#theaarons2016

[myhahnestopinion]

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.

[myhahnestopinion]

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.

[myhahnestopinion]

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. 

[myhahnestopinion]

THE AARONS 2016

It’s the 2016 Aarons, celebrating the best and worst of film and TV in 2016!

[myhahnestopinion]

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. 

[myhahnestopinion]

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.

[myhahnestopinion]

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.

[myhahnestopinion]

THE AARONS: Best Supporting Film Performance

Last year, I lumped all actors into one category, but this year I decided to create a separate category for lead and supporting roles, in order to better recognize the multitude of incredible, diverse performances in 2016. Here is The Aaron for Best Supporting Film Performance:

WINNER: Mahershala Ali as Juan - Moonlight

I was first introduced to Ali through his incredible performance in Marvel’s Luke Cage earlier in the year, but his turn as Chiron’s surrogate father figure in Moonlight is absolutely magnetic. Ali’s soulful, caring, and charming performance is deeply moving, and although Juan only appears in the first of the the film’s three chapters, Ali’s presence lingers over the rest of the film, and in the minds of viewers for a long time after.

HONORABLE MENTIONS:

John Goodman as Howard Stambler - 10 Cloverfield Lane

Goodman delivers a fantastically creepy performance as the paranoid Howard, whose deeply disturbing psychology is carefully reveled over the course of the film.

Alden Ehrenreich as Hobie Doyle - Hail, Caesar!

One doesn’t need to look any further than the “Would that it were so simple” scene to understand that Ehrenreich’s performance is the most hilarious character of the year. After seeing this film, its easy to get excited over Ehrenreich inheriting the Han Solo role in 2018.

Tom Bennett as Sir James Martin - Love & Friendship

A painfully awkward performance in the vein of Ricky Gervais, Bennett’s performance is the source of the film’s heartiest laughs.

Naomi Harris as Paula - Moonlight

Harris’ Paula is one of the main connective tissues between the film’s three segments, and she is deftly able to provide the deep, complicated emotional connection that this role necessitates