#theaarons2016
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THE AARONS 2016 - Worst TV Show
Many critics have stated that the world is currently experiencing an era of “Peak TV” based on two criteria: the rising number of shows being produced, and the rising quality of many of those shows. With so many great shows out there, it is becoming increasingly inexcusable to waste one’s time on the shows that fall far short of this rising bar of quality. Still, I ended up watching quite a bit of these atrocious programs during 2016. Here is The 2016 Aaron for Worst TV Show:
WINNER: Scream (Season 2) - MTV
MTV’s Scream: The TV Series has officially become the first recurring winner for The Aarons... but that’s definitely not something it should be proud of. Despite the fact that Scream was my least favorite TV show of last year, I returned for the second season out of some kind of misguided loyalty to the film franchise I love so much. Once again, Scream is an affront to not only fans of the film series, but to fans of good television in general. Season 2 completely botches any potential the unnecessary twist from Season 1′s finale could have had, and, even with new showrunners at the helm, is once again a jumbled mess of unlikable characters, wooden acting, a infuriatingly stupid mystery, and an embrace of all the cliches its parent franchise mocked heavily. For just a small example of the awfulness that Scream Season 2 contains, there is one episode where the group of teenagers all hallucinate after drinking a bottle of tequila that was randomly left on their front porch (by the killer, unbeknownst to them). That’s it. That’s all that happens in that episode. That is the extent of the killer’s plan there, as no one is even killed as a result. Scream is some of the worst programming that Peak TV has to offer, and yet I know that next year Scream will be vying for a three-peat, as it was once again, somehow, renewed.
HONORABLE MENTIONS:
Damien (Pilot Only) - A&E
Another TV version of a classic horror franchise, Damien, which was cancelled after 1 season, was plagued by a dull lead, laughable horror, jarring tonal shifts, and terrible writing in its attempt to expand the world of The Omen.
Bull (Pilot Only) - CBS
Coming off as woefully misguided and desperate to look cool, Bull is several steps below the low standards set by the numerous other bland crime procedures on CBS.
Kevin Can Wait (Pilot Only) - CBS
Kevin Can Wait is hilarious...ly out of touch, with its pilot desperately attempting to drawn any laughs from its outdated format and concept of masculinity.
Fuller House (Season 1) - Netflix
For those not blinded by nostalgia, Fuller House is a painfully unfunny and unbearably cheesy rehash of an already groan-inducing show.
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THE AARONS 2016 - Worst Film Performance
Bad films tend to be chock full of bad acting. That’s just how it goes. However, very often this acting is just lifeless and uninvolving due to simple lack of skill or lack of trying. This Aaron is not meant to recognize those kinds of terrible performances, but to recognize the performances that are so inexplicably awful, so hilariously inept, so woefully misguided, that they stand out from the rest of their surroundings. Here is The Aaron for Worst Film Performance:
WINNER: Jared Leto as The Joker - Suicide Squad
Of all of failings of Suicide Squad, this performance is the most egregious. How did we go from Heath Ledger’s unforgettable performance to this dumpster fire? I mean, Jared Leto’s not a bad actor, but someone obviously needs to keep his sensibilities in check, based on both his bizarre performance here and his reported behavior on set. Leto imbues his character with various weird idiosyncrasies, but seems to misunderstand that there is a difference between being unpredictable and being random. I mean, why the purring? So much of this performance is baffling in its awfulness, and its not helped by the terrible gangster aesthetic that doesn’t jive with the iconic character.
HONORABLE MENTIONS:
Chadwick Boseman as Thoth - Gods of Egypt
Even when surrounded by the bizarre awfulness of Gods of Egypt, Boseman’s performance stands out. For being a God of Wisdom, Boseman’s aggressively unemotive performance sure makes it seem like Thoth has only a tenable grasp on the concept of language.
Jessie Eisenberg as Lex Luthor - Batman v Superman: Dawn of Justice
The DCEU is just full of terribly designed villains. Eisenberg’s Lex exudes none of the intelligence or menace of the comic character, and is instead an annoying buffoon. Why does he creepily place a Jolly Rancher in that guys mouth? No one knows.
Kevin Spacey as Tom Brand/ Mr. Fuzzpants - Nine Lives
Of all the confusing decisions in Nine Lives, the most befuddling is why Kevin Spacey would be in this movie. Spacey is a great actor, but here, he tries to play up the film’s cartoonish elements, and fails miserably. His desperate attempts to wring any laughs out of the material makes him appear even more foolish than he would have if he had just delivered an unenthusiastic performance and just cashed his paycheck.
CGI as Grand Moff Tarkin - Rogue One: A Star Wars Story
Rogue One is overall a good film, but its decision to resurrect Tarkin using CGI was appallingly misguided. The technical aspects are undoubtedly impressive, but the CGI can never overcome the Uncanny Valley. Every time he appeared on screen, I was completely drawn out of the movie, to the point where I couldn’t even concentrate on the dialogue being spoken, hindering my enjoyment of the film, which is why this digital abomination gets a slot on this list.
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THE AARONS 2016 - Best TV Episode
Across the board, TV is becoming more serialized. Since the rise of binge-watching, people’s conception of shows often seems to blur an entire season into one homogenized grouping. Therefore, I think its important to highlight the singular episodes that are exemplars of the shorter storytelling format, and which stand out among their larger pack, regardless of the high quality that might surround them. Here are The Aarons for Best TV Episodes of 2016:
(Spoiler Free, of course!)
#10: “Nailed” (Better Call Saul, Season 2, Episode 9) - AMC
It’s a true testament to the fantastic writing of Better Call Saul that photocopying is at the center of one of the most edge-of-your-seat episodes of television in 2016. “Nailed” saw the tension between brothers Chuck and Jimmy McGill, played by Michael McKean and Bob Odenkirk respectively, begin to boil over, culminating in what was probably the most harrowing cliffhanger ending of the year.
