2016 - Cuckoo's Year in Review

In keeping with tradition, I hereby submit my yearly film favorites ridiculously late.  This year being half-way through the next year and my Favorites of 2017 list is already piling up.  😃
This year, I ended with a list of 38 films and, unlike previous years, I had no problem narrowing it down to a Top 10.  It was a good year for the craft but I found I only found 3 movies worthy of a full five stars, while there were 35 four stars all worth recommendations.

You know the rest...

Here's my Top 10 Favorite Films of 2016:

click on the titles for mini-reviews

10.  The Witch
9.  Hunt for the Wilderpeople
8.  Rogue One: A Star Wars Story
7.  Busanhaeng
6.  La Tortue Rouge
5.  Captain America: Civil War
4.  Moonlight
3.  Hacksaw Ridge
2.  The Handmaiden
1.  Arrival

Honorable Mentions:
20th Century Women
Don't Think Twice
Eyes of My Mother, The
Forushande
In a Valley of Violence
Kubo and the Two Strings
La La Land
Lion
Ma Vie de Courgette
Neon Demon, The
Nice Guys, The
Sausage Party
Swiss Army Man
Under Sandet
Zootopia

...and even though it wasn't particularly a great movie, one can't let this WTF film go unnoticed:
The Greasy Strangler
It took me weeks to shake this one out of my brain.

We can't let this list go without mentioning the obligatory Cream of the Crap.
Luckily I managed to avoid Nine Lives or Inferno but the following five managed to find their way onto my screen and into the bottom of my toilet:

Alice Through the Looking Glass
Cell
Divergent Series: Allegiant, The
Forest, The
Holidays

And that's that.

Agree?  Disagree?
I'd love to hear your comments.

The Horror at 37,000 Feet (1973)

If I was to be tactful I'd say the FX at 37,000 feet are on par with the acting. That's a true statement, but when you consider that the acting is appalling, then it puts a different spin on things. The film is terrible, or perhaps unintentionally hilarious if you've got a belly full of beers and wine.
I admit I expected a disaster movie, not a horror movie, so I was surprised when an evil presence that was lurking in the cargo hold started to make its presence known by blowing a frosty wind up everyone's ass.
I never once felt that the aeroplane was in the air, and as things progressed, as the small number of passengers were required to carry the feeling of unease, the incredulity increased and the FX got even more ridiculous.
If you want to see Shatner at his worst, watch it; but first get more beers.

1½ funny airs out 5

Calamity Jane (1953)

Traditional westerns were plentiful in the 1950s, but musical westerns were a rarer occurrence. Calamity's script lacks much in the way of originality and is almost painfully predictable, but the screen presence of Doris Day (as Calamity) and Allyn McLerie (as Katie Brown) go a long way in making a viewer forget all of that. Both women are superb, bringing a sunny and spirited lustre to what's an otherwise rather bland portrayal of Deadwood. The famous town serves as the setting for a film with showmanship and charms that have as much in common with Broadway and theatre as they do the cowboy genre.

3 whip crack-aways out of 5

The Dogs of War (1980)

It's not until the last quarter of the film that it even begins to resemble the explosive-looking MGM cover art. Prior to that happening it's a tense drama in which a mercenary (Christopher Walken) posing as an ornithologist goes on a dangerous reconnaissance mission to Africa in 1980.
The script (based on a 1974 novel of the same name by Frederick Forsyth that I've not read), the director and Walken himself do a tremendous job characterising the protagonist without taking the focus away from the seriousness of the situation unfolding around him. Likewise, the actor manages to convince us that he's both affected by and distanced from the aura of oppression that fuels every African scene; i.e. while convincing the authorities of disinterest, he allows us to perceive the weight on his soul.

3½ leaky barrels out 5

NOTE: version reviewed is the 118 min UK edition. The US edition is cut.

Sherlock Holmes in New York (1976)

Roger Moore's only onscreen stint as Holmes paired him with Patrick Macnee as Dr. Watson (his first but not last time in the role). Moore is simply Moore with a deerstalker and pipe, prancing about hurriedly when there's "devilry afoot!" Macnee gives his character a trait, but forcing a voice that sounds like the morning after a potcheen binge was an odd way to go about it.
The story has Moriarty, butt-hurt and angry he vows to commit the crime of the century, one that Holmes will be powerless to solve, thus demeaning the esteemed hero and sullying his reputation. What follows has some interesting twists and turns, and the manner in which Moriarty (a miscast John Huston) uses the Baker Street sleuth's investigative drive against him is a shrewd plot device. Overall, there are better and worse Sherlock films than SH in NY.

