My top 10 films of 2016 [10 to 6].

I know it took me long enough to compile this list, but I had to wait until Handmaiden got its UK release before I felt my 2016 list (going by US release dates in order to calibrate my list with all the bloggers I love) was well-researched enough.

Three films which ran Aquarius very close were Hell or High Water, Someone to Talk To and Certain Women. They would take 11-13 places on the list, naturally. 14th would go to Peter Berg's Patriots Day, mind, so you can take my recommendations with a pinch of salt.

10. Aquarius

Pious BAFTA grandstanding is exactly why I won't be watching the Oscars this year.

I didn't do too well in my BAFTA predictions, although at least I beat my performance last year, where I barely got anything right (as it was on Valentines Day last year, I took it as a sign that Carol would win the categories it deserved to win. That delusion).

Fantastic Virtue-Signallers and Where to Find Them. I heard JK Rowling is retrospectively writing yet another Harry Potter spin-off, about Professor McGonagall's uncharted secret past, where she had a Chinese girlfriend. Emma Stone is favourite to get the role of said Chinese girlfriend. 

BAFTA nominations!!!!!

Best film
Arrival
I, Daniel Blake
La La Land
Manchester by the Sea
Moonlight

Aside from the inclusion of the very British (and very fine, my second of the year so far) I, Daniel Blake, the other four are all now considered locks when Best Picture at the Oscars get announced. 

Best British film 
American Honey 
Denial 
Fantastic Beasts and Where to Find Them 
I, Daniel Blake 
Notes on Blindness 
Under the Shadow

Best film not in the English language 
Dheepan 
Julieta 
Mustang 
Son of Saul 
Toni Erdmann

Elle and The Handmaiden weren't eligible because they're not being released here until March and April, respectively. Son and Saul and Mustang, which were nominated at last year's Oscars, weren't eligible in time for last year's BAFTAs, but were obviously too strong to be forgotten, so they have their belated nominations now.

Best documentary 
13th 
The Beatles: Eight Days a Week – The Touring Years 
The Eagle Huntress 
Notes on Blindness 
Weiner 

I haven't seen any of these because documentaries bore me to tears. #SorryNotSorry

Best animated film
Finding Dory
Kubo and the Two Strings
Moana
Zootropolis

Haha at BAFTA not being able to find five Animated films they felt passionately about. Whilst I'm glad that means the overrated Your Name doesn't get nominated, I do feel When Marnie Was There deserves to be in the pantheon of the films listed; particularly Finding Dory which it was far superior to.

Best director
Denis Villeneuve (Arrival)
Ken Loach (I, Daniel Blake)
Damien Chazelle (La La Land)
Kenneth Lonergan (Manchester by the Sea)
Tom Ford (Nocturnal Animals)

Barry Jenkins not getting nominated for Moonlight will damage the film's credentials as the main competitor to La La Land for Best Movie at the Oscars. :( I'm happy to see some recognition for Ken Loach, however. He crafted a really touching and powerful film in I, Daniel Blake and deserves to be nominated. Not so sure about Tom Ford, on the other hand.

Best original screenplay
Hell or High Water
I, Daniel Blake
La La Land
Manchester by the Sea
Moonlight

Best adapted screenplay
Arrival
Hacksaw Ridge
Hidden Figures
Lion
Nocturnal Animals

Jesus, dat adapted screenplay category. It's a shame that Screenplay is the only place where Hidden Figures is recognised; I hear it's quite good. And no Fences in adapted but Nocturnal Animals and Hacksaw Ridge are present? Damn. The shade of it all.

I'm also disappointed that the very British treat Love and Friendship, an adaptation of a Jane Austen novella, wasn't recognised here, given it featured some of the wittiest one-liners in 2016.

Best actor
Andrew Garfield (Hacksaw Ridge)
Casey Affleck (Manchester by the Sea)
Jake Gyllenhaal (Nocturnal Animals)
Ryan Gosling (La La Land)
Viggo Mortensen (Captain Fantastic)

No Denzel, BAFTA???? WTF???? It's crazy that BAFTA have never nominated Denzel Washington.