#9: “Mac & Dennis Move to the Suburbs” (Always Sunny, Season 11, Episode 5) - FXX
I binge-watched It’s Always Sunny in Philadelphia for the first time in the summer of 2016. While I tend to avoid shows that have run 8+ years, it was worth it for Always Sunny, considering the show is just as strong as it started, if not stronger. Season 11 saw one of the best episodes of the entire series, which plays to, subverts, and distorts audience’s expectations in that delightful Always Sunny way. Watching Mac and Dennis driven slowly insane by their new suburban home provided the most laugh-out-loud moments of any TV episode in 2016.
#8: “The Eternal Shriek” (The Good Place, Season 1, Episode 7) - NBC
“The Eternal Shriek” marked the high point of The Good Place’s surprisingly strong freshman season. The episode fully embraced the high-concept absurdity that the show’s premise provides through both Michael’s (Ted Danson) description of his fate if he were to “retire,” and the subsequent desperate attempt by the cast to “murder” Janet, The Good Place’s resident omnipotent assistant, resulting in a showcase for D’Arcy Carden’s fantastic comedic talent.
#7: “The Open-Ended Nature of Unwitnessed Deaths” (The Last Man on Earth, Season 3, Episode 6) - FOX
Considering all its high-concept hi-jinks, The Last Man on Earth can actually be surprisingly affecting at times. This episode sees Phil “Tandy"Miller (Will Forte) drag newfound survivor Lewis (Kenneth Choi) on a road-trip, looking for signs of life from their missing loved ones, and their journey proves to be surprisingly cathartic, for both the characters and the viewer. Of course, the episode is also hilarious, specifically through Melissa’s (January Jones) attempts at some Shawshank Redemption role-playing.
#6: “The Adventures of Supergirl” (Supergirl, Season 2, Episode 1) - CW
Supergirl had a uneven first season at CBS, but the move to The CW seems to have empowered the show to reach its higher potential. This is seen most clearly in the fantastic first episode of the show’s latest season, which has Kara (Melissa Benoist) team up with her famous cousin, played by Tyler Hoechlin. The charming banter between the two and their inspiring heroics make this episode far more enjoyable than any of the movies that DC has been putting out lately. The episode is also sure not to have Superman overshadow the series lead, containing a surprisingly emotional conversation between Kara and Cat Grant (Calista Flockhart) about overcoming the fear of change.
#5: “Battle of The Bastards” (Game of Thrones, Season 6, Episode 9) - HBO
The sixth season of Game of Thrones was not only a rousing return to form, but contained one of the best episodes of the entire series, and perhaps the most action-packed episode of television ever produced. “Battle of the Bastards” is a tour de force of technical achievement for the show, comprised almost entirely of one bloody, thrilling, and expansive battle scene. The episode reportedly cost HBO quite a bit of money, but the end result was worth it, firmly cementing Game of Throne’s long standing thesis that high-concept fantasy can work on the small screen.
#4: “B.A.N.” (Atlanta, Season 1, Episode 7) - FX
One of the things that made Atlanta’s freshman season so rousing and rewarding was its willingness to experiment with its format. This ambition is most clearly seen, and most deftly pulled off, in “B.A.N.”, which sees Paper Boi (Bryan Tyree Henry) participate in a round-table-discussion talk show. Like the rest of Atlanta, the episode is a perfectly mixture of smart and hilarious comedy and thought-provoking themes. The true highlight of the episode, however, may be the fake commercials scattered throughout. “The price is on the can, though!”
#3: “Fish Out of Water” (BoJack Horseman, Season 3, Episode 4) - Netflix
By now, a lot of people are adjusted to the fact that a cartoon about a talking horse is one of the most emotionally powerful shows on TV, but BoJack Horseman Season 3 showed that the series was not done surprising us. This highly-experimental episode is almost entirely dialogue free, and yet, in a true testament of talent, manages to be no less funny or affecting than the rest of the series. The episode may stand out from the rest of the series due to its risk-taking format, but it also managed to be the perfect microcosm of the show’s wit, charm, ingenuity, and poignancy.
#2: “Twenty-Two” (You’re the Worst, Season 3, Episode 5) - FXX
You’re the Worst already proved it was capable of handling heavy material while remaining one of the funniest shows on TV with its exploration of depression last season, but Season 3 proved that the show wasn’t afraid to tackle even more. This episode, which serves as an outstanding showcase for Desmin Borges’ acting talent, sees Borges’ character, Edgar, an Iraq War veteran, struggling with his PTSD, a subject matter that is rarely handled with such grace and poise. While still finding time to be funny, this episode is immensely heartbreaking, highlighting how veterans are far too often forgotten, but also powerfully cathartic, once again showing that You’re the Worst is one of the best shows on TV currently.
AND THE BEST TV EPISODE OF 2016 IS...
#1: “San Junipero” (Black Mirror, Season 3, Episode 4) - Netflix
Some may say that “San Junipero” has an unfair advantage for Best TV Episode of the Year, as Black Mirror’s anthology format affords it certain risks that other shows aren’t capable of making. However, I would argue that “San Junipero” actually works best because of its position among the show’s other standalone stories. “San Junipero” marks somewhat of a tonal shift compared to other episodes of the show, which often fixate on the perils of advancing technology, by providing the viewer with a sweet romantic story that presents a hopeful look at a potential future (though the possible darkness of the episode’s technology is certain a subject for debate). The episode builds tension by playing to audience’s expectations for the show, then wonderfully subverts them, creating one of the most gripping and delightful episodes of television ever made. The episode features fantastic performances, specifically Mackenzie Davis and Gugu Mbatha-Raw, gorgeous cinematography, which expertly captures the episode’s otherworldly, idyllic environments, and some excellent music choices. “San Junipero” is not only the best episode of the series, but a masterpiece of television. It’s not just the best episode of TV this year, but one of the best I’ve ever seen.
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THE AARONS 2016 - Worst Film
My overall consumption of new film releases increased dramatically in 2016, meaning that I was exposed to a lot of awful films. So many awful films, in fact, that even switching this category over to a top 10 list won’t be able to address them all. Still, these were the worst of the worst, the most appallingly awful affronts to cinema that I saw this year. Here are The Aarons for Worst Film:
#10: Suicide Squad
Upon first viewing, I noted some of Suicide Squad’s flaws, like its laughably awful character development, poorly conceived story-line, disturbing sexism, and nauseating editing, but conceded that there were some positive elements. Upon second viewing, I finally saw the full awfulness that so many other critics noted. Suicide Squad barely functions as a movie. Scenes are strung together with little regard for continuity or cohesion, and none of the plot beats hold up when the viewer stops to just think about them for a second. I understand that placing this film among the worst of the year will receive push-back from some people, but I assure you, it deserves it.
