#but when he has to try and not look at Jason whilst fighting monsters its pretty difficult to concentrate on what else is happening

[fictionalmenaremytype]

Hi there! I'm looking for directions to a 150k work - preferably on Ao3 - that's just the sun and the star, but jasico instead of solangelo and has parallels to the myth of Orpheus and Eurydice? You don't know where that is? It doesn't exist? Well that's shit.

[newworlddexterwhomes]

Why I chose these 6 artists

I have looked at all 19 artists that we have been given to look at and I have chose all the 6 artists here they are:

Frank frazetta

Now even though there is nudity in his work I really like it because the first one reminds me of two gods fighting and his art style really suits the whole mythical legends thing and it makes you feel powerless because if there was massive monsters like these in real life then we would be nothing but a bug to them it also makes me think if such creatures do exist that look a little similar to them, I've been looking at his art and he likes using creatures but I keep seeing him use snakes which makes me think that maybe Frank is trying to imply that the snake is resembling something like fate or humanity or maybe the snake is meant to be a person or a goddess for example medusa the goddess of beauty, on the second piece of art I've shared we can see the title below “Resembled man” this could mean that franks saying men can't live without females or maybe he's trying to say that females now have more rights then men because in the past they used to have less I'm not to sure but I am a big fan of the colour scheme he's used in that one because it looks like a poster that could’ve been used in the 1900′s, as for the third photo we see there is a female raising her hand to this massive goblin like creature in this swampy environment, now the big creature is looking pleased and he has a smug so what I can imagine Is that maybe the females asking help and he's laughing because they might have mistreated him, these are all just examples of what could be a secret message inside his art and the main reason I have picked Frank Frazetta as my first choice is because I think his work is very mysterious also the fact that its concept art and the fact it reminds me of gods, and I'm really into gods and mythical animals.

Arnold tsang

The reason Arnold caught my eye was mainly because he works for Blizzard entertainment and they are one of the many gaming companies I love I have played a game called Overwatch since 2016 and I have about 2 months on it in total so I have recognised his work before without knowing it was him so Its Nice to put a name to the art, on the first photo we see he has made some original art piece that is conceptual art and I LOVE character design and its one of my only things I'm half decent at when it comes to drawing so I can see why he doesn't draw backgrounds much and I can relate to that and the design does remind me of hanzo which is a character he has made for overwatch so maybe its concept art of him, and on the 3rd picture we can see that he likes anime which is nice because I think it increases your imagination and if you haven't watched anime you would think that the picture was his original designs but its actually from a show called one piece which is the longest on going series with 931 episodes so far, his work really reaches out to me as a anime fan and as a gamer, there is no reason to not like his designs as making a original character that goes far in a certain industry is one of the things I would like to do in my lifetime.

Jean giraud 

Now I love Jean’s art style a lot because I could see it in a animated music video I WISH I could make a piece as amazing as these but practise makes perfect, his work is so subliminal and the colours he uses work so well with what he does, the first piece we can see is a bit different to all the others he has done which is why I picked it, Its so cool the first piece it reminds me of a Mexican stand of and although the first piece is different from the others I am not a fan of it because what makes Jean unique is his art style so when he uses a normal art piece then it doesn’t really interest me as much so I would say that the first one is the worst out of the three, as for the second one I think it is my favourite because I can imagine the man that is sitting next to the very odd creature to be a messenger or a traveller of some sorts, we can see that he is playing with string whilst the creature is charging so we can assume that the creature isn’t living and maybe the mans a mechanic, there can be so much story in one person and I love it character design and animation are the things I want to focus on most, and as for the last picture it reminds me of games such as a game called sky and mineforger and spiritfarrer or Legend of Zelda breath of the wild and maybe the face in the wall is a gate to a secret place, the things around it remind me of adventure time, in all he is a great artist but I do think he should stick with what he’s good at by using his art style and not the one he used in the first photo.