I ain't even mad about David Oyelowo's snub for A United Kingdom, as well as A United Kingdom's absence on the list overall. I presume they didn't send screeners (or I'm just gonna tell myself that).

I love Jake Gyllenhaal a lot (Brokeback Mountain is my sixth favourite film of all time and he was snubbed of an Oscar nomination for Nightcrawler) but he was, dare I say it... a little hammy in Nocturnal Animals, especially in the scene where he breaks down in front of Aaron Taylor-Johnson's redneck. It would be a shame if he got nominated for an Oscar for his awards-begging turn.

Best actress
Amy Adams (Arrival)
Emily Blunt (The Girl on the Train)
Emma Stone (La La Land)
Meryl Streep (Florence Foster Jenkins)
Natalie Portman (Jackie)

With Isabelle Huppert out of contention due to her film's late release, this was pretty expected. I did expect BAFTA to use that fifth spot on their very own Emily Blunt, who was fantastic (my number 1 in Leading Actress so far) in the otherwise terrible The Girl on the Train, but, given they overlooked Charlotte Rampling last year for 45 Years, I couldn't be sure.

The fact that Jackie only has two other technical nominations indicate to me that BAFTA didn't love the film, thus they'll probably give the win to the Yellowfaced Felicia for playing Emma Stone in the Emma Stone Biopic. However, I'm praying for a curveball; Emma Stone doesn't need a BAFTA yet and Amy Adams or Emily Blunt deserve it more. I certainly haven't seen them taking any whitewashed roles.

Best supporting actor 
Aaron Taylor-Johnson (Nocturnal Animals)
Dev Patel (Lion)
Hugh Grant (Florence Foster Jenkins)
Jeff Bridges (Hell or High Water)
Mahershala Ali (Moonlight)

What a week Gorgeous Taylor-Johnson is having. A few weeks ago he wasn't in the Oscar race, with most preferring Michael Shannon's work in Nocturnal Animals. Now he has a Golden Globe win under his belt, and his home nation have gotten behind him. I'm not surprised BAFTA nominated ATJ; they liked Nowhere Boy a lot (which is where he met his missus, 50 Shades of Grey director Sam Taylor-Johnson). His acceptance speech at the Golden Globes was very humble and concise and it's clear he loves his wife a lot, which I really adore. Would LOVE for all this momentum to result in an Oscar nomination. His days of being wooden in Anna Karenina are long-forgotten!

The other four nominations are probably going to be considered locks come Oscar nomination morning. It's funny; BAFTA go out of their way to show they're ~above Category Fraud~, for example, by nominating Felicia Vikander in The Danish Girl for Lead Actress last year when she campaigned for Supporting, and doing the same with Hailee Steinfeld for True Grit and as well as Bérénice Bejo for The Artist, amongst others. But Brits Dev Patel and Hugh Grant are commonly considered leading performances, yet BAFTA have nominated them in the only category they can find space for them.

The BAFTAs aren't above category fraud themselves, then.

Best supporting actress 
Hayley Squires (I, Daniel Blake)
Michelle Williams (Manchester by the Sea)
Naomie Harris (Moonlight)
Nicole Kidman (Lion)
Viola Davis (Fences)

Delighted for Hayley Squires, who is currently fourth in my personal ballot. The food bank scene in I, Daniel Blake was gut wrenching and her acting in it was understated perfection.

The other four ladies on this list are probably locks for Oscar nominations now.

Best original music 
Arrival 
Jackie 
La La Land 
Lion 
Nocturnal Animals 


Best cinematography 
Arrival 
Hell or High Water 
La La Land 
Lion 
Nocturnal Animals 

Best editing 
Arrival 
Hacksaw Ridge 
La La Land 
Manchester by the Sea
Nocturnal Animals 

Best production design 
Doctor Strange 
Fantastic Beasts and Where to Find Them 
Hail, Caesar! 
La La Land 
Nocturnal Animals 

So they saw Hail, Caesar, then? Then where's Alden Ehrenreich's nomination for his unforgettably charming, perfectly comedic turn??

The rest of the technical noms here.