2½ profundities out of 5

WAR MACHINE [2017]

Director David Michôd takes some broad satirical jabs at the American military in the darkly comical War Machine.
Loosely based on the real life events of the firing of General Stanley A. McChrystal, Brad Pitt turns in a strong performance as a celebrated general who, while serving in Afghanistan, is put under the microscope by a Rolling Stone journalist.
It's not too subtle and takes the piss out of proud America and it's military with a heavy hammer.  It takes turns being funny, scary and sad but never seems to find a solid footing to make the impact it intends to.  Fortunately it's aided by an excellent cast, some making strong impressions with only a few minutes of screen-time.   It's a case of "tell me something I don't already know" but at least it's got some great honest moments to make some of it memorable.

3 excellent reasons not to switch seats out of 5

HENJEL GWA GEURETEL [2007]

aka Hansel and Gretel

Director Yim Pil-sung gives the old Hansel & Gretel fairytale a bit of a spin in the South Korean dark fantasy Henjel gwa Geuretel.
After narrowly escaping death in a bad car accident, a man gets lost in the forest where he stumbles upon a picturesque cottage occupied by the "perfect" family and soon discovers there's no escape.
It's set-up and atmosphere are fantastic as it's just creepy enough to send chills down the spine but not enough to truly call it a horror film.  Unfortunately the quality of storytelling starts to unravel a bit once things become clumsily clearer.  As a twisted little fairy tale it's a real joy but runs a bit too long, revealing far too many weaknesses before it comes to a close.

3 bunnies dismembering bears out of 5

KRISHA [2015]

Trey Edward Shults makes his film-making debut with his shoestring-budget passion project Krisha.
Taking place over the afternoon before a Thanksgiving dinner, the 60-something year old title character, recovering from some heavy addictions isn't sure if she's quite ready for re-uniting with her estranged family.
Krisha has a raw intimacy that is so uncomfortably personal you almost feel like you're invading someone's privacy while watching it.  Lead Krisha Fairchild is an absolute diamond in the rough as she proves with numerous tight close-ups that ooze with fragile emotion.  Shults' claustrophobic camerawork is quite often effective but occasionally distracts a bit more than it should.  Nevertheless, with a debut like this, it's obvious Schults is a name to watch out for in the near future.

4 awkward talks out of 5

BUFFY THE VAMPIRE SLAYER [1992]

Producer Fran Rubel Kuzui tries her hand at directing then unknown screenwriter Joss Whedon's comedy/horror script Buffy the Vampire Slayer.
It's the age-old story of a Californian high school cheerleader who is unreluctantly chosen to be part of a long line of vampire hunters.
It has neither the dramatic arcs or colorful characters Whedon's now known for but it still features glimpses of cheeky dialogue that no one but title character actress Kristy Swanson seems to know how to properly deliver.  It's pretty obvious nobody seemed to understand what sort of script they were working with and it results in a tonal disgrace.  It has it's good intentions but it's poorly executed.  With something this forgettable who would have known what was to come in five years time?

2 acoustic stakes out of 5

Josie and the Pussycats (2001)

This is the celluloid embodiment of half of my soul. It's ebullient—manic even—but it's also 100% heartfelt and introspective. It rivals the Neg Era of Super Sentai in being effortlessly inspirational and empowering without ever being schmaltzy. It provides social commentary, flips the usual gender-script on its head, and even manages to make Tara Reid look like a competent actress. Alternatively, you could say she didn't have to act at all~ The soundtrack is nothing short of a miracle and of course informs everything on display. The girls, the boys, the villains…everyone and everything is simply rapturous.

For the changes made to the PG cut of the film, please click here.

5 Reality-Checked Snuggle-Bunnies out of 5

Nutted by NEG.