#9: Now You See Me 2
The most impressive feat pulled off in Now You See Me 2 is that the film manages to be even more stupid than the original. In fact, the twists in this movie are so awful that they make the first film retroactively worse. The film is aggressively annoying due to how little thought seems to have been put into it. There’s nothing thrilling about magic tricks that rely on CGI and movie editing to work, and with an absolutely incoherent story-line, its hard to understand why anyone thought this was worthy of a franchise. The biggest problem with Now You See Me 2, though, is that the film is too smug to realize how absolutely idiotic it is.
#8: Equals
Some might argue that Equals should be spared from this list on the basis that it at least functions as a film, and it’s obvious that at least stars Nicholas Hoult and Kristen Stewart are trying. However, Equals was one of the most infuriating movie experiences of the year for me. I don’t regret watching movies, even bad movies, very often, but I absolutely felt like Equals was a complete waste of my time. The film takes absolutely no risks with its hackneyed sci-fi premise, revolving around two star-crossed lovers in a society based around purging emotions. It’s deathly dull and is a premise that has been done better before many times over, which means that Equals has absolutely no cinematic value and should be forgotten.
#7: The Boy
I had absolutely no expectations from The Boy, as it was a horror film released in the January dumping grounds. However, I was still surprised to discover just how bland this movie was. Good horror movies rely on atmosphere, but The Boy seems to exist in a vacuum, as it is almost aggressively not-scary. The film meanders around for an hour, desperate to try to turn its obvious twist into a big reveal, but once it finally hits, audiences will realize that the film is nothing more than a cheap, lazy rip-off of the far superior New Zealand horror-comedy Housebound, meaning that there is no reason anyone should ever waste their time on The Boy.
#6: Hardcore Henry
Hardcore Henry accurately captures the experience of watching someone else play a video game... a really bad video game. The film gets a few points for admittedly creative film-making, but its POV conceit is meaningless without a decent story to back it up. Unfortunately, the film’s story is an convoluted mess filled with some of the clunkiest, dumbest dialogue ever written. That, combined with its hyper-sexualization of women and the nauseating cinematogrophy that becomes unbearable really quickly, means that Hardcore Henry, despite all its innovation, is one of the worst films of the year.
#5: Maximum Ride
I used to dream of seeing James Patterson’s series of Young Adult novels receive a big screen adaptation, but even my younger self would have felt like not making a movie at all would have been better than what we got. An obvious victim of the limitations of low budget film-making, Maximum Ride is a lifeless and half-baked adaptation, populated by wooden actors, poor dialogue, and atrocious CGI. The film can barely be considered to contain a plot, and what story it does have is rendered incoherent to anyone not familiar with the source material. The extended flying sequences that were obviously intended to be majestic are just painfully embarrassing. I feel like the books have not aged well, but I know that they still deserve better than this.
#4: Nine Lives
From the moment the first trailer hit, I knew Nine Lives would be a film to watch, and I can tell you now that the movie managed to exceed my high expectations. Nine Lives is almost endearing in how absolutely absurd, inept, and misguided it is. A waste of good talent, the film features some of the most inexplicable creative choices I’ve ever witnessed, including a climax that is dependent on forcing the all-ages audience to believe that Kevin Spacey’s son is going to commit suicide. The film also completely fails on even the most basic level, as it never actually condemn Tom Brand’s neglect of his family for his work life, giving him everything he wants in the end. A film about a New York billionaire fixated on having a tall building with his name on it that ends with him getting everything he wants without having to make any sacrifices or learn any lessons was absolutely not the film I needed to see in 2016.
#3: Yoga Hosers
I’ve only seen one other Kevin Smith film, so the man does not have a lot of goodwill to burn through with me, and he already squandered it all with this dreadful mess of a movie. The film bounces between groan-inducing and perplexingly stupid, while never once managing to be entertaining. The jokes are lazy, the story limp, and I still don’t understand what Johnny Depp was trying to do here. There is some charm from the fact that Smith designed the film as a starring vehicle for his own daughter, but then you get to the Brat-zis (Bratwurst Nazis) and you realize that this film is simply unforgivable.
#2: Zoolander 2
The fact that yet another belated comedy sequel turned out to be painfully unfunny should really come at no surprise to anyone, but Zoolander 2 still manages to fall way short of the already low bar set by the likes of Anchorman 2. The film seems to completely misunderstand what worked about the already uneven first film, apparently dropping the satirical tone entirely, meaning that many of the jokes now veer into highly offensive territory. The unnecessarily complicated story-line and the painfully protracted climax also attribute to Zoolander 2 becoming one of the worst movie experience of 2016.
AND THE WORST FILM OF 2016 IS....
#1: London Has Fallen
I could point to many reasons why London Has Fallen is my pick for the worst film of 2016. I could point out the laziness of the whole endeavor (For example, the film’s use of stock footage from Time Square makes it look like no one in New York cares that the President has been kidnapped), or the idiotic plotting that relies on terrorists somehow infiltrating all police and security in the entire city of London, or that you can see better CGI in your average YouTube video. However, the real reason that London Has Fallen was the worst film of the year is because it embodies the worst trait of the year 2016: an utter lack of empathy. Our supposed hero (Gerard Butler) blatantly admits to viciously murdering a terrorist simply because he enjoys it, the film trying to hide his racism and psychopathic tendencies behind an American flag. The film is so unapologetically racist (and poorly scripted) that its idea of an action movie one-liner is “Go back to F**kheadistan!”, which is a sure contender for the worst line of dialogue ever written. London Has Fallen is offensive not just as a lover of cinema, but as a human being, making it the worst film of 2016.