Simon stålenhag

Now Simon’s work is out of the ordinary compared to all the recent searches I have done, now the reason why I think this is because all the other people I’ve researched are character designers but as for Simon his work looks so real and I cant tell how he has succeeded in doing this maybe the background is all real and then he’s drawn the rest either way he has done an amazing piece of art, out of all 3 of these photos I think the first one is the best the lighting in the photo is so amazing and reminds me of a apocalyptical theme and sci fi, Simon is a great concept artist and I'm not to sure what to say about him because I love the whole fact of people theorising are life and when they make it look real it makes the theory more believable, this work is great but its nothing I would have made personally because I am no where near as talented as Simon at this date and age.

Jason Chan

Jason does amazing artwork and has made many comics and finds inspiration from many things for example on one of the pages I viewed about him he said he found inspiration from a game called Shadow of the colossus and I find that amazing as that is one of my favourite games made, I’m not sure what his actual job is but on his artstation page there is a lot of league of legend art work and I have just found out that Jason is Principal Visual Development Artist with Riot Games, the reason why I like Jason’s work is because its not realistic but its more character design instead of any background art which I prefer because I can see characters in any type of background and characters have more story to them whilst a building would just slowly rot and then be rebuilt so its much more eye catching for me for example we can see on the third picture that this girl has a chill personality because she has a no expression on her face and we can also see that she has as pet cat in her backpack so if this was a fantasy world then maybe the cat could be holding some kind of power inside of it, also we can see on the first one that this is a piece that looks like a god so maybe it could be used to create fanart of LOL = League of Legends or maybe Jason will use it for future reference, altogether I love his work but I haven’t noticed it in most things as I am not into the game but I am glad I have stumbled across such an amazing artist and I would gladly look at his work in the future and his work has got me more interested in the game.

Dylan cole

Now the reason I have picked Dylan cole is because he is a very different artist compared to all the other ones I have researched, he studies more on the background and he mainly focuses on a fantasy world with unrealistic events for example as we can see on the third picture I have imported for Dylan that he was the creator of the background for Alice and the Wonderland (If you didn’t know a place like that wasn’t real), now the reason why I like his art is because its more of a 3D perspective than 2D and the fact that its not a realistic scenery but one that you will never see in your life time ones that you would see in games like an MMO or a RPG or ones you would see in films that have been put in from 3D artists when the actors couldn’t see what was happening, although I will always love character designs over background these are the backgrounds I want Involved with the characters, I have done some more research and have found his website https://dylan-cole-j5dx.squarespace.com/ here you can find all the things he’s worked on such as Avatar and Maleficent and many more.

Out of all the six artists I think that Jean Giraud Is my favourite as there is a lot of beautiful colours in all of there paintings and art projects, I truly think you could make a great story that would get may people hooked in one glance at it, I hope I see more of his work in the future as I never have seen him before doing the research for this homework.

[thomcoldman-blog]

My 10 Favourite Games Of 2017

This list was originally posted on the forum Resetera, but I felt like putting it up here too, with a little more insight into why I liked these games so much, and so they don’t get lost in the muddle of forum posts. Enjoy!

10. Snake Pass (Sumo Digital; Nintendo Switch, PS4, Xbox One, PC)

Sumo Digital has been a developer I've admired for years, particularly for their work on the Nintendo-tier kart racer Sonic & All-Stars Racing Transformed. Snake Pass is their first independently-produced title, and it has a great hook - the player controls a snake in much the same manner as a real snake might move. There's no jump button, no Earthworm Jim spacesuit, just the power to raise one's head and the strength to grip tightly to any object you've coiled around. There's no timer or enemies; Snake Pass is content to let you explore its levels at your own pace, letting you getting used to its unique feeling and take in the calming David Wise soundtrack. It's a game that feels like learning to ride a bike again, and the progression in ability over time is such a pleasing sensation that it earns it its place on this list by itself. The good use of collectables and generous helping of levels is icing on the cake.

9. Wolfenstein 2: The New Colossus (MachineGames; PS4, Xbox One, PC)

B.J. Blazkowicz returns and he's lost all meaning of subtlety whilst he's been out of action. Wolfenstein 2 shoots all of its shots - the action is bloody, explosive carnage, and the subject matter isn't satisfied with just skewering Nazi idiocy and narcissism, taking time to shine a light on White America's love affair with sitting back and reaping the rewards of compliance under fascist rule. Whether it's exploring B.J.'s broken psyche, giving Wyatt a crash course on hallucinogenics or putting you under the spotlight in a terrifying audition, MachineGames refuse to pull their punches, each great moment coming swinging like B.J.'s Nazi-reprimanding fireaxe. The combat encounters are far from polished, with stealth being heavily nerfed from The New Order and the half-way shift in tone from borderline-satirical diatribe on mortality and American race relations to comic-book capers is incredibly stodgy, but Wolfenstein 2 leaves a hell of an impression all the same. Shame about that credits music.