The Magnificent Seven Collection

It doesn't matter to me whether or not the Western genre is representative of how life really was back in the day. I don't care if it's been exaggerated, romanticised or straight up invented. What matters is that it provides a recognisable framework within which many different types of story can be told: the frontier town, the bandits, the selfless hero, the guns for hire, etc, are versatile tools in the hands of experienced writers. The original Magnificent Seven film is that versatility in action. It's a remake that's respectful to both its Japanese source material and its own parent genre, proving that some stories truly can be universal at heart and it's just the telling that changes. The western appropriation of the seven hired hands is so good that it even spawned a number of imitators and sequels of its own:

The Source:
01. Seven Samurai (1954)

The Films:
01. The Magnificent Seven (1960)
02. Return of the Magnificent Seven (1966)
03. Guns of the Magnificent Seven (1969)
04. The Magnificent Seven Ride (1972)

The TV Series:
01. The Magnificent Seven: TV Series (1998–2000)

Films Influenced By TMS:
01. Battle Beyond the Stars (1980)
02. The Seven Magnificent Gladiators (1983)

The Remake of the Remake:
01. The Magnificent Seven (2016)

THE HOTTIE & THE NOTTIE [2008]

Non-actress rich girl Paris Hilton isn't as hot as she thinks she is, except she doesn't seem to know it in the apparently funny The Hottie & The Nottie.
Executive produced by Hilton, the story suffers from She's All That syndrome, when a doofus lusts after the so-called Hottie while the not-so Nottie slowly gets better looking over the duration of the film and !spoiler alert! he falls for the now-gorgeous Nottie in the end.
Each character is supposed to be lovably funny but are completely unaware of how shallow they actually are (and so are the writers), so when they actually attempt to expose their inner beauty it makes them even uglier and even more shallow.  I'd probably publicly enjoy pure hot sauce pouring out of my blistered anus rather than endure this intolerable bile ever again.

-1 snot bubble out of 5

Monster Man (2003)

Equal parts Joy Ride and The Texas Chainsaw Massacre, the b-movie Monster Man follows two friends on a road trip who piss off the wrong gnarled, backwoods, off-road, monster truck driving maniac. Some might categorize it as derivative, but there are plenty of refreshing twists on genre cliches. The story plods along at first as we are treated to the tumultuous yet hilarious banter between the two leads (Eric Jungmann and Justin Urich). It's their back-and-forth friendship which is the backbone of the film. While comedy plays a large part in MM, gore is the other half, but it's mostly used in a gross-out manner which enhances the humor. Fortunately the effects are 99% practical and done surprisingly well for such a film. The monster man (and his motivations) in question is such an original that it's a pity this gem never received sequel treatment. 

3 amputees out of 5

FIST FIGHT [2017]

Batman versus Superman.  Godzilla versus Mothra.  Mega Shark versus Crocosaurus.  Joe versus a volcano.  And now, Ice Cube versus Charlie Day.
Director Richie Keen's mean-spirited comedy Fist Fight pits the two guys against each other as high school teachers that find they have nothing to lose amidst the chaos that surrounds them.
With the folks involved, the movie should have been funnier even if the script fell a little flat in all it's stupidity.  Unfortunately there doesn't seem to be much a script and it feels more like they just cobbled together a bunch of Best Of improvisations which isn't all that great to begin with.  There's a few chuckle worthy moments and the actual fight itself is well worth the time wasted on the rest of film.  In the end, it's not a comedy worth recommending unless you really, really think it'd be a blast watching Cube & Charlie trading blows.

2 horses on meth out of 5

REEFER MADNESS [1936]

Originally intended as an educational warning to parents about the dangers of marijuana, Louis J. Gasnier's Tell Your Children was so outrageous it was never taken seriously and became a cult hit within the exploitation film circuit.
This church produced propaganda film, later re-titled Reefer Madness for mainstream distribution, warns that The Cannabis addiction causes your kids to go into fits of mad laughter, murder people, rape woman, commit suicide and have zany dance parties with jazz music.
It's easy to see why it's considered the "Granddaddy of Worst Movies of All Time" because within all the ludicrously humorous notions it throws upon the unsuspecting viewer, it's really quite boring.  There are a few moments of comic gold but it's mostly quite dry and poorly timed, with long moments of next to nothing happening.  However flawed it might be, it's well worth at least one viewing just to see how lethal the reefer can be.  Stick to heroin, kids.

