated for Best Animated Feature, this was one of two that I had not seen. Completely wordless, it’s an island castaway story in which a magical (?) beached turtle transforms into a woman, providing our stranded hero with companionship. On the plus side, the movie is exquisitely rendered—one of the best hand-drawn cartoons I’ve ever seen. The animation is truly amazing; long stretches of it are flawless, and there are moments of gripping suspense. Like Cast Away, contains moments of intense drama, along with some lighthearted touches. The major problem for me was the fantasy angle: I couldn’t get past the turtle inexplicably turning into a woman. I can accept many supernatural and fantasy conceits, but the turtle-woman bothered me. Amid dozens of enthusiastic reviews on IMDB.com, I was pleased to find one fellow who echoed my sentiment: “It's poetic and moving, but makes no sense on a literal aspect.” I should also mention how slow-moving the film is—I was able to watch a great deal of it at 1.5x on my iPad, and it was still very slow-moving. (7)


BEAUTY AND THE BEAST (2017)—The 1991 Disney animated romance is one of the studio’s most perfect movies, with rich characterization, gorgeous cartooning and a beautiful love story, all augmented by the memorable songs of Alan Menken and the late Howard Ashman. Now that Disney’s raking in the cash by making live-action versions of its previous animated successes (Jungle Book, Maleficent, 101 Dalmatians, etc.), it was only a matter of time before they got around to plundering this classic. And man, did I have mixed feelings about it. On the upside, there are numerous scenes of exquisite beauty, lavish sets and, best of all, Harry Potter graduate Emma Watson as Belle. All of the original songs are here, as well as a bunch of wholly superfluous new ones. This could have been a masterpiece. But this so-called “live action” version totally overdoes it with the CGI—a little of which goes a long way, at least for this viewer. In particular, the “Be Our Guest” segment is so overdone with flying anthropomorphic objects and fireworks that it becomes garishly cluttered and is completely missing the charm of the original movie—I could feel myself become furious by the utter disarray of it all. (This sequence is “nothing but visual noise,” confirms Michael Phillips of the Chicago Tribune.) The Beast is rendered largely via CGI, and it’s not perfect; he looks almost as much like a cartoon as the Beast from the original movie. Next problem: The huge Gaston, the guy with the rippling muscles, is portrayed by the perplexingly miscast Luke Evans, an actor who does not begin to satisfy the demands of the role. Finally, updating the racial element to include not one but two interracial couples made my eyeballs roll heavenward—it’s political correctness of the most distracting kind. This movie, which is enjoyable at various stretches, is nonetheless the most disappointing feature of the year so far. The best things about this movie are the poster and the end credits, which are extremely well done. Note: The controversy about making Le Fou a “gay character” was laughably overblown. (7)


LIFE (2017)—This reasonably well done Martians-will-get-you shocker is a total Alien ripoff with one or two twists, but it very closely follows the same basic plot—astronauts on a ship (this time a space station) are stalked by an otherworldly presence that happens to be homicidal. (This one is also super-intelligent and indestructable.) Like its predecessor, it’s a sci-fi slasher movie. Watchable, occasionally exciting, but derivative beyond the telling of it. On the other hand, it was light years better than Interstellar. (8)


THE SENSE OF AN ENDING (2017)—On a lovely Saturday morning in March, I set off to see two indie films that had gotten a bunch of decent reviews—but neither of them was particularly good. The Sense of an Ending, starring the great Jim Broadbent, is about an elderly man looking back on his life and facing some of the bad decisions he made in his youth. Thus, the movie is loaded with flashbacks. That wouldn’t necessarily be terrible, except the movie is generally very plodding and doesn’t have much of a payoff. Also, pretty much every female character is incredibly annoying, especially his two former romantic partners, played by Charlotte Rampling and Harriet Walter. The acting is decent, but the script (based on an acclaimed novel by Julian Barnes) is slow-moving and not particularly engaging. It’s always nice to see lovely Michelle Dockery, though—she plays Broadbent’s daughter. (6.5)


PERSONAL SHOPPER (2017)—I made the mistake of trying to sit through Clouds of Sils Maria, a French movie starring Kristen Stewart, a year or two ago. I didn’t make it more than halfway through that boring, artsy flick (you called it, Connie Ogle!), and somehow I made the rookie decision to see another movie by the same writer-director (Olivier Assayas) that also stars Stewart. (In my defense, I did not realize that Personal Shopper was another Assayas movie.) All I knew was that this one was a ghost story. In this film, Stewart’s brother has died, and she’s trying to get in touch with his spirit. Well, let me tell you, a more boring ghost story has never been made. Literally 30 minutes of the film concerns Stewart being cyber-stalked by a creepy unknown person via text messenger (he says stuff like “I want you, and I will have you”). And even though this entire sequence is little other than them texting each other, it’s probably the most interesting part of the movie! That might have made a decent psychological thriller, but eventually we return to the ghost story, which is quite dull and full of ambiguity. Worst of all, the ending is a  colossal “HUH?” Kristen, get the hell out of France. It’s ruining your career! (4)