8. Gorogoa (Jason Roberts; PC, iOS, Nintendo Switch)

A good puzzle game can make a really strong impression, guiding you subtly by the hand to make you feel like a member of MENSA just for pressing a few buttons or prodding at a screen. With Gorogoa, I can't even begin to describe how the puzzles actually work. Imagine a window segmented with 4 panes of glass, and now imagine you can drag elements out of those panes and into other panes, or over where there isn't a pane to create a new pane... See, it’s hard! In as simple terms as I can muster, it’s a game about taking the world apart and putting it back together again to create paths and progress for your anonymous young hero. It’s intensely abstract, yet the South Asian aesthetic feels like a living locale, an exploration of a boy's days-to-come. It's a short experience, but with each puzzle solved making me feeling smarter than Albert god damn Einstein, it's one that will stick with me for a long time.

7. Splatoon 2 (Nintendo EPD; Nintendo Switch)

Like pretty much everyone, I didn't own a Wii U, but the sting of that decision never really happened until the arrival of Splatoon - Nintendo's first proper new "core" universe since what felt like Pikmin. It instantly looked like sheer fun - and as a big fan of both Jet Set Radio and The World Ends With You, it was clear as day Nintendo's younger designers were picking up the Shibuya fashion torch those games dropped behind them. Put simply, it's totally my shit. Splatoon 2 confirms my suspicions and then some, being the first multiplayer title I've enjoyed online in forever. I can't get enough of the soundtrack, the sound effects, the amazingly catty banter between Pearl and Marina, and just the feeling of dropping into ink, strafing around a sucker and blasting them straight between the eyeballs with my N-ZAP '85. 20% of Switch owners in the US can't be wrong.

6. Yakuza 0 (SEGA; PS4)

The only games I've played previously by SEGA's Toshihiro Nagoshi are the brilliant arcade/Gamecube bangers F-Zero GX and Super Monkey Ball 2, plus his one-off PS3 sci-fi shooter Binary Domain. Loving those 3 wacky games, I always felt a little put-off by his regular gig nowadays being a series about Japan's most decorated crime organisation, and a bare-knuckle brawler at that. Yakuza 0, the 80s-set series prequel that serves as a perfect entry point for series newcomers, proved my suspicions ill-founded. It's a game which instantly casts the majority of the yakuza as control freaks and bullies, pits its protagonists Kiryu and Majima as their unfounded targets and pawns... and then lets you fight your way out of hell via brutal finishing moves, bizarrely complex business management sidequests and, if you're so inclined, a gun shaped like a giant fish. It's that kind of game that always keeps you guessing whether or not you should take it seriously, and so it wins you over with its best-in-class action choreography, astonishingly good direction and a never-ending deluge of sidequests, minigames and challenges. Don't sleep on Kamurocho.

5. Sonic Mania (SEGA/Christian Whitehead/Headcannon/PagodaWest Games; Nintendo Switch, PS4, Xbox One, PC)

If you’re reading this, you probably know I'm a Sonic apologist. I don't really stand by the 3D entries - bar Sonic Generations, which I genuinely love - but the narrative that "Sonic was never good" is some ridiculous meme that I can't stand. They were genuinely fun games, albeit far from perfect; every game can use some improvement. Sonic Mania is that improvement, spinning the level themes and gimmicks from the original Mega Drive (and Mega CD) games into vast new forms, with myraid routes, tons of secrets, an astonishing sense of speed from beginning to end and fairer, more agreeable, more exciting level design. Old locales, new levels - oh, and some new locales as well, one of which (Studiopolis Zone) is an instant classic. 16:9 presentation, all new animations and crazy levels of animation detail, and a mind-blowing soundtrack by Tee Lopes - Sonic Mania is the perfect Sonic game.