2 unspeakable scourges out of 5

JEEPERS CREEPERS [2001]

Controversial director Victor Salva creates a new creature feature horror franchise with Jeepers Creepers.
It follows a bickering brother & sister as they cross through the countryside where they find they're the target of one of it's bloodthirsty locals.
The first half of the film promises something simple, yet unique, with some tense pacing and effectively frightening atmosphere.  Yet after a simple phone call, the entire movie falls flat on it's face and dives into predictability, silliness and a jumbled mess of bad plotting that doesn't resemble anything scary, suspenseful or smart.  I know it's easy to not like Salva, considering his past endeavors, but if he actually put as much work into the final half of the film, as he did the first, I'd actually award it with more deserving praise.

2½ crazy cat ladies out of 5

DEAD POETS SOCIETY [1989]

Director Peter Weir manages to squeeze out an early straight-faced performance from Robin Williams in the period drama Dead Poets Society.
Williams is impeccable as an unconventional English teacher, in a stuffy all-boys prep school, that takes it upon himself to teach his wide-eyed class about seizing the day and boldly take a free-thinking approach to the life that they want to lead.
It makes no attempt to subtly lay down it's message with many an emotionally manipulative moment that almost insults the viewer.  The heart overpowers it's intelligence, which it's lack of is hidden beneath strong performances, gorgeous cinematography and richly realized tone and atmosphere.  It's got it's heart in the right place but fails to find much of a free-thinking brain to equal it.

3 phone calls from God out of 5

Clash of the Titans (1981)

A heroic fantasy based upon the legend of Perseus and his beloved Andromeda. It's an impressive collection of Greek mythology set pieces stitched into a standard quest structure, directed by Desmond Davis but perhaps remembered most as the swansong of FX man Ray Harryhausen.
The opening is horrifying in its implication. It leads to Perseus (Harry Hamlin) being controlled like some kind of living action figure by the Gods, favoured by Zeus (Laurence Olivier) due to his being an extra-marital offspring of the wild-oats sowing beardy, but jealously despised by some of the others.
In essence, coming out as it did early in the decade, the film also feels as if it's being pushed and pulled from opposing sides: not as alluring as an actual 70s work but not yet full 80s in tone, it's personified best in Perseus' character. For me, Burgess Meredith and the stop-motion FX are the highlight.

3½ head-snakes out of 5

SILENCE [2016]

After 27 years of toying with the idea, director Martin Scorsese finally tackles Silence, a film adaptation of Shūsaku Endō's novel of the same name.
Set in 17th Century Japan, a time when the Japanese were brutally exterminating anything or body related to Christianity.  two Jesuit priests quietly sneak into the nation in search for their missing mentor.
It's such a huge story but Scorsese scales it down into such intimacy it's very apparent the director approached the project with immensely personal feelings about it.  However dry the film might be in spots it never stops asking questions with emotional complexity to keep you captivated.  No matter how much it asks it seldom supplies answers and instead begs the viewer to seek out their own, should they ever find the correct one.

4 confessions too many out of 5

THE HANDMAIDEN [2016]

aka Ah-ga-ssi

South Korean director Park Chan-wook steps slightly out of his comfort zone with the romantic drama The Handmaiden.
Set in Korea during the Japanese forced occupation, the film is broken up into three separate chapters, telling of a petty thief who is secretly hired by a con-man to swindle a wealthy but mildly unstable Japanese heiress.
Chan-wook directing a romantic period drama?  Fear not, the film is filled with plenty of erotic twist & turns that are bizarre, disturbing, darkly comical and occasionally grotesque.  With plenty of double-triple crosses and devilish deceit, one can't help but get swept away in it's elegant grandeur and sweeping romance to not notice how twisted it actually is.   This is Chan-wook at his most mature and intoxicating to date.  

5 old men who love dirty stories out of 5

THE BELKO EXPERIMENT [2016]

Wolf Creek director Greg McLean misses the mark the with violent thrill-ride The Belko Experiment.
In a Battle Royale-esque set-up an isolated office building is put on lockdown when the employees are ordered to kill each other or else everyone dies.
With a script penned by James Gunn one would expect it to be a real hoot but somehow director McLean sucks all the fun out it by taking it far too seriously.  One can tell there were funny moments in Gunn's original script but without his comedic timing and visual influence it all falls flat.  Perhaps if it were smart or more imaginative with it's kills (think Operation: Endgame's bat-shit crazy office supply murders) it might have worked but there's none to be found here either.  It threatens to erupt with complete madness but never really does with the exception of a near hit in the final act.  It just never quite reaches it full potential and leaves much to desired.