Monday, March 13, 2017

February 2017

February sent me back to South Florida for the annual Miami International Boat Show, one of several disruptions from my normal schedule that prevented me from watching a lot of movies. After having recovered from bronchitis only a month ago, I came back from Miami with a cold—I’m so sick of sickness! This was also the month of the Academy Awards and the now-infamous incorrect announcement of La La Land as Best Picture (Moonlight turned out to be the real winner). At the time of this writing, I have still not seen Manchester By the Sea or Lion. This was also the month I saw comedian Brian Kiley with my friend Rachel in Burbank; after the show, I found that my passage back to West Hollywood was blocked because of a fatal accident on the 101 Freeway. Not able to drive home, I headed back to the AMC 16 theater to see a late showing of A Dog’s Purpose; afterwards, traffic had cleared. I had to return to Burbank only a few hours later to pick up Joan and see Moana, followed by Split. BOOKS: I finished the audiobook of The Girl With No Past by Kathryn Croft and continue to read short stories by John D. MacDonald. MUSIC: I have been drilling and grading various recent releases, including albums by Ariana Grande, Ingrid Michaelson, Jonatha Brooke, Fifth Harmony, Look Park, etc.
Here’s what I saw in February:


A DOG’S PURPOSE (2017)—A family picture geared mostly for very young audiences. This dog-reincarnation story was a lot more juvenile that I had expected, and parts of the plot are exasperating to mature viewers who possess the power of logic. But at least it killed time while I was waiting for traffic to clear. (6)


SPLIT (2017)—Although M. Night Shyamalan’s latest thriller captured some decent reviews and was a sizable hit, Joan and I felt cheated by a story that started strongly but gradually fizzled. The ending is incomprehensible. (5)


PUNCHING HENRY (2017)—Sequel to comedian-songwriter Henry Phillips’ Punching the Clown is a better movie—and not just because he’s filled out the cast with A-level performers like J.K. Simmons and top-tier fellow comedians Sarah Silverman, Tig Notaro and Doug Stanhope. It’s a funnier film, better made, and Henry feels much more comfortable as a leading man—even if the character he plays is the same “rambling troubadour extraordinaire” who finds success in being a hapless schlemiel. It’s truly amazing how many different ways Phillips finds to tell the same basic joke: Are they laughing with me or laughing at me? Well, as long as they’re laughing, and lord knows I was. (Typical joke: A comedy club owner invites Henry back: “The door is always open,” he says, adding, “It’s a $10 cover, two-drink minimum.”) There’s plenty of dissing, humiliation and embarrassment for Henry, and his chagrin is our pleasure. It seems like I waited years to see this, and my patience was rewarded. I look forward to the third film in the trilogy. (9)


HACKSAW RIDGE (2016)—The real-life story of pacifist Desmond T. Doss (Andrew Garfield), who volunteered to act as a medic in WWII, but refused to carry or shoot a gun. At first he is bullied and jeered by his fellow soldiers, but he soon gains their respect by bravely saving numerous lives in the heat of battle. The movie is at times unimaginably gory and bloody. Teresa Palmer is quite fetching as Garfield’s love interest. (7)

January 2017

I started the month struggling to get rid of the bronchitis I’d contracted around Christmas. It took entirely too long to get rid of. Consequently, I didn’t return to movie theaters until well into January. At least I survived the month—to our great sadness, Cindy’s teacup poodle, Cassie, passed away this month.
MUSIC: I’m taking a break from reviewing oldies while I focus on more contemporary music. I drilled and graded every song released by Rihanna, then started working on various other albums by favorite artists that have been piling up (by Ingrid Michaelson, Jonatha Brooke, Fifth Harmony, Monkees, The 1975, Alicia Keys, Radiohead, Ariana Grande, etc.).
BOOKS: I finished listening to The Stranger Within by Kathryn Croft, a mystery-melodrama on audio, while reading various mystery short-stories on the printed page, including several by John D. MacDonald.
Other highlights this month: Jenna was terrific as Sally in the YADA production of  You’re a Good Man, Charlie Brown; I saw comedian Brian Kiley perform at Flappers comedy club; the Academy Award nominations were announced. Looks like I have a few films to watch before the ceremony, including Hacksaw Ridge, Lion and Manchester by the Sea. Among the lowlights: my car needed a $500 repair. GROAN!
Here’s what I saw in January.