4. NieR: Automata (Square Enix/PlatinumGames; PS4, PC)

For my first foray into the sunken mind of Yoko Taro, he couldn't have left a better impression. NieR: Automata uses Platinum's engaging-at-worst, thrilling-at-best melee combat as the language to tell his new story of how pointless it is for anyone to even bother throwing themselves after ideals of society or humanity, and why it's worth trying all the same. Every inch of this game feels crusted in Taro’s sensibilities, with the no-bullshit 2B and her curious whiny partner 9S running into robots waving white flags, avenging fallen comrades, establishing monarchies, throwing themselves to their deaths, and coming to terms with their crumbling existence in apocalypse.  It's crushing, it's raw, it's often dull, but its uniquely bleak vision of AIs breaking free of their programming has a grip as powerful as a Terminator's. And when it’s ready to let you go, it has you send it off with the most memorable credits sequence in history. Glory to Yoko Taro, glory to PlatinumGames - glory to mankind.

3. The Legend of Zelda: Breath of the Wild (Nintendo EPD; Nintendo Switch, Wii U)

Standing in the centre of a bridge connecting Hyrule’s broad, emerald green fields to the desert mountain approach, a bridge overlooking the still Lake Hylia, I fire an arrow into a lizard bastard’s head, or at least I try to. He dodges it and rushes me, forcing me to jump away and retaliate with my claymore. Out for the count, I resume looking for the lost Zora wife I’ve been asked to seek out, who apparently washed all the way downstream in a recent downpour. I can’t see any wife - my entire view is dominated by the giant green dragon snaking across the night sky above me. The wind picks up, but I am too awestruck by its presence to take note that I could glide up to it and shoot off a valuable scale. Instead, I just stand and stare, this utterly unexpected moment happening before my eyes. Friend or foe? A boss monster, perhaps? A vital story element later on? The answer ended up being none of the above: in The Legend of Zelda: Breath of the Wild, there be dragons, and that fact in and of itself speaks volumes about what this game is about. After 30 years, Hyrule finally feels alive.

2. Night in the Woods (Infinite Fall; PS4, Xbox One, PC, Mac, Linux, Android, iOS)

Very few games instil a genuine emotional response within me, but the story of Mae Borowski's no-fanfare return from college to suburban gloom resonates hard with me. It's an expert at the little touches - the needless-yet-fun triple jump, the not-so-starcrossed rooftop musicians, the impulsive reaction to poke a severed arm with a stick - and woefully precise with its big swings, like an upsetting cross-town party, a wave of violent frustration amongst the townspeople, and the inability to just lay it all on the table with friends and family when you need to most. In the cosmic dreams of shitty teens, Night in the Woods finds an ugly beauty in depression. 

1. Super Mario Odyssey (Nintendo EPD; Nintendo Switch)

It’s impossible to deny 2017 has been the year of Nintendo. There’s plenty of celebrate elsewhere, but the Switch’s rise to prominence as the machine to be playing ideally everything on, and the amount of absolute smash hits Nintendo has producing this year makes it hard for the narrative to focus elsewhere. The epitome of all this is their final killer game of 2017: Super Mario Odyssey, the grand return of a more open-ended style of Mario platformer. A true blue achievement in joyous freedom, it brings together everything from Mario's history of 3D platforming - 64's freedom, Sunshine's other-worldliness and sky-high skill ceiling, Galaxy's spectacle, 3D World's razor-sharp platforming challenge - and throws into one big pot, creating a Mario where both the journey and the destination are one and the same, and exciting to the very end. In a year of amazing games that hit upon horrid, upsetting themes with delicate, pinpoint accuracy for tremendous success, I’m not sure whether it’s a shame or an inevitability that such an unapologetically surprising, happy game made the biggest mark on me this year, but either way, I’m welcome to have Mario be truly Super once more.

[shepgeek]

Film Review of 2016

Disappointments

Since everyone seems so keen to dispatch 2016 asap, let’s start on the downers!