2½ perverts out of 5

BEAUTY AND THE BEAST [2017]

Twilight: Breaking Dawn director Bill Condon faithfully adapts Disney's animated classic Beauty and the Beast into a live-action musical.
The story of a young woman who falls in love with a monstrous fella that lives within a magical castle keeps Alan Menken & Howard Ashman's iconic songs firmly intact much to the pleasure of fans of the original film.  However heavily auto-tuned Emma Watson's flat-lining performance is far too dull to equal the strength of her character's beliefs.  Dan Stevens does his best as the Beast underneath a heavy layer of poorly rendered CGI fur but it's simply never enough to ignore it's artificial look.  Thankfully Luke Evans & Josh Gad are entertaining bad-boy scene-stealers, while Ewan McGregor & Emma Thompson's voice-work an absolute delight.  For an extravagant musical the camerawork is an absolute bore that never quite elevates the film to majesty it should have been.  Close but no cigar.

2½ really annoying singing wardrobes out of 5

I Drink Your Blood (1970)

Commissioned to create an original and more logical horror flick, director David E. Durston combined a rabies epidemic with a Charles Manson-esque cult for the falsely titled I Drink Your Blood. While the movie is extremely graphic, there is no vampirism nor cannibalism whatsoever. In an act of revenge, meat pies laced with infected animal blood are fed to a motley crew of satanists. Despite this laughable premise, the story works as the real-life hydrophobia symptoms spread throughout the rural town. Any fan of Romero, Lewis or even early Craven will appreciate this one. Admirably, this sleazy grindhouse classic has little subtext, and is simply a gruesome horror film attempting to shock and disgust.

3 frothy grins out of 5

Bloodletting (1997)

I thought shot-on-video productions were a thing of the far past until I popped in this late 90's b-movie. The story really isn't that bad as an amateur detective with a hard on for serial killers tracks one down and blackmails him into passing down his trade. As they kill together it turns into a romance. The acting is feeble, but despite a lack of budget you can really sense the gusto the actors put into their lines. The clever albeit unrealistic dialogue is the high point in the film. I found myself enjoying it more than I would like to admit. There's no surprise they went overboard with the violence. In these low budget ventures gore is usually the answer to poor performances and lack of star power. But apparently the director intentionally cast a cornucopia of b-grade regulars as an ode to bottom of the barrel cinema. If you're not already familiar with these films then this is a true waste of time.

1 exploding baby out of 5

8MM (1999)

Private Investigator Tom Welles (Nicolas Cage) ignores the advice of Nietzsche as he delves deep into the realm of pornographers, sado-masochists and monsters. He is hired by a rich widow to track down the origins of her late husband's dirtiest little secret: a seemingly genuine snuff film. The gravity of the dark subject matter is downplayed in this day and age where everything is recorded and the most devious acts can be found online. What gives the story weight is the strength of performance and the plausibility of events. Tons of people go missing every year and there are plenty of sickos out there. The sleazy elements in the film are brought to life by great casting choices (such as James Gandolfini and Peter Stormare) and set design. The deeper down the rabbit hole 8MM plunges, the more the human side of things becomes important. In the end it centers less around a snuff film and more around the people affected by the atrocity.

3½ things you can't unsee out of 5

Sawako Decides (2009)

Sawako has low self-esteem. She's the opposite of her co-workers, all of whom seem to have a strong opinion on everything and everyone. When Sawako finds herself in a situation involving freshwater clams and a sweater-knitting partner, her weak decision-making skills are put to the test.
Sometimes the film tries too hard to be likeable, as if it's forcing the issue, and the lead actress didn't always convince me that she was Sawako in anything but name, but both failings are largely ironed out by the second half, which culminates in a well-rounded and above all memorable closing scene.
Most viewers will be able to find something relatable in the script—if not in the primary narrative, then in the details—but the uniquely Japanese humour has the potential to greatly confuse the uninitiated.

3 elevated lower-middles out of 5

Rupture (2016)

A single mother (Noomi Rapace) is kidnapped and mysteriously tested on in this indie sci-fi thriller. Everything in the first half of Rupture is satisfactory and well played out. From the dysfunctional family dynamic to the initial conflict to the enigmatic agenda of the kidnappers and the eventual attempts to escape. Up to that point, the film succeeds in holding your attention and keeping you on the edge of your seat. It's only in the latter half when more and more light is shed on the ridiculous twist where the story loses its traction. The less than stellar CG effects add to the growing disappointment. I suspect Secretary director Stephen Shainberg's involvment attracted the decent cast. Unfortunately, Rupture is not only a waste of talent but a waste of time.