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THE AARONS 2016 - Best Supporting TV Performance
Here is The Aaron for Best Supporting Performance in a TV Series:
WINNER: Mackenzie Davis as Yorkie - Black Mirror
Picking Davis as Best Supporting Performance is a bit of a cheat, since Black Mirror’s anthology format means she’s actually the star of that particular episode, “San Junipero.” However, the fact that Davis is able to make such a well-rounded, endearing character within just an hour illustrates the actress’s exemplary talent. Davis plays Yorkie with a suitable uncomfortableness that slowly fades as the story progresses, and embodies the character so perfectly that it feels like an actual person who exists beyond the confines of her singular episode, a feeling that attributes to the episode’s powerful impact.
HONORABLE MENTIONS:
Kristen Schaal as Sarah Lynn - BoJack Horseman
Schaal is always a delightful comedic presence, but BoJack Horseman Season 3 sees her tackle highly dramatic material with equal skill.
Allan McLeod as Paul Jillian - You’re the Worst
McLeod got plenty of material in You’re the Worst Season 3, including an episode dedicated entirely to his adventures with Vernon, and some expert physical comedy alongside the painful awkwardness of his performances makes Paul on of the funniest characters on TV.
Bella Ramsey as Lyanna Mormont - Game of Thrones
Ramsey is only 12 years old, and yet managed to stand out among Throne’s talented ensemble cast with her charming, no-nonsense performance as the head of House Mormont.
Tyler Hoechlin as Superman - Supergirl
After being subjected to a mopey, uncaring Superman in the latest DC films, it was immensely refreshing to have Hoechlin provide an enchanting and actually inspiring Man of Steel.
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THE AARONS 2016
It’s the 2016 Aarons, celebrating the best and worst of film and TV in 2016!
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THE AARONS 2016 - Best Film
Thanks in part to a competition with a friend, I saw 79 new releases in 2016, more films than I have seen from any other year in history. While this large grouping certainly ran the gamut in quality, there were a lot of films that I greatly enjoyed. However, only a handful can receive top remarks, so these are my picks for the absolute best of a solid year for movies. Here are The Aarons for Best Film:
#10: Captain America: Civil War
The Marvel Studios films are consistently some of the most entertaining action blockbusters currently being released, and the Captain America movies have routinely stood out as the best of the pack. Civil War once again succeeds thanks to the diligent directing of the Russo Brothers, who return from the magnificent Winter Soldier, its fantastic ensemble cast, and some relevant, thought-provoking themes that are treated with surprising nuance. While the highlight of the film may be its high-octane airport brawl, a pure delight for comic book fans, Civil War also expertly builds on the now long-standing history of the MCU to deliver a powerful climax, grounded less in special effects and more in meaningful character dynamics. Plus, the film introduces two exciting new heroes into the MCU fold, including the best live-action Spider-Man to date, all adding up to make Civil War the top blockbuster of the year.
#9: Moana
As mentioned in my initial review, Moana feels like the perfect culmination of a long gestating reinvention of the Disney Princess archetype. While the film has the requisite animal sidekicks (including the hilarious Heihei), Moana has no love interest in her story, which makes her journey of self-discovery all the more impactful. The film also features absolutely gorgeous animation that uses a wide variety of vibrant colors, has a killer soundtrack of top-notch Disney tracks from composer Lin Manuel-Miranda, and contains a fantastic voice cast, comprised of both veteran actors, like the immensely likable Dwayne Johnson and Jermaine Clement, and newcomers like Auli’i Cravalho, who certainly leaves an impression. A surprisingly inspiring movie, Moana is probably the best of the recent string of great films from Walt Disney Animation Studios.
#8: Kubo and the Two Strings
Kubo and the Two Strings was largely ignored at the box office, which is a real shame consider just how much care clearly went into making it, and how amazing the final product is. The meticulously crafted stop-motion animation is a non-stop parade of awe-inspiring visual spectacle, including some extremely impressive scale in the action scenes. While Kubo could arguably deserve a spot on this list for its animation alone, its true strength comes from its moving story that, although being a children’s tale, doesn’t shy away from dark elements or exploring heavy themes like grief. The all-star voice cast is also great, specifically Matthew McConaughey as Beetle and Rooney Mara as both of the deeply unnerving Sisters.
#7: Hunt for the Wilderpeople
It was clear that Taika Waititi was a director to watch after last year’s What We Do In The Shadows, which was number nine on my list of best films for The Aarons last year, and Hunt for the Wilderpeople just cemented his status as a comedic genius. With an unexpectedly hilarious performance from Sam Neil, who shares immense chemistry with his partner-in-crime played by the amusing Julian Dennison, Hunt for the Wilderpeople delivers plenty of hearty laughs through its dry wit. The film also look incredible, having been shot on location in the beautiful New Zealand wilderness, and is bolstered by some unexpected emotional heft.
#6: Moonlight
Moonlight is one of the most elegantly poetic films ever made. The performances of the lead actors (Trevante Rhodes, Ashton Sanders, and Alex Hibbert) who portray main character Chiron at three different points in his life, are incredible when taken on their own, but, when woven together into a singular image of this man, form something profoundly magical. All the elements of film are in top form here, from the stunning cinematography, to the beautiful score, to the outstanding supporting performances by Mahershala Ali and Naomi Harris. Moonlight’s deeply moving, powerfully human story was exactly the kind of story that 2016 needed more of.
#5: Everybody Wants Some!!
Richard Linklater is quickly becoming one of my favorite directors of all time, and Everybody Wants Some!! is another excellent entry in his impressive filmography. The film’s talented young ensemble cast, including Blake Jenner, Zoey Deutch, Glen Powell, and Tyler Hoechlin, all have fantastic chemistry with one another, which helps make Everybody Wants Some!! the most irresistibly charming film of the year. The movie perfectly captures its 80s aesthetic, but what truly makes Everybody Wants Some!! one of the best films of the year is the empathetic touch of Linklater’s writing/directing. Linklater completely rescues the kind of “sports jock” humor that has grown increasingly off-putting in recent years, transforming it into a hilarious and deeply affecting movie experience.