FENCES (2016)—Going in to my screening, I was unaware that Fences (directed by and starring Denzel Washington) was an adaptation of a play, but it sure didn’t take very long to figure it out. Turns out it’s based on August Wilson's 1983 stage drama, which won a Pulitzer Prize; it co-stars Viola Davis as the long-suffering wife of Washington, who plays a kind of a bitter douchebag. The movie, while rather long, is full of great performances and has some genuinely touching scenes; the last 20 minutes are so are in serious need of some trimming. Otherwise, very well done. (9)


MOANA (2016)—Disney’s 45th animated feature film has a lot going for it: a first-rate voice cast led by Auli'i Cravalho, Dwayne Johnson and Flight of the Conchords star Jemaine Clement; a terrific fable-like story; interesting characters; great humor; and songs by Hamilton creator Lin-Manuel Miranda. What more could you want? Nothing, that’s what! This is a nearly perfect film, full of wonder and magic and melody, all about a girl who sets out to save her Polynesian island from a terrible curse. The film follows Zootopia, another perfect Disney animated confection from 2016. Can’t wait to see this one again! (10)


PASSENGERS (2016)—Two space pictures came out at the end of 2016: Passengers, which was mostly panned by critics (31% TM) and Rogue One, cheered by considerably more (85% TM). And yet, I found Passengers to be the far more entertaining movie. No, it’s not perfect, but I was never bored, and it has a comprehensible, uncluttered story, good performances and an upbeat ending. Chris Pratt and Jennifer Lawrence—two wonderful, always engaging stars—headline this sci-fi romance movie in which Pratt, one of 5,000 passengers on an interplanetary journey, is inadvertently awakened only 30 years into his 120-year trip. Although the film asks the viewer to swallow some pretty preposterous plot developments, it held my interest throughout. (8.5)


ROGUE ONE (2016)—This first Star Wars “anthology” film is basically a prequel to 1977’s A New Hope; it might as well be called Episode 3.5. Felicity Jones plays Jyn Erso, a rebel fighter trying to extract some secret plans for the fabled Death Star. The movie is jam-packed full of evil Storm Troopers shooting deadly laser guns at our heroes, our heroes shooting and killing many Storm Troopers, innumerable spaceships flying around and crashing, and a couple of scenes with Forest Whitaker that manage to short-change his incredible talents even worse than Arrival did. I found most of the movie unbearably boring, despite great special effects. The original Star Wars movies (the first two, at any rate) were great fun as well as action-packed, but the filmmakers of this movie have opted to put none of that fun into this anthology film. (SPOILER ALERT—stop reading if you haven’t seen it.) And every single good guy in the movie has been killed by the end—what an unbelievable bummer! (6)


JACKIE (2016)—Here’s the good news: Natalie Portman makes a lovely, convincing Jacqueline Kennedy. She captures the accent, the mannerisms, the very essence of Jackie. Unfortunately, the performance is trapped within the confines of a dreary, slow-moving, plotless, flashback-ridden movie that doesn’t do anything and doesn’t go anywhere. A total bore. (3)


LA LA LAND (2016)—Even though this movie won an avalanche of Golden Globes and is poised to win many Oscars, it seems like a lot of people run hot and cold on this movie. Well, I loved it. Ryan Gosling and Emma Stone act up a storm in this old-fashioned musical, and while it’s true that Gosling’s character is kind of a dick in the first half, he does redeem himself. I would agree that there are some slow spots, but the dancing and energy and rapport between the leads more than make up for it. Writer/director Damien Chazelle (Whiplash) scores again! Too bad J.K. Simmons’ part is so small, but he is great in the very short time he’s around. (10)


SWALLOWS AND AMAZONS (2016)—I found this film included on several “Best Movies of 2016” year-end lists. It’s a fun, pastoral, heartwarming story for the entire family, based on a 1930s novel (and taking place at that time). The wonderful Kelly MacDonald (Trainspotting, Black Mirror) is simply marvelous in a plot about a widow whose four children embark on a sailing adventure in the middle of a lake, which contains an island with several secrets. A gem! (10)


HIDDEN FIGURES (2016)—True story about three brilliant black women who helped NASA succeed in the 1960s space race against the Russians, and how they paved the way for landing a man on the moon. The movie clobbers the viewer over the head with numerous racist acts and laws during the era of segregation (the ladies have to use separate restrooms, coffee dispensers, etc.). That’s a small quibble—these things really did exist—but there are times when it seems like all of the white people in this movie fall into two categories: the racist and the super racist. Still, this is a moving, inspirational biography about women deserving of a memorial. The leads (Taraji P. Henson, Octavia Spencer and Janelle Monáe) are first-rate, and Monáe is a real dish to boot. (9)

Tuesday, January 03, 2017

Best & Worst Movies of 2016

I saw 73 movies last year. Of those, 50 were released in 2016. I saw fewer movies overall than in 2015—22 fewer first-run movies, in fact. On  my 1-10 scale, I awarded only four first-run films a perfect "10" in 2016. (This downward trend has continued over the past several years.)

