I know this was the arthouse darling of 2016 but I wasn't terribly impressed either by its crude comedic touches or by its supposedly timely but equally glib critique of globalization's undue influence on personal relationships. One might also ask whether Ade's choice of a high-ranking corporate climber as one of the film's two protagonists (the other being her old hippie father) is the best representative of manifold victims of globalization that she purports to give voice to. I expect its "relevance" will prove to be as dated as that of Moonlight, the other (if more mainstream) critical favorite of last year. @Moose Malloy recommended it highly but I must say I liked its technical achievement more than its take on colonialism, which despite its indigenous-majority cast (setting aside actual casting choices) is yet another stale rehashing of white man's burden. Agreed. Works effectively as a horror flick but if Jordan Peele's intent, subliminal or not, was to channel Bigger Thomas of Native Son (by Richard Wright - I'd be surprised if Peele had never read the book) he badly missed the mark. Disagree. With the only possible exception of the second Huntsman installment Passengers to me was the most underrated movie of 2016. In terms of moral intelligence (the predictable grousing about its "sexist" treatment of the female character notwithstanding) Tyldum's sci-fi fantasia outstrips all of the Star Wars franchise put together and improves upon his more commercial (and thus more decorated) Imitation Game. You should see it. Not only does it present a thread of history unfamiliar to most of us, it also doesn't flinch from exploring uncomfortable ethical issues (former child Nazis are the clear victims here) while avoiding the kind of feel-good "rewritten history" that makes light of fascism a la Tarantino's execrable revenge fantasies. The kind of history-lesson movies I can get behind. It may not be for kids but given its complex questions about life at its highest and lowest I don't see how Taste of Cherry fails to qualify as a "family movie." I'd certainly watch it again rather than go see just about every studio movie out there for the first time. Before his untimely death last year Kiarostami was arguably the greatest of all living filmmakers and Cherry is indeed one of his best. Highly recommended for viewers of all (perhaps but the earliest) ages. Shaw, who wrote the script himself along with three other (credited) writers, reportedly resented having to provide a happy ending, but I'm sure he got a last laugh of sorts when Doolittle doesn't exactly come running to Higgins for a studio-friendly happily-ever-after. And yes, both Hiller and Howard are perfect in their roles. Everyone knows the latter's turn as Ashley Wilkes in Gone with the Wind, but don't miss his equally memorable performance in The Scarlet Pimpernel as the title