#4: The Lobster
After hearing about The Lobster’s absurd premise, which revolves around a society where people are transformed into animals if they do not find a romantic partner in time, I knew that it would be unmissable. However, I didn’t realize just how profound the film would be, using its bizarre world to take a hilarious, poignant, and occasionally uncomfortable look at the state of modern relationships. The film boasts an impressive cast, including phenomenal work from Colin Farrell, Rachel Weisz, and the always reliable John C. Reilly, and, while it may not be to everyone’s liking, the film’s dark humor provides some of the funniest moments of the year.
#3: Arrival
In a year where a lot of blockbusters disappointed, Arrival delivered one of the most thrilling and fascinating movie experiences through its low-key nature, which shunned action in favor of thought-provoking themes and a powerful humanitarian message. Reminiscent of The Day The Earth Stood Still, Arrival’s exploration of the importance of communication and value of nonviolence was especially timely in 2016, and the film’s visuals are a cavalcade of breathtaking moments. Fantastic performances, a beautiful score, Denis Villenueve’s mesmerizing directing, and a story which enthralls the audience with a sense of discovery also contribute to making Arrival exemplary sci-fi and one of 2016′s best films.
#2: La La Land
Damien Chazelle’s absolutely stunning ode to classic film musicals was in a very close race for my number one spot, and, since I did not see it until very recently, may in fact move up to #1 if I’m given time to mull it over some more. Certainly the most technically impressive film this year, La La Land delights with multiple perfectly executed dance numbers, including an already iconic opening scene, as well as its set of catchy, dynamic songs. Co-stars Ryan Gosling and Emma Stone once again demonstrate their tremendous talent and chemistry with one another, sweeping the audience off their feet, right into the film’s magical, dream-like L.A. setting. A tribute to all the artists who risk everything to pursue their dreams, La La Land is a powerfully inspiring film for aspiring young talent, and its gorgeous cinematography and lovably retro set-design transforms the film into pure movie magic. La La Land is an impressive and endlessly enjoyable film that is sure to become as iconic as the classic films it emulates.
AND THE BEST FILM OF 2016 IS…
#1: The Witch
In my initial review for The Witch, I said it was not an instant horror classic. I was wrong, and I realized that when I discovered that the film’s downright petrifying ending was still seared into my brain months after I had seen the picture. The Witch is one of the most deeply unsettling movies I have ever seen. It burrows under your skin through its haunting re-imagining of a supernatural colonial history for America, where one must be ever vigilant of every animal or person’s ability to be a conduit for the Devil, and failure to do so bodes unspeakable consequences. The film is overflowing with a chilling atmosphere, due to Robert Eggers’ expert directing, which quickly transforms the woods into a claustrophobic and seemingly malevolent setting, and is rich in tension, through both the heated conflicts of the paranoid family and the film’s portrayal of an overwhelming, insuperable struggle between man and nature. Anya Taylor-Joy makes an immediate impression in her debut role, and the film perfectly captures the 17th century setting through the archaic language of its script and its magnificent costume design. The Witch, much like last year’s It Follows, is a delightfully disconcerting film experience, whose themes paint it as a twisted morality tale that will rattle the viewer to their core. Thanks to its masterful film-making, copious thematic depth, chilling score, adept acting, and the insurmountable dread conjured up by its atmosphere, The Witch is my favorite movie of the year, and one that I’m sure will continue to haunt me for a long time yet.
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THE AARONS 2016 - Best Director
Here is The Aaron for Best Director:
WINNER: Robert Eggers - The Witch
The Witch was Eggers’ directorial debut, and he absolutely knocked it out of the park. Eggers’ methodical and suspenseful direction entrances the viewer into the mindset of the film’s 17th century family, specifically through the brilliant decision to keep the frame fixated on the characters’ reactions before unveiling the horror to the audience, trapping the audience within its terrifying, paranoid world. The Witch probably wouldn’t have worked in the hands of a less talented director, and Eggers has quickly established himself as a director to watch.
HONORABLE MENTIONS:
Damien Chazelle - La La Land
Chazelle almost came away with the top honors, as his marvelous musical perfectly emulates the Old Hollywood style, and the dance sequences are memorable and intricately crafted.
Denis Villeneuve - Arrival
Villeneuve’s assured directing makes Arrival simply awe-inspiring at every stage of its journey of discovery.
Barry Jenkins - Moonlight
Moonlight is perhaps the most gorgeous film of the year, with each frame perfectly crafted by Jenkins as if it were a painting. The film’s beautiful cohesiveness, despite the continuing change in the leading actor, must also be attributed to Jenkins’ elegant vision.
David Mackenzie - Hell or High Water
While I found Hell or High Water a bit too clichéd for my liking, I can’t deny that Mackenzie created some of the most tense action sequences of the year, and his representation of the modern Wild West is haunting.
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THE AARONS 2016 - Best Film Performance
Okay, okay. I’ll admit that Adam Driver as Kylo Ren was perhaps too unconventional of a pick for last year’s winner of this award, but I just felt like doing something crazy compared to the other award shows. However, if 2016 taught me anything, it was that one should never avoid picking the clearly more qualified candidate just to stick it to "Hollywood elites”. Here is this year’s Aaron for Best Film Performance:
WINNER: Emma Stone as Mia Dolan - La La Land
As an actress playing an actress, Stone is giving a lot of opportunity to show off her undeniable talent in La La Land. The actress remains as (dare I say it) “adorkable” as always with her excellent comedic timing and charming interactions with co-star Ryan Gosling, but the film also tasks Stone with providing the story’s main emotional core, which she pulls off with ease. Stone enthralls the audience through all of Mia’s successes and failures, and, by grounding the character in such real emotion, perhaps bolstered by personal experience, Stone creates the truly inspiring figure that La La Land requires to work so perfectly.
HONORABLE MENTIONS:
Ryan Gosling as Sebastian Wilder - La La Land
I had a hard time picking between the co-leads of La La Land, and ultimately gave the edge to Stone, but Gosling is a close second with his passionate and enchanting performance.
Sam Neil as “Uncle” Hec - Hunt for the Wilderpeople
Having not seem much of Neil since Jurassic Park, his performance here was a delightful surprise, showing off excellent comedic chops. Neil is able to generate some of the film’s biggest laughs with a simple facial expression.
