{"id":2926,"date":"2016-12-08T22:19:19","date_gmt":"2016-12-08T22:19:19","guid":{"rendered":"https:\/\/thunderbird.tv\/2016\/12\/08\/the-new-york-times-best-movies-of-2016-toni-erdmann\/"},"modified":"2016-12-08T22:19:19","modified_gmt":"2016-12-08T22:19:19","slug":"the-new-york-times-best-movies-of-2016-toni-erdmann","status":"publish","type":"post","link":"https:\/\/thunderbird.tv\/2016\/12\/08\/the-new-york-times-best-movies-of-2016-toni-erdmann\/","title":{"rendered":"The New York Times’ Best Movies of 2016 – Toni Erdmann, Paterson"},"content":{"rendered":"

The New York Times<\/em><\/p>\n

The film critics of The New York Times \u2014 Manohla Dargis, A. O. Scott and Stephen Holden \u2014 share their picks for the best movies of the year.<\/em><\/p>\n

1. \u2018NO HOME MOVIE\u2019<\/strong> This was the final feature from Chantal Akerman, who died of an apparent suicide in 2015. Akerman explained that \u201cNo Home Movie\u201d was about rooms and faraway places but \u201cabove all\u201d about her mother, Natalia, a Holocaust survivor, \u201cbut not only.\u201d It was also, Akerman wrote, about love and loss. She was presumably speaking about her mother, although of course she was also speaking for us, those who loved the daughter.<\/p>\n

2. \u2018TONI ERDMANN\u2019 The filmmaker Maren Ade\u2019s latest is a perfectly directed and performed movie about a father, his daughter and the ludicrous gag teeth that help close this pair\u2019s generational, economic and social divide. It couldn\u2019t be timelier in how it considers the consequences of neoliberalism, wherein all human interactions are reduced to market relations, but it also has a beat you can dance to.\u00a0<\/strong><\/p>\n

3. \u2018MOONLIGHT\u2019<\/strong> Bathed in blue and anguish, Mr. Jenkins\u2019s elegiac film traces a single life across three chapters. There\u2019s much to love and admire about this haunting movie, including its lapidary visuals. Here, every moment \u2014 light flooding a darkened room, an oceanic baptism<\/a> and a halo of shampoo crowning the head of an abandoned child \u2014 speaks more eloquently than most of its dialogue, though the words are very fine, too.<\/p>\n

4. \u2018O.J.: MADE IN AMERICA\u2019<\/strong> There\u2019s a tradition of documentaries that dig into their subjects episodically, sometimes at monumental length. Such is the case with Ezra Edelman\u2019s \u201cO.J.: Made in America,\u201d which for close to eight hours takes up the case of O. J. Simpson \u2014 his football glory years, infamous murder trial and tawdry aftermath \u2014 to create a titanic inquiry into race, class and celebrity in the United States. Race may be a construction, but it is one that Americans continue to live and die by.<\/p>\n

5. \u2018MY GOLDEN DAYS\u2019<\/strong> The director Arnaud Desplechin beautifully transcends the usual romantic clich\u00e9s with a deeply moving, exquisitely directed tale of young love and the lessons never learned.<\/p>\n

6. \u2018I AM NOT YOUR NEGRO\u2019<\/strong> In his thrilling documentary, Raoul Peck closes the divide between the personal and political through a portrait of James Baldwin. Expressively narrated by Samuel L. Jackson, the movie largely draws on Baldwin\u2019s own writing \u2014 as well as material like his F.B.I. files \u2014 to create a portrait of a man that turns into a harrowing indictment of his country.<\/p>\n

7. \u2018ARRIVAL\u2019<\/strong> The E.T.s in Denis Villeneuve\u2019s twisty science-fiction heartbreaker don\u2019t want to phone home, but they would really like to get someone on the horn. As she often does, Amy Adams comes to the rescue. Among the movie\u2019s pleasures is a creature design that at last breaks with H. R. Giger\u2019s slavering aliens.<\/p>\n

8. \u2018THE HANDMAIDEN\u2019<\/strong> Set in Korea in the 1930s, the latest from Park Chan-wook involves two women, one a Japanese heiress and prisoner, the other an impoverished Korean con artist who could pick pockets for Fagin. Their delectable relationship takes them and the movie to places you might not imagine, while advancing an argument about gender, desire, erotica and pornography that is more complex than the movie\u2019s slickness suggests.<\/p>\n

9. \u201813TH\u2019<\/strong> In her ferocious, intellectually galvanizing activist documentary, Ava DuVernay takes a hard look at race in the United States through the 13th Amendment of the Constitution. You may think you\u2019ve heard it all before; you haven\u2019t.<\/p>\n

10. \u2018FROM THE NOTEBOOK OF \u2026\u2019<\/strong> One of the high points of this year\u2019s New York Film Festival<\/a>, this 48-minute masterwork from Robert Beavers is quite a few years old but new to me. (It was apparently finished in 1971 and reworked in 1998.) Here, Mr. Beavers considers the nature of cinema using light and shadow, various mattes and apertures \u2014 including a window spilling sun on a desk \u2014 a meditation that at times has the quality of a holy confession.<\/p>\n

\n
\n

Other Loves<\/h4>\n

\u201cAquarius\u201d (from Kleber Mendon\u00e7a Filho); \u201cAutumn\u201d and \u201cThe Dreamer\u201d (Nathaniel Dorsky); \u201cBagatelle II\u201d (Jerome Hiler); \u201cCertain Women,\u201d especially Kristen Stewart (Kelly Reichardt); \u201cCreepy\u201d (Kiyoshi Kurosawa); \u201cThe Fits\u201d (Anna Rose Holmer); \u201cThe Illinois Parables\u201d (Deborah Stratman); \u201cInto the Inferno\u201d (Werner Herzog); \u201cJackie\u201d and \u201cNeruda\u201d (Pablo Larra\u00edn); \u201cKrisha\u201d (Trey Edward Shults); \u201cLa La Land,\u201d if mostly its finale (Damien Chazelle); \u201cLoving\u201d (Jeff Nichols); \u201cMountains May Depart\u201d (Jia Zhangke); \u201cPaterson\u201d (Jim Jarmusch)<\/strong>; \u201cSunset Song\u201d (Terence Davies); \u201c20th Century Women\u201d (Mike Mills).<\/p>\n<\/div>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

The New York Times The film critics of The New York Times \u2014 Manohla Dargis, A. O. Scott and Stephen Holden \u2014 share their picks for the best movies of the year. 1. \u2018NO HOME MOVIE\u2019 This was the final feature from Chantal Akerman, who died of an apparent suicide in 2015. Akerman explained that … Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[1],"tags":[],"acf":[],"yoast_head":"\nThe New York Times' Best Movies of 2016 - Toni Erdmann, Paterson - Thunderbird Entertainment<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thunderbird.tv\/2016\/12\/08\/the-new-york-times-best-movies-of-2016-toni-erdmann\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The New York Times' Best Movies of 2016 - Toni Erdmann, Paterson - Thunderbird Entertainment\" \/>\n<meta property=\"og:description\" content=\"The New York Times The film critics of The New York Times \u2014 Manohla Dargis, A. 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