Unfortunately, I missed many of the better films released at the end of 2016 due to sickness and other factors. I need to catch up on numerous 2016 films that fell through the cracks (see below).

The best movie I saw in 2016 was Kubo and the Two Strings. I saw it three times in the theater—an unbelievable rarity.

The rest of my “perfect 10” movies were Hail Caeser, Zootopia and Popstar: Never Stop Never Stopping. Awarded 9/10 were Deadpool, Eye in the Sky, The Meddler, Sing Street, Miss Peregrin’s Home for Peculiar Children, Denial and The Edge of Seventeen. 

WORST MOVIES OF 2016: The Lobster, Keanu, The Nice Guys.

VASTLY OVERRATED MOVIES OF 2016: Moonlight, Don’t Think Twice, Hunt for the Wilderpeople, Arrival, Loving

BEST OLDER MOVIES I SAW IN 2016: Joy (2015), Noble (2014), Mud (2012), Wish You Were Here (1987), Patterns (1956), Home from the Hill (1960).

SORRY I MISSED YOU:
Moana (Viewed in 2017)
La La Land (Viewed in 2017)
20th Century Women
Rogue One (Viewed in 2017)
Fences (Viewed in 2017)
Manchester by the Sea
Jackie (Viewed in 2017)
Lion
Hacksaw Ridge 
Silence
Julieta
Passengers (Viewed in 2017)
Why Him?
Little Men
Gleason
The Witch
13th
The Handmaiden
The Little Prince 
A Monster Calls
Demon
Kung Fu Panda 3
Desierto
Hush
Wedding Doll
Hostile Border
The Great Gilly Hopkins
Miss Stevens
Zoom
Generation Startup
The Good Neighbor 
Swallows and Amazons
The Fits
Toni Erdmann
A Bigger Splash
Mountains May Depart
Wiener-Dog
Sunset Song
The Neon Demon
Our Little Sister

December 2016

With a plethora of high-quality offerings opening in December, my list of must-see movies was getting rather unwieldy. Unfortunately, a variety of factors prevented me from seeing a single one of the many films on that list. These included:
1. A massively heavy workload that ate up a lot of my free time, including weekends;
2. Television-related distractions;
3. Various other obligations;
4. Christmas vacation in Florida;
5. Sickness. I caught back-to-back head and chest colds—complete with a persistent, hacking cough—that kept me away from the theaters. I didn’t want to ruin anybody’s moviegoing experience, so I stayed home and watched TV. It’s Jan. 1 as I write this, and I still haven’t shaken this damned thing.
The month started off happily enough, with a lovely dinner (with Joan Manners) on Dec. 2 at Rao’s Restaurant, where I bid adieu to restaurant hostess and Speedboat swimsuit model Rupa Begum. She and her honey Andrew Gates were about to move to Las Vegas—best of luck to both of them!
December means holiday music, and keeping with tradition, I attended chorale performances featuring Rachel Aviles (in Burbank, Dec. 3) and Jenna Rose (in Beverly Hills, Dec. 7); both were typically delightful and engaging. Meanwhile, Joan and I caught Roy Zimmerman at the Coffee Gallery on Dec. 6.
On Dec. 20, I flew to Florida and hung out with the Steele family, as per tradition. I was back on Dec. 26, and (also by tradition) moving into the Newman household to dog-sit for them during their holiday excursion to Hawaii. TV: During the Florida trip, I binge-watched the excellent series Stranger Things; later, I started watching episodes of the comedy-drama anthology series Easy, also via Netflix. MUSIC: I finished drilling and grading lesser-known singles from 1971; highlights included “Talk it Over in the Morning” by Anne Murray, “Jennifer” by Bobby Sherman, “Carey” by Joni Mitchell and “No Good to Cry” by the Poppy Family. Next up, I will tackle 1979.
Here’s the only movie I saw in December:


ELLE (2016)—Director Paul Verhoeven (RoboCop, Total Recall) directs this French thriller starring 63-year-old Isabelle Huppert as a video-game company CEO who is brutally raped—and subsequently learns that her masked attacker might just be someone she knows. It’s a compelling movie with a couple of well-placed twists; not a perfect movie, but I liked how pretty much all of the characters were all flawed and uniquely human, rather than being purely heroic or perfect. Huppert gives a great performance. (8.5)