Amy Adams as Louise Banks - Arrival
Adams’ performance as the linguist tasked with communicating with extraterrestrial life is intelligent and powerfully moving.
Kate Beckinsale as Lady Susan Vernon - Love & Friendship
Being completely unfamiliar with Beckinsale’s work, outside of the trashy Underworld franchise, it was pleasantly surprising to learn that the actress is actually incredibly gifted and charming, as illustrated by her hilarious, witty performance here.
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THE AARONS 2016 - Best Screenplay
The screenplay is the backbone of a movie, and given my particular inclinations, the best screenplays of the year are obviously something I want to recognize. Here is The Aaron for Best Screenplay:
WINNER: The Lobster by Efthymis Filippou & Yorgos Lanthimos
The Lobster’s ridiculously absurd premise deserves points for creativity on its own, but Filippou and Lanthimos’ script takes that concept and just runs with it. The world-building seen here is top notch, with all aspects of this bizarre society feeling fleshed out and with each surreal element having a clear grounding in the struggles of modern relationships. The Lobster is the funniest movie of the year, thanks to the script’s dry wit and extremely dark comedic sensibilities, and its wonderful and thought-provoking metaphors for dating are endlessly creative, making it the best screenplay of the year.
HONORABLE MENTIONS:
The Witch by Robert Eggers
Egger’s script, written entirely in 17th century dialect, is filled with the complex characters and relationships that are necessary for the film’s paranoia to work so well.
Hunt for the Wilderpeople by Taika Waititi
Hunt for the Wilderpeople is laugh out loud hilarious throughout, with an abundance of memorable exchanges and clever dialogue, all attuned to Waititi’s fantastic New Zealand sensibilities.
Moonlight by Barry Jenkins
Like most of Moonlight, the screenplay by Jenkins is beautiful and poetic. It’s majestic play-like structure and graceful handling of its important subject matter makes Jenkins’ script one of the best of the year.
Love & Friendship by Whit Stillman
Love & Friendship thrives on its witty dialogue, and Stillman’s expert script makes the film a surprise candidate for one of the funniest comedies of the year.
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THE AARONS 2016 - Best Original Score
The instrumental score is very often my favorite element of a film. A great score perfectly augments an already great movie, but a great score paired with an awful movie can also very often salvage at least a modicum of emotion and drama from an otherwise bland movie experience (See last years winner, the Jupiter Ascending score by Michael Giacchino, for example). So, here is The Aaron for Best Original Score:
WINNER: Jóhann Jóhannsson - Arrival
Arrival is a film all about language, so it’s only fitting that its music, the universal language, is so immensely powerful. By integrating human vocal noises with the wale-like moans of the alien visitors into its haunting, minimalist score, Jóhannsson perfectly captures the themes of the film, while also providing a fantastic isolated experience. While Jóhannsson excellent incorporation of the track “On the Nature of Daylight” into the score prevents it from being eligible for The Oscars this year, we here at The Aarons have no choice but to recognize this beautiful score that carries all the emotions of the movie with it.
HONORABLE MENTIONS:
Justin Hurwitz - La La Land
La La Land’s passion for jazz music is extremely evident throughout, so, of course, Hurwitz score is dynamic and riveting, sure to ignite a passion for the art form in all who listen to it.
Mark Korven - The Witch
The Witch’s deeply unsettling score, which combines dissonant chanting with haunting string instruments, will send shivers down your spine, even without the accompanying visuals.
Danny Elfman - The Girl on the Train
Danny Elfman’s suspenseful and memorable score is the only thing that gives the otherwise sluggish and melodramatic The Girl on the Train any momentum and tension.
Cliff Martinez - The Neon Demon
Martinez’ atmospheric score for The Neon Demon perfectly enhances the hypnotic nature of the film’s dark and twisted glimpse at the L.A. fashion industry.
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THE AARONS 2016 - Best Original Song
I saw an unusual amount of song based films in 2016, meaning I had no choice but to form a category to recognize all the fantastic tracks created specifically for movies. Here is The Aaron for Best Original Song:
WINNER: “Another Day of Sun” by La La Land Cast - La La Land
La La Land was pretty much guaranteed to win this category; it was simply a question of which song to choose. Really, any of them could have gotten top honors. “The Audition (The Fools Who Dream)” was the most inspiring, and “City of Stars” was the most beautiful, but I finally settled on the film’s opening track, “Another Day of Sun.” While first watching the film, I was obviously struck by the sequences spectacular choreography, but it was upon a re-listen to the soundtrack that the lyrics of the song really struck me. “Another Day of Sun” beautifully and succinctly encapsulates the themes and emotions of La La Land into one fantastic, toe-tapping track, whose opening notes are guaranteed be stuck in your head for a very long time, working as a perfect call to action for those looking to follow their dreams.
HONORABLE MENTIONS:
“How Far I’ll Go” by Auli’i Cravalho - Moana
The standout track on a great Disney Princess soundtrack, “How Far I’ll Go” is inspiring and a wonderful showcase for previously unknown Auli’i Cravalho’s immense talent.
“Drive It Like You Stole It” by Sing Street - Sing Street
Sing Street is a delightful ode to 80s music, and this exhilarating, upbeat track about seizing your life ranks among the film’s best.
“Incredible Thoughts” by The Lonely Island - Popstar: Never Stop Never Stopping
Again, almost any track from Popstar would be worthy of recognition, but I give the edge to “Incredible Thoughts” for its hilarious and clever lyrics, as well as great guest appearances by Michael Bolton and “Mr. Fish.”
“The Great Beyond” by Sausage Party Cast - Sausage Party
The highest point of the hit-or-miss Sausage Party, this opening number is a fantastically dark and twisted parody of Disney musical numbers, bolstered by the fact that it was composed by Disney mainstay Alan Menken himself.