1½ worst fears out of 5

The Blackcoat's Daughter (2015)

aka February

In his directorial debut, Oz Perkins crafts a non-traditional horror film about loss and the evil which lurks within absence. Heavily influenced by the style of David Lynch, scenes are slowly eaten up by uncomfortable pauses and seemingly mundane conversations carpeted by an unsettling score which gets under your skin. As a result, an atmosphere of intrigue is created, yet at times this method instills a lull instead. The editing ensures a cryptic nature to the story. This is one that will make more sense on a second viewing. The three young women spot lit (Emma Roberts, Kiernan Shipka, and Lucy Boynton) give methodical performances which add to the overall unease and lingering impression of the film.

3 heads in a row out of 5

Morgan (2016)

Luke Scott (son of producer Ridley Scott) directs his first feature, the taut sci-fi thriller Morgan. On a secluded estate a synthetic humanoid (Anya Taylor-Joy) is grown. After an unfortunate incident a risk management specialist (Kate Mara) is sent in to survey the project's progress. As soon as you see the titular Morgan you already know the shit will hit the fan hard. It's this anticipation that keeps your attention till the action-packed climax. The impressive cast is handled moderately well, though an extra 15-20 minutes could have done wonders for the supporting characters' development. Certain pivotal characters only last one scene. Even though the twist wasn't awfully difficult to decipher, I believe this was intentional. Clues are abound in this overly succinct yet satisfying film.

3½ awkward first kisses out of 5

WONDER WOMAN [2017]

Monster director Patty Jenkins pulls off the near impossible and makes Wonder Woman the first DCEU film not to be a complete disaster.
Set during World War I, Diana, Princess of the Amazonians, leaves the comfort of her island paradise home to battle the evil---blah-blah-blah.
Ain't nothing new but it's done with so much enthusiasm one can't help but enjoy themselves.  Gal Gadot is an absolute delight as the title character, which shouldn't surprise anyone who's unfortunately sat through Batman v Superman.  There's plenty of flaws to be found if you give it enough thought but that sort of thinking isn't going to get you anywhere fun.  If anything, this one sits aside Sam Raimi's Spider-Man and Richard Donner's Superman as comic book films that are nothing but pure spectacular fun that kicks ass.

3½ babies made of clay out of 5

LION [2016]

In director Garth Davis' adaptation of Saroo Brierley memoir, A Long Way Home, we follow the life a 5-year old Indian boy adopted by an Australian couple after he is lost in Calcutta.
The first half of Lion is easily it's strongest, with 8-year old newcomer Sunny Pawar carrying most of his scenes alone and without dialogue, leaving his expressions to tell the dramatic tale with honest finesse.  The second half of the film, following the boy in his young adult years, now played by marvelous Dev Patel, isn't as interesting, as most of the characters are too conventional but fortunately elevated with great performances all around.  It's finale is a bit dramatically manipulative but hit so closely to home for me it didn't matter and left me a blubbering mess.

4 watermelons out of 5

The Searchers (1956)

John Wayne plays a man on a mission, a former Confederate soldier named Ethan Edwards who's searching for kidnapped members of his own family. He's aware that time is of the essence, aware that his search might have to end in tragedy, but his determination nevertheless remains unwavering.
Separate from its overwhelming reputation, the beauty of the film is perhaps foremost in the (overused) Monument Valley landscape, but it goes much deeper than that and it's something that you might not be wholly aware of on first viewing. Enjoy it as a story the first time, but use repeated viewings to pick out the all-important details: the letter that plays with time, the reasons for the conflicting emotions that burn like a fire in Wayne's eyes, the way Dir. John Ford uses frames within the frame, etc, because below the surface is where the film's more complex considerations are to be found.

4 blanket trades out of 5

Shadow Skill: The Movie (1995)

It's named 'The Movie' but it's clearly three short OVAs put together end to end pretending to be one longer piece. The one remaining OVA (which was made before the other three) is included on the disc, renamed Shadow Skill: The Origin. It's a martial arts anime of the big eyes, pointy nose, and shouty-power variety, initially confusing like a lot of anime of the same era was.
Elle Ragu has achieved the highest rank in the Kuruda school, a position that her brother Gau has yet reach. When not in competition proving her skills, Elle, Gau and a couple of friends call upon their learned skills to aid them in victory over evil forces, including a giant demon that draws power from the moon.
When it isn't cheating the eye, the movement is good and fights are filled with energy. But the characterisation is slight. If that's something you can get behind, then it's a good example of what the genre was in the mid-90s.