2016 has definitely had its occasional moments but we seem to be fast converging on a generic blockbuster soup. The year was littered with blockbusters which had both impressive visuals and charismatic performances but also had nothing new to say, beyond sticking a franchise marker in the ground (Doctor Strange, Fantastic Beasts, Ghostbusters, Kung Fu Panda 3, Warcraft, Jason Bourne, The Magnificent Seven & even the largely over-praised Civil War). Whilst all of these films passed the time well & were basically enjoyable, there is the ever-increasing whiff of missed opportunity around the primary Hollywood fare. Less successful were Independence Day: Resurgence (distracting but pointless) and X-Men Apocalypse - an uneven, florid and unexpected misfire, although nowhere near as far behind Civil War as was generally made out.

Meanwhile, over in the DC Universe, Warner Brothers kept fumbling what should be their easiest win. From a low start, Batman vs Superman fades badly on repeat viewings (even the ballyhooed Special edition). There are definitely no problems in their casting department and I remain a fan of Cavill; his mournful look in the courtroom is played magnificently. Ben Affleck’s Batman was expertly portrayed but bore almost no resemblance to the essence of the character that I for one love, delivering in his place a psychopathic fascistic jackass who was a far cry from the world’s greatest detective. How we’re supposed to root for him then or in the future is a mystery - I would honestly take Clooney’s portrayal over this. Poor Affleck - he delivers what he is given magnificently; blame the architects and not the builder. Gal Godot’s cameo keeps me hopeful that Patty Jenkins may just save the whole damned thing with Wonder Woman next year, but Warners are certainly running out of strikes. The idiotic shambles of Suicide Squad was only barely saved from one-star dreck by the huge charisma of Will Smith & Margot Robbie, and whatever spark the concept started with seemed produced and edited into manufactured oblivion. To make it worse, DC’s TV shows remain such charming and silly fun: I wonder how much appetite standard audiences still have for the upcoming JLA films.

Arrival came trumpeted with massive critical heraldry but I was greatly disappointed.  I found it derivative (Torchwood: Children of Men with the pilot & finale of DS9) and, as with The Martian and Interstellar, flirted with scientific ideas (which film reviewers mistake for “intelligence”) only to discard them for woolly sentimentalism. Only Zemeckis’ Contact reigns supreme in this expanding genre of science storytelling and, even though the performances in Arrival were compelling, the film (albeit decent) left me greatly frustrated.

Another smash hit that I did not care for was the Secret Life of Pets, a tedious and rambling Toy Story knock-off (though my daughter loved it so what do I know?) but nothing compares to the real disappointment of the year- Swiss Army Man.  My take was this: a smug, cold, flimsy and empty experience, it became the first film I’ve walked out of.  Ever.  In fact I did so about 5 minutes before the end, since I knew exactly where it was going and was so disengaged that it was only going to annoy me. I should add that I do like very much that the film exists and I could imagine friends and reviewers whom I respect loving it (as many did) but it bounced off me completely and ultimately left me irritated and even a little angry.

  Moments

In the midst of an uninspiring year for cinema, there were still a few moments which blazed through the repetitive fug & reminded me how joyous cinematic storytelling can be. Spielberg’s BFG had many such notes, from the visual poetry of the Giant silently twirling through the shadows of London to the childish joy of the whizzpopping Queen. Other moments of delight included the moment of “Hang on - are they doing this? - oh Yes They Are!” when the Beastie Boys’ bassline kicks in during the final act of Star Trek Beyond and, whilst The Revenant may have been a tad indulgent, the bear attack had me yelling at the screen.  Any scene featuring Flash the Sloth in Zootropolis was laced with comedic genius whilst our arrival in the city, combining Shakira’s perfect pop with gorgeous animated depth and colour, was magical. Ryan Gosling’s masterclass of toilet gunplay clowning in The Nice Guys was only topped comedically by the rampant and prolonged genius of the game of “Would that it were so simple” tennis in Hail Caesar! But narrowly pipping that for my cinematic moment of the year though, was Lord Vader himself.