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THE AARONS 2016 - Most Anticipated 2017 Film
This Aaron awards the films of next year that I am most interested in seeing. Giving these films special recognition is obviously premature, but this is simply a measure of how interested I am to see these films, not necessarily to suggest that these will be the highest quality films of 2017. (Last year’s recipient was Batman v Superman: Dawn of Justice, and we all know how that worked out...). Here is The Aaron for Most Anticipated 2017 Film:
WINNER: Star Wars: The Last Jedi (Release Date: 12/15/17)
This was the easiest award to pick a winner for. After the rousing success of The Force Awakens, there was no way I wouldn’t be massively hyped for the next installment of the sequel trilogy. Between the return of Mark Hamill as Luke Skywalker in a prominent role and the expectation of answers to some of Episode VII’s lingering questions, Episode VIII can’t get here soon enough. Plus, Rian Johnson takes over the directing and scripting duties from J.J. Abrams, and based on his films Brick and Looper, I fully expect great work from him.
HONORABLE MENTIONS:
The Lego Batman Movie (Release Date: 2/10/17)
If this film ends up even half as good as The Lego Movie, it will be amazing, and with an all-star voice cast, fantastic animation, and plenty of self-referential jokes to appeal to my comic book fanboy sensibilities, I feel confident that The Lego Batman Movie will be an absolute delight.
Blade Runner 2049 (Release Date: 10/6/17)
Blade Runner is in my top 20 films of all time, and I would probably be wary of a sequel if it weren’t for the fact that this will be directed by Denis Villeneuve, who proved his talent for directing sci-fi with this year’s Arrival. Based on that, I willing to give this a chance.
Dunkirk (Release Date: 7/21/17)
Dunkirk is the next film from director Christopher Nolan. Need I say any more?
Wonder Woman (Release Date: 6/2/17)
It’s sad that the first live-action film to feature the Justice League can’t make my list of most anticipated films for the year, but with Zack Snyder at the helm, I have little faith in the project. However, I’m still clinging onto hope that Wonder Woman can break free from the DCEU’s downward spiral. Like I said, at this point last year I had a lot of hope for BvS though, so I guess we’ll see about this one.
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THE AARONS 2016 - THE DAVID: Best Animal Performance
It’s time for a very special new addition to The Aarons: The David, an award designed by and named after David, my good friend and one of my co-hosts on the Reboot Already Underway podcast (Check us out on Soundcloud and iTunes!). Those who know David know that he is quite the eccentric person, so The David is designed to award those elements of film that would never be recognized in the more mainstream movie award categories.
This year, The David recognizes the cinematic performances of animals. I agree with David that animal performers do not get nearly enough respect in the industry, so let’s give them some here. Here is The David for Best Animal Performance:
WINNER: Black Phillip - The Witch
When David proposed the Best Animal Performance category to me, one performance immediately sprung to mind. The Witch is filled with many haunting elements, but one of the most striking is the family’s goat, Black Phillip. The presence of Black Phillip immediately makes the viewer uneasy, as one can never quite figure out just how aware Phillip may be of the events plaguing the family, which perfectly accentuates the film’s paranoia. Some may scoff at the idea of awarding animals movie awards, but Black Phillip was one of the most unforgettable characters of 2016, and therefore a worthy recipient of the first David award.
RUNNER UP: Keanu - Keanu
This was David’s top choice for the award (He has not seen The Witch, however) and I completely agree that Keanu had one of the best animal performances of 2016. The plot of the film is almost entirely dependent on this kitten being the most adorable in the world, and Keanu just knocks it out of the park! I mean, just look at this guy:
HONORABLE MENTIONS:
David’s Brother - The Lobster
Due to The Lobster’s absurd premise, there’s plenty of animals running around in the film. David’s brother had been transformed into a dog after failing to find a mate in time, and the dog manages to completely sell this sense of history with Colin Farrell’s character, making him worthy of recognition.
Blind Man’s Dog - Don’t Breathe
Don’t Breathe often leaves one breathless, especially in one scene where Jane Levy’s Rocky is forced to fend of the Blind Man’s vicious dog within the confines of a car. It’s a pulse-pounding sequence made possible through the dog’s terrifying performance.
Heihei - Moana
Okay, this one is a bit of a cheat, since Heihei is an animated animal, voiced by Alan Tudyk in Moana. However, I’m counting it because it’s my award show, and I can do what I want. So, Heihei gets recognition for being a laugh riot through his increasingly absurd obliviousness to the epic adventure that surrounds him.
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THE AARONS 2016 - Best TV Show
There were 455 scripted TV shows in 2016, up from 421 the year before, meaning that even if only a small percentage of shows are worth watching, that’s still a lot of great TV to keep up with. Still, I did watch less television in 2016 than I did in 2015. However, my number one pick from last year (Hannibal) was cancelled, my number nine pick (Community) ended, and several shows that made the 2015 list are renewed, but didn’t air new seasons in the 2016 year (Review, Rick and Morty, & Fargo), so expect quite a bit of a shake-up for this year’s list. Here are The Aarons for Best TV Show:
#10: Arrow (Season 4b-5a) - CW
As much as I greatly enjoy The Flash, I just couldn’t justify awarding it a spot on this list, since the season long arcs have begun to get repetitive. However, its sister show Arrow managed to sneak in as a dark horse candidate due to a revitalized Season 5. Thanks to several smart choices that returned the series to its roots, Arrow has managed to recapture its former glory, delighting with impressive action sequences, an new expanded cast of likable characters, and an actually well-developed mystery arc. It’s true that many of Season 5′s plot threads won’t get resolved until 2017, and the mystery may wind up disappointing, but for now, Arrow leads the pack of the immensely enjoyable CW DC Universe.
#9: Mr. Robot (Season 2) - USA
Mr. Robot is perhaps the show that best captures the current zeitgeist. The biggest strength of the show’s second season was showing just how complicated a true revolution really is, illustrating that it is far above the many sophomoric stories that attempt to tackle similar subject matter. An outstanding leading performance from Rami Malek, the addition of talented new actors, such as Grace Gummer, Craig Robinson, and Joey Bada$$, the continuing refreshingly realistic representation of computer hacking, the thrilling and shocking plotting, and a willingness to take massive creative risks (the surprise appearance by ALF, for example. No joke.) all make Mr. Robot one of the best shows on TV.
