Best Movies of 2. Every December it bears repeating: Anyone who thinks this was a bad year for movies simply hasn’t seen enough. In an age of binge- viewing, a preponderance of must- see premium cable shows and, hell, even smartphone apps that command far more attention most feature- length achievements, the true range of quality cinema is often obscured by the noise of an ever- cluttered media landscape. To really assess the state of modern movies, one look beyond the obvious. Sure, it was a weak year for movies that stand out mainly due to star power and sizable marketing budgets, but those options represent only a small fraction of the marketplace.

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The film festival circuit provides an ideal alternative to conventional channels for discovering movies worth talking about all year long — and, if they’re lucky enough to land distribution, they quality for year- end celebration on lists like this one. This year, every single finalist for my list of the year’s best surfaced at a major festival and, in most cases, found its way to theaters later on. None of them were safe commercial bets; in fact, their cumulative box office figures might paint a dreary picture of this art form’s commercial viability, but that picture’s only one small piece of a much bigger puzzle. Movies that challenge conventions, throw people off and leave them uncertain about what they just experienced are often the ones most deserving of celebration. READ MORE: New York Film Critics Circle Names ‘La La Land’ Best Film Of 2. Moonlight’ and ‘Manchester By the Sea’ Earn Three Awards. My list showcases a lot of movies that struggled to get out there, that don’t work for everyone, that provoke strong debates — and yet I’m entirely comfortable deeming them the year’s best.

Consensus is boring. If anything here provokes disagreement, it only strengthens the vitality of these great works. If there’s a theme running through them, it’s the anxiety of modern times. Our society is increasingly shaken by unexpected developments — as evinced by Donald Trump, Brexit and the Chicago Cubs alike — and many of this year’s best movies speak to that queasy feeling of a mysterious world and the surprises it offers us. These stories involve characters adrift in uneasy settings where the boundaries between reality and fiction dissolve, leading to uncertain quests for an elusive truth. Not everyone finds it.

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• "Moonlight," "Jackie" and "Certain Women" are among the 16 best movies of 2016 listed by IndieWire film critic Eric Kohn.
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The Eyes of My Mother,” “Nuts!”, “Manchester By the Sea” and “The Lobster”The following list is ranked. It requires a few caveats to acknowledge some runner- ups. First off, my curatorial approach takes into account factors such as balance and scope. There are plenty of first- rate efforts that would rank highly on my list were there not other, similar titles that I appreciate just a touch more (thus, “The Witch” gets the horror slot over “The Eyes of My Mother,” and “Swiss Army Man” beats out “The Lobster” in the quirky, allegorical fun department). While I’ve expanded the list beyond the usual top 1. These include the Coen brothers’ delightful spoof of the Hollywood dream factory “Hail, Caesar!” and Penny Lane’s inventive semi- documentary of an infamous snake- oil salesman in “Nuts!”, both of which speak to ideas reflected throughout this list.

Manchester By the Sea” is an expertly- scripted look at living with grief, and “The Lobster” (which surfaced on a version of this list earlier in the year) excels at exploring the catharsis of escaping an oppressive society. Prisoners Full Movie In English. See them all. Above all, this list reflects a wildly complex year of cultural experiences, when society was turned upside- down and the movies anticipated as much. They are a mirror to the world we live in now. Lists are inherently limiting, so you can expect to see a lot of them these parts as we spread the love around. Other voices from the Indie.

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Wire team will weigh in throughout the week, and this article will be updated with links. For now, here’s this critic’s final assessment on the best movies released in 2.

Arguments are welcome, but readers quick to pass judgement are encouraged to track down all these titles first. Certain Women”“Certain Women”IFC Films. Kelly Reichardt continues to show her mastery of American isolation with this adaptation of Maile Meloy short stories. Each of the film’s three chapters speak to a sense of dislocation among working class figures in Montana. In a year in which working- class frustrations reached a fever pitch, it couldn’t be more topical. Reichardt’s anthology approach is riddled with ambiguous confrontations: With the plight of a bored lawyer (Kristen Stewart) teaching adult education classes and the lonely ranch hand (Lily Gladstone) who falls for her, Reichardt constructs her best two- hander since “Old Joy,” while the attempt by a married couple (Michelle Williams and James Le Gros) to acquire ancient sandstone from an older man subtly addresses inter- generational conflicts. But the movie’s true power comes from its bookends, in which a confident legal adviser (Laura Dern at her best) deals with a disgruntled blue- collar man who goes postal after his company cheats him out of settling for a workplace injury.

The mounting rage of an angry older white man, and the struggles of Dern’s character to console him, gives “Certain Women” an astonishing degree of insight into the divisiveness of American society. The Witch”Anya Taylor- Joy in “The Witch”Billed as a “New England Folktale,” writer- director Robert Eggers’ accomplished feature- length debut manages a tricky balance: On the one hand, an elegant period piece about the dissolution of a New England family circa 1. Almost exclusively set at a drab cabin and the ominous woods surrounding it, the movie’s minimalist approach doesn’t lack for authenticity, as Eggers relies on court records and other documents to script the dialogue along with costumes from the period in question.

The effect is a haunting narrative of otherworldly forces made especially scary due to the realism surrounding them. Paired with Nicolas Pesce’s astonishing debut “The Eyes of My Mother,” it’s exactly what the horror genre needs right now — a genre- busting jolt of fresh blood and original storytelling.

Toni Erdmann”“Toni Erdmann”On paper, writer- director Maren Ade’s “Toni Erdmann” has a simple premise: After the death of his dog, lonely single parent Winfried (Peter Simonischek) shows up in the big city to attempt to win back the affections of his estranged adult daughter Ines (an astounding Sandra Hüller), wearing disguises so he can follow her around town without her friends and co- workers figuring it out. Drawn out to two hours and 4. German filmmaker’s long- awaited follow- up to 2. Everyone Else” becomes something much subtler and perceptive than its rudimentary set- up would suggest. Ade’s epic two- hander about family dynamics has payoff in its ambition.

Both a touching account of father- daughter estrangement and a sly corporate satire, “Toni Erdmann” wrestles with big issues through a surprisingly intimate lens, in an uneasy balance that reflects its characters’ unstable lives. At first, I wasn’t entirely convinced that it justified the heft, but “Toni Erdmann” has stuck with me in the months since I first saw it at Cannes, its layered narrative gradually revealing its masterstrokes in retrospect. That’s the mark of a genuine cinematic achievement. Uncle Kent 2”“Uncle Kent 2”Factory 2. Cool, cinema is dead,” reads the tagline for “Uncle Kent 2,” citing a tweet- reaction to the film’s existence.