2½ latent abilities out of 5

FANTASTIC BEASTS AND WHERE TO FIND THEM [2016]

After a rather dull outing with Tarzan, director David Yates wisely returns to J.K. Rowling's cinematic Wizardry World with the first part of a prequel series, Fantastic Beasts and Where to Find Them.
Inspired by Rowling's fictional Wizardry school textbook, set in the 1920's, the film follows a British wizard in New York City who accidentally lets loose a suitcase full of magical beasties of all shapes and sizes.
The film doesn't require you to know anything about the previous Hogwart's stories so it's easy to enjoy on it's own.  Though none of the characters aren't as instantly as memorable as the Harry Potter gang none of them are as irksome as some were either.  The plot hits a couple speedbumps in favor of dazzling you with bizarre creatures and their antics but when it's moving it really impresses with dazzling set-pieces and imagination.  It's not perfect but it makes me eager to see what worlds the expanded universe takes us to.

3½ No-Maj's out of 5

EN MAN SOME HETER OVE [2015]

aka A Man Called Ove

Swedish director Hannes Holm's En man som heter Ove is as humorous as it is heartbreaking.

Heartbroken after losing the love of his life, a cranky old man's many attempted suicides are accidentally thwarted by the lives thriving around him.
It's a pretty familiar tale because we all know the old codger's going to find light in his life again through those younger than him.  However it's the touching journey getting there that wins you over and in this case Rolf Lassgård in the title role makes it even easier to enjoy.  It's a little emotionally manipulative but the honest storytelling and performances save it from being complete schmaltz.  

3½ idiots out of 5

MOONLIGHT [2016]

Writer/director Barry Jenkins makes his feature length debut with the understated but emotionally heavy coming-of-age drama Moonlight.
It tells the story through three different ages of a young gay black male who grows up facing many obstacles in a rough Miami neighborhood.
Each segment is graced some marvelous performances, all of which shine with loneliness, confusion and a professionalism that gives it all a heartbreaking authenticity.  With plenty of over-the-shoulder photography we're drawn closer into the world in such an intimate manner each moment matters.  Composer Nicholas Britell's music is most unlike anything a film of this style would usually calls for and it helps elevate it to something even more powerful.  Raw, lyrical and solemn, this is cinematic storytelling at some of it's elegantly mature.

4½ crowns on the dashboard out of 5

ELLE [2016]

Director Paul Verhoeven both allures and repels with the French psychological revenge thriller Elle.
Still troubled from witnessing her father go on a mass murder spree years ago, Elle, an older woman falls victim to a violent rape that takes her down a path she is oddly attracted to in the most disturbing of ways.
Isabelle Huppert, in the title role, delivers a very gripping performance with all sorts of nuanced layers that I don't think many others in her profession could pull off.  After stinkers like Hollow Man and Showgirls, Verhoeven has wisely decided to tackle more low-key projects. Here it allows him to shine with a deadpan absurdity that isn't apparent as it's buried beneath a disturbing ordinariness that threatens to crumble with each uneasy corner.  The film isn't for everyone but should you feel the need to venture down this dark psychosexual path, I can assure you it's riveting as it is repulsive.

4 feline witnesses out of 5

The Man Who Shot Liberty Valance (1962)

An ageing US senator has an 'old west' story to tell, one that he's been holding onto for decades, from before railroads connected the civilised parts of the country with the lawless parts. The majority of the film details it in flashback.
Stewart is an outsider lawyer who advocates non-violence. Wayne is a weathered cowboy who advocates gunfire if the situation calls for it. One is a talker, the other a doer. They nevertheless develop a strong respect for each other over time, but their differences remain.
The physical threat isn't as mean as he could've been, perhaps by way of avoiding overshadowing the emphasis placed on the relationships? I don't know. I do know that the comedy moments weakened the established tone a little too often for my liking. But the wrap up is excellent, and it's Wayne and Stewart in the same film! That makes it more than worth anyone's time.

3½ cactus roses out of 5