#8: Black Mirror (Season 3) - Netflix
Black Mirror didn’t miss a beat in its move to Netflix from Britain’s Channel 4, continuing to deliver some of the most thrilling and thought provoking television of our time. Playing to its anthology format’s strengths, Season 3 features some great performances from high-profile actors (Bryce Dallas Howard, for example) and some excellent guest directors (10 Cloverfield Lane’s Dan Trachtenberg), while continuing to excel at delivering a new fantastic, yet frightening, vision of the future in each installment. All of the episodes are certain to linger in your thoughts long after watching them, in one way or another.
#7: The Good Place (Season 1) - NBC
Coming from Parks and Recreation’s co-creator Michael Schur and starring the delightful Ted Danson and Kristen Bell, it was clear that The Good Place was going to be one of the new shows to watch coming into the 2016 Pilot Season. However, the show still managed to blow past all expectations, delivering some of the most clever and creative television of the year. The Good Place was able to take full advantage of its zany concept through a willingness to always challenge its status quo, which is a rare trait in sitcoms, and the recently-wrapped freshman season ends on a note that only cements the fact that the show demands a renewal.
#6: Game of Thrones (Season 6) - HBO
Game of Thrones didn’t manage to make it on my list last year, but, perhaps thanks to its ability to finally start heading to its conclusion, Season 6 marked a sizable improvement over Season 5. The ensemble cast continues to do excellent work and the plot is propulsive, while the action has never been more thrilling. A combination of the show’s trademark shocking moments with a willingness to deliver satisfying answers to long-lingering questions, even if those answers had long been theorized, makes Season 6 one of the best seasons of the show yet.
#5: Crazy Ex-Girlfriend (Season 1b-2a) - CW
Based on the name and premise, I was initially wary of the prospects of Crazy Ex-Girlfriend. However, after deciding to give it a chance, I was delighted to discover its some of the most incredible television currently on air. The show’s bizarre, but fantastic, mixture of a talented, likable cast, witty writing, musical numbers that are part-Broadway, part-Lonely Island, and a willingness to explore heavy subject matter, like mental illness, all adds up to create unmissable television. Crazy Ex-Girlfriend may be the lowest rated show on network TV, but it is also its best.
#4: Better Call Saul (Season 2) - AMC
Better Call Saul is the first returning show on this list, coming in at number 3 last year, but even though its one step down, Season 2 was no less incredible than the first. The show has truly solidified its place as a gripping television in its own right, even with an increasing focus on familiar elements of the Breaking Bad world. Season 2′s feud between brothers provided some of the most heart-breaking television of the year, and the show’s dark humor and thematic depth continue to make it essential TV.
#3: BoJack Horseman (Season 3) - Netflix
Like Crazy Ex-Girlfriend, it took a lot of convincing to get me to watch BoJack Horseman, but after giving it a chance, it quickly became one of my favorite shows of all time. The show would deserve a place on this list for the witty dialogue, fantastic visual gags, and the top-notch voice cast alone, but what truly makes BoJack Horseman so special is the emotional gut punch that the show manages to deliver at least once per season, and Season 3 was definitely no exception.
#2: You’re the Worst (Season 3) - FXX
Once again, You’re the Worst was a show that I was reluctant to watch, but quickly recognized it as masterful television. Season 3 smartly expanded the show’s focus, including dedicating several episodes exclusively to side characters, while never being any less hilarious. The show also continues to have a surprising amount of dramatic weight, making sure to continue to expand on Season 2′s exploration of depression, while also adding even more difficult subject matter like grief and PTSD, making You’re the Worst provide some of the biggest laughs and the biggest heartbreaks on television.
AND THE BEST TV SHOW OF 2016 IS...
#1: Atlanta (Season 1) - FX
It was hard to know what to expect from Atlanta’s premiere season, given the sparse and surreal marketing leading up to it, but it was clear it was going to be something to watch no matter what due to the involvement of Community’s Donald Glover, who co-created and stars. When Atlanta finally hit, however, it instantly skyrocketed to being the best show on TV, thanks to the show’s intelligent and quirky humor, its immensely talented cast, and its deft ability to address heavy socio-economic themes. Atlanta also exuded surprising confidence for a freshman show, with several experimental episodes scattered throughout. When Atlanta was on, every week felt like Christmas. One was never quite sure what one would get when they unwrapped it, but it was certain it would be something fantastic.
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THE AARONS 2016 - Best TV Performance
Here is The Aaron for Best Performance in a TV Series:
WINNER: Rachel Bloom as Rebecca Bunch - Crazy Ex-Girlfriend
Bloom has one of the toughest roles to pull off on all of television, as her character, the titular crazy ex-girlfriend, must be obsessive and slightly deranged, while also being sympathetic enough to be the series’ lead. However, she pulls it all off wonderfully, creating a fully-realized character that is charming and funny, while also not being afraid to let Rebecca become annoying or unlikable at times. Plus, of course, Bloom shows immense talent in her singing and dancing throughout. Crazy Ex-Girlfriend seems designed as one long character arc that shows the struggles, setbacks, and incremental progress that comes with seeking to improve one’s well-being, and Bloom has shown that she will be skillfully able to explore the numerous necessary facets of her character that this entails.
HONORABLE MENTIONS:
Keith Stanfield as Darius - Atlanta
Darius is definitely the breakout character of Atlanta’s masterful first season, as Stanfield’s quirky, yet surprisingly complex, performance is hilarious and strangely relatable.
Zazie Beetz as Vanessa “Van” Keefer - Atlanta
One of Atlanta’s best decisions in Season 1 was making sure to dedicate time to developing Van’s character, including going so far as to give her an entire episode to herself, and Beetz rises to the challenge with her incredible performance, that is equal parts funny, charming, intelligent, and fierce.
Rhea Seehorn as Kim Wexler - Better Call Saul
Kim was given a lot more to do in Saul’s second season, and Seehorn’s fantastic performance is what keeps the viewer engaged as you watch her attempts to navigate the law firm of HHM, becoming heartbroken when she fails and ecstatic when she succeeds.
Desmin Borges as Edgar Quintero - You’re the Worst
Borges has always been a reliable comedic presence on the show, but Season 3 showed just how talented he is. Borges is aptly able to portray his character’s PTSD with a nuance, compassion, and respectfulness that is often missing from such performances.
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