I feel conflicted over Rogue One as ultimately it is yet another film which exists because it can, not because it needed to. To note the lack of comment about the unsettling fake Peter Cushing (squarely in the uncanny valley) after the shrieking which greeted the prequel trilogy’s “Dodgy CGI!” headlines perpetuates the accepted myth that those films are disasters to discard  but I see little difference.  Rogue One is another three star entry to the saga; I’d put it on a level with Attack of the Clones in terms of quality, ahead of Phantom Menace. Disney have a whole Galaxy to explore but choose to sustain the increasingly weird trend of aping preceding classics with an echo instead of trying out a new voice. Quite what Joss Whedon made of the final act is anyone’s guess: “the feisty rebels fight their way past a space armada (losing comedy relief Alan Tudyk along the way) to climb a radio antenna so they can send out the message to topple the evil empire” rang a few bells with me anyway. Rogue One also felt choppily re-edited (what was with the psychic space octopus?) whilst the new characters didn’t really land at all.  Indeed directly after leaving the cinema I (and all of my party) struggled to name any of the characters (Erm…. Jinn, the moustache guy, the blind guy, his mate, the pilot, Forest Whitaker, the funny droid, the small thing that looked like a testicle…).  Despite this problematic emotional deficit we were treated to some glorious set pieces and nicely pitched beats, but when Darth Vader’s lightsaber illuminates his terrifying visage we are treated to a moment of cinema as resplendent in its awesomeness as it was shamelessly gratuitous.  After my considerable mithering about not being able to share Star Wars with my children last year it was almost a relief to see such a grim conclusion (No Way is it suitable for under 10s) but it makes me return to my wondering of who Disney are making these films for.  Episode VII is rumoured to be “darker” still; where is the cheerful space-fairy-tale where we all started?  Eventually they’ll stray too far from Lucas’ indelible first film (still the finest of the lot, for me) and step back cinematically but they run the risk of increasingly diluting the specialness of the whole thing. The fun “Star Wars Rebels” TV show fills a bit of this gap but even that has clouds of doom in the background (although seeing Chopper & The Ghost in Rogue 1 was a nice touch). Maybe after the sad loss of Carrie Fisher last week now isn’t the time to whinge about gloom in the Star Wars Universe, but I feel that my love for the franchise is certainly starting to be tested.

The year in numbers

Number of films seen: 93

Way down on other years- I blame box sets).

Number of ***** films released in 2016 : 0

This happened in 2011 too, but I’d normally expect at least 3.

Number of 2016 releases seen: 32

 About par for the course.

Number of cinema trips:29

Again about my average: I’ve been to the cinema 188 times in the past 6 years.

Number of new films seen:51

I’m improving here, which pleases me.

 Most anticipated for 2017

Baby Driver

Edgar Wright’s films are ace (except that one which I don’t mention since people shout at me).

 La La Land

This looks gorgeous and I thought Whiplash was sensational.

 Logan

I like everything about how this looks.

 A Monster Calls

Original storytelling! Yes!

 Paddington 2

Obvs.

 Star Wars Episode VIII

A New Hope?

 T2: Trainspotting

Hugely exciting- these film makers have only grown more talented in the past 20 years.

20 years.

Gods I’m old.

 Thor: Ragnarok

My favourite Marvel franchise goes comedy-space loopy. Has the potential to be my favourite of them all.

 Wonder Woman

I love this character and I want my daughter to as well. Get this right DC. Please.

-----------------------------------------------------------------------------------

 Missed during 2016 but would like to have seen:

Allied, the Big Short, Finding Dory, Midnight Special, Money Monster & Passengers. I also did not see either Room or Spotlight, because I was never in the mood for the grimness of either.  Look, I’m busy and I’ve turned 40. Can you tell?!

  Top 10 films of 2016

Bubbling Under: The charming and colourful Moana and also Kubo and the Two Strings were superior family fare whilst The Jungle Book was an immersive treat.

 10        The Revenant

Technically stupendous but also oddly emotionally detatched and often needlessly arty- truly great cinema puts storytelling before craft and allegory with the latter drawn from the former (if it can) and I felt that, despite the stupendous cinematography and artistry on display, that beauty was sacrificed for emotional or narrative strength- certainly for plausibility. I’ve had these issues with Iñárritu before, but there is no denying the fact that this remains a remarkable piece of cinema.

9          Deadpool

Actually a bit more sharp than I’d first realised and a clever piece of programming, but still not what it could be if it halved the budget and really cut loose.