Overall, this is... pretty weak stuff. The suspect acting nominations, the category fraud, the shutout for Moonlight in direction and editing, all points to a sweep for Step Up 9: The Emma Stone Biopic in the manner of their massive Golden Globes wins on Sunday. It looks like BAFTAs have tried a wee bit too hard to predict the Oscars, and the results, bar Emily Blunt and ATJ's nominations, utterly, utterly inspiring. 

I really hope they throw some curveballs when announcing the winners!

Film review: I, DANIEL BLAKE (Ken Loach, 2016)

Geordie Daniel Blake (Dave Johns), a lifelong carpenter who's recently suffered a stroke, is signed off work by his doctors and physios. He's a determined chap, who's unafraid of graft and unfazed when his neighbour tells him that many before him have given up due to the countless hoops they have to jump through to get Job Seekers' Allowance. But Dan soon finds that the behemoth bureaucracy facing him as he tries to sign onto JSA proves to be a more arduous task than any physical challenge he's ever been given.

He meets Katie (Hayley Squires), a single mother of two who has been relocated from London as Newcastle is the only area that can house her family in a fracas at the Job Centre. The two form a bond and Daniel's easygoing personality wins the affection of Katie's two young children. Katie tentatively tells Dan of her plans to get a part-time job and pursue an Open University degree. For the briefest of moments, the film hints at deliverance.

But sadly life isn't like that. Katie forgoes dinner in order to feed her kids and has to resort to less than ideal methods just so she can buy necessities like deodorant. Meanwhile, the Job Center continue to make Daniel jump through unfeasible hoops in order to procure his allowance. He tries to tackle every task, such as learning to use the computer, in a workmanlike fashion, but his efforts are slammed for not being good enough.

Wry laughs pepper the film. Dan's straight-talking bluntness and his endearing attempts to tackle technology are amusing, but even these funny scenes are underscored with sadness. After days of trying to sign up to JSA on the computer to no avail, his friend prints out a form the Job Centre could have easily handed to him. Ken Loach's point about the nebulous directions of those In Charge could not be clearer. 

I, Daniel Blake is a tremendously affecting, and illustrates the power of narrative cinema, when effectively handled. After all, reading an account of how some families live below the breadline in the newspaper may evoke an 'ah' from the reader, or in some cases, aversion at being preached at. But watching Daniel and Katie's daily struggles is harrowing; the sight of Katie eating baked beans from the tin out of sheer hunger in the film's most devastating scene, set at a food bank, says more than any amount of column inches could.

I, Daniel Blake illustrates what real problems are and makes the audience grateful for their lot. Dave Johns, Hayley Squires and the rest of the (unheard of) cast all give authentic, natural performances, and the dialogue between characters feel organic. You come to really feel for the central characters: Daniel just wants to be treated with respect, something the Job Centre who regard him as currency, don't afford him, and Katie, who's stoic parent would endure anything to provide for her kids. The level of pathos she incurs as she tries to fulfil this is almost unbearable.

There are a few minor missteps-- Daniel's neighbours' attempts to flog imitation trainers was an amusing sidenote, but added nothing to the film other than giving it some temporal grounding (a character refers to Charlie Adam's goal from the halfway line against Chelsea, setting the year in 2015. Stupid Courtois) The hagiography of the entire working class and depiction of everyone in management as pedantic fools obsessed with keeping Daniel trapped in the Kafka-esque web of 'The Decision Maker' was anything but subtle. Life isn't quite as black and white as that. I also felt the film ended a little abruptly, although this must have been a conscious decision on Loach's part to deprive the audience of closure, which would have been dishonest.

To its credit, the film avoids the temptation to sensationalise poverty, spoon-feeding the audience sanctimonious platitudes that might turn them off such a film and have them rolling their eyes at the contrivances on screen. Plenty of films have been guilty of going overboard in depicting the descent to hell to the point that it felt like the director was taking sadistic relish from piling on the misery. Darren Aronofsky's Requiem for a Dream immediately comes to mind.

But Ken Loach's unfussy, raw directorial approach lets the unflinching gaze of real hardship the characters are put through do the talking. A sobering, heartbreaking watch, but a topical one.

 8.5/10

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