Tag Archives: Jeff Nichols

Favorite Films of 2016

According to my records I watched 83 films in 2016, 33 of which came out this year. As is the case with my reading, I’m in a “watch as much as I can” zone because I love movies and there’s so much great stuff and there are too many movies and I’ll never have this amount of free time once I have kids. So here are my favorite films from 2016, ranked:

Arrival. I’m a total sucker for stories like this and Lost, Interstellar, Midnight Special, Gravity, Take Shelter, Contact and other deeply humane tales masquerading as sci-fi that make you think just as much as they make you want to hug someone. Though the geopolitical element to the story waded a little too close to didactic for me, I was nevertheless absorbed from the first minute, even if I’m still trying to figure everything out. Found myself surprised by the quality of Jeremy Renner’s performance, unsurprised by Amy Adams’s, and wishing Forest Whitaker had more to do.

Moonlight. I got the feeling there were two hidden acts before the beginning of the film, showing the childhood and adolescence of Mahershala Ali’s crack dealer before he crossed paths with young Chiron, who’s starting on his own journey through a troubled life. Time is a flat circle.

Everybody Wants Some!! With its likable cast, meandering dialogue, and lived-in plotless feel, it’s the middle sibling between Linklater’s Dazed and Confused and Before trilogy, all of which seem to take place in the same film universe where everyone’s a peripatetic philosopher and life happens in the ordinary moments between the usual milestones. More thoughts here.

Hell or High Water. “Tangled Up in Blue” by Bob Dylan: “But me, I’m still on the road / Headin’ for another joint / We always did feel the same / We just saw it from a different point of view / Tangled up in blue.” Lots of tangling up in this movie, for good and ill. Family, money, friendship, death, the future. Mutual haunting. And what is a haunting but a tangle with the past? That last shot tho.

Kubo and the Two Strings. Haven’t seen much love for this in the year-end lists, which is baffling. In sumptuous stop-motion animation, a cohesive fable plays out with a cast of characters who range from terrifying. Though in patches during the second act the interaction among the makeshift traveling posse borders on cloying, the larger arc of Kubo and his family and what it shows us about memory and creation is incredibly affecting.

The Wave. It’s Jaws plus The Impossible plus that New Yorker article about the earthquake that’s gonna destroy the Pacific Northwest one day. Dug it! More thoughts on this deliciously tense low-budget Norwegian thriller that doesn’t look low-budget at all here.

The Fits. That finale!

Hail, Caesar! Liked this pretty much immediately. Full of hilariously deadpan Coen Bros Touches™ like David Krumholtz yelling things in the background of the communist gathering. I only wish we could have spent more time with the rotating cast of capital-c Characters I’ve come to expect from the Coens. Like Frances McDormand’s film editor: can their next movie be just about her? This could easily be the origin of a Marvel-esque cinematic universe.

Midnight Special. From idea to execution, this Jeff Nichols joint is inspired in every sense: as homage to Spielbergian themes of family and destiny, as a sci-fi fable with the courage of restraint, and as an auteurist vision that doesn’t always shine scene to scene but adds up to something effulgent when it matters. Review here.

Captain America: Civil War. Finally, a Spider-Man who actually looks like he’s in high school! That, along with ever more compelling character studies of Steve Rogers and Tony Stark, made this latest episode of The Marvel Cinematic Universe Show worth watching. Full review here.


Other favorites: The Lobster, 10 Cloverfield Lane, Hunt for the Wilderpeople, The Innocents, La La Land, Popstar: Never Stop Never Stopping, Last Days in the Desert

Haven’t yet seen: Silence, Toni Erdmann, Manchester by the Sea, Certain Women

Midnight Special

midnight special

It’s really a shame Jeff Nichols got bounced in the second round of the Filmspotting Madness directors bracket. Unlike the NCAA tournament, where success is tangible and stats-driven, there is no one way to account for which director is better than the other. Everyone voter is left to his or her own interpretation and taste. The one I’ve used is based on what the Filmspotting guys have put forth: you’re standing in a theater lobby and two films are showing, one from each director. You choose one and the other director’s disappears, his future career extinguished.

Mad love to Scorsese, who gave us Raging Bull and Taxi Driver among other greats, but I’m going with Jeff Nichols. If a sadistic, crisis-inducing challenge like Filmspotting Madness is about the present and future of a director’s work—and to me it is—then I believe myself compelled to choose Nichols, whose small but undeniably strong oeuvre gives me great hope for his future over Scorsese’s, whose will be a lot shorter and less reliably compelling.

So it seems fitting I had the choice this weekend of seeing either Everybody Wants Some!!, the latest from Richard Linklater (another Filmspotting Madness erstwhile contender) and Midnight Special, the latest from Jeff Nichols. A huge fan of Linklater, I knew I’d see Everybody eventually, but I knew I had to see Midnight Special, simply because of Nichols’ name and the little I knew about the film. That’s as good a test as any.

As is often the case Matt Zoller Seitz was spot-on about Midnight Special. He expresses a sort of baffled delight that a movie like this could exist amidst so many other deafening superhero smash fests. Its “marvelous energy” propels its quickly sketched but deeply felt characters through a story that’s as lovingly familiar as it is unique. A boy with otherworldly powers, his loyal father (Michael Shannon) who supposedly kidnapped him from his former apocalyptic cult, and the government agents trying to find him all are in pursuit toward a mysterious yet significant destination.

The first act is something else. Tense, bold, determined. We’re dropped in media res and trusted to keep up. Kudos to Nichols for this choice in structure, but also (I’m assuming) for fighting studio execs to have to preserve it against some origin story filler. The power is in the mystery, in the putting together of the pieces as they’re given.

The film slackens as it goes, however, especially in the scenes that take us away from the boy and his escorts, who have a kind of enraptured determination you could imagine the apostle Paul feeling after seeing the light on the road to Damascus. Nichols seems very aware of that story, given the righteousness he’s imbued in these characters and the mission they’re on. I stayed with the movie throughout, though, because how could I not? From idea to execution, Midnight Special is inspired in every sense: as homage to Spielbergian themes of family and destiny, as a sci-fi fable with the courage of restraint, and as an auteurist vision that doesn’t always shine scene to scene but adds up to something effulgent when it matters.

Nichols couldn’t have found a better muse/avatar than Michael Shannon, whose quiet, self-assured, and focused presence has for me become inseparable from the Nichols films he’s been in, which is all of them. (Shotgun Stories remains his best—find it if you can.) And he’ll be in Loving, Nichols’ next film, coming out this November. Not sure if I’ll have to pick between two great directors again to see it, but he’s got good odds if I do.