#driveby

8          10 Cloverfield Lane

The main problem is the name (It has nothing to do with the 2008 film and I was always waiting for them to tie together), but the claustrophobia and paranoia are immersive, shocking and unpleasantly tense.

7          The Hateful 8

A trifle indulgent at times, but a terrific theatrical experience.

6          The BFG

Not as comedic as you’d think, with a pervasive melancholy vibe of loneliness, guilt and regret emitting from the screenplay, lead actor and the director. It takes a while to get going and doesn’t aim for huge emotional sweeps, but the patient craft of Spielberg is clear to see. The BFG is lovely filmmaking with a real gentleness at its core and it will only grow in reputation over time. Also features explosively farting Corgis.

5          Star Trek Beyond

The best Blockbuster of the year I was surprised and delighted to see how much it grew on repeat viewings. This warm and witty love letter was assembled at huge pace but it made for a thrilling piece of cinematic escapism. A considerable improvement on its predecessor, the highlights were the pairings of the characters, especially Spock & McCoy. They did fudge the character of Kirk a little in order to both complement the story’s main theme & provide a suitable reflection in the villain and as a result Kirk is, paradoxically, the least convincing part of the piece but, after a terrific and assured finale and beautiful grace note for the 50thAnniversary, the films ends perfectly with the whole crew, as it should.

4          Hail Caesar!

Another film that gets better the more you think about it, Hail Caesar! loves movies almost as much as its protagonist and this feels like one of the Coens’ more personal films. Their goofy wit is littered throughout it and it nods to cinematic tradition constantly, including some wildly unnecessary set pieces which spectacular and as fun as there are knowingly indulgent.

3          The Nice Guys

Quintessential Shane Black it may be, but his voice is so distinct and entertaining that a film with this level of charisma is hard to take against, no matter how familiar the ingredients might be.

2          The Man who Knew Infinity

A truly delightful surprise, I was expected this to be a guilty pleasure (given my love of Maths and knowledge of the subject matter) but instead I was treated to a terrific piece of film making: quiet, earnest, substantial, well acted and gracefully told.  Seek it out! It may appear like a generic biopic but the subtle exploration of Ramaujan’s talent and his faith and the search for absolute truth in both Mathematics and Religion that connects him to Hardy (along with circumstance) is well rendered. It is certainly considerably superior to the Imitation Game.

1          Zootropolis

So Disney has eclipsed Pixar- that Lassiter dude certainly knows what he’s doing.

I’m pretty amazed to see this as my film of the year, as it is a kids’ film, a cartoon. And yet, when I look back on everything I’ve seen over the past 12 months, it is the one film which made me smile the most and it continues to grow on repeat viewings (which my children beg for).  It is kind of expected that incredible colour, imagination, design and wit are de rigueur in these films but not only does Zootropolis get all of these ingredients exactly right, it sneaks in small hints of profundity. After a year in which unsavoury debates have been poisoned by irrationality, this film, without every threatening to be preachy, gently illustrated to my children exactly the message I needed them to see. The core of the film concerns how we can get judged by what we are, not who we are or what we do and even both protagonists, who are wildly different, fall into this trap during the course of the story.  Judging a book by its cover is in our DNA but reflecting on how we process this instinct is something that struck a chord with me, long after my first viewing. Concepts of “Them and Us” are challenged directly but without ever lecturing or straying from the narrative or the wit.  The film is subtly layered both narratively (themes of exclusion and lack of purpose are examined through deft comedy) and visually (a quick rewatch of the final 10 minutes allowed me to spot nods to Speed and The Empire Strikes Back) and the music and humour are hugely pervasive.  It is no masterpiece but is certainly the film I needed in 2016.

This may be a cheesy way to finish the year but the lyrics to the (frighteningly) catchy main song from Zootropolis contains a message for Film Producers (despite being sung by an alarmingly sexy gazelle):

“I want to try everything, I want to try even though I could fail;  I’ll keep on making those new mistakes.”

I’ll take more Swiss Army Men every now and then if it leads to more Whiplashes.  Let’s hope to see cinema trying everything in 2017.

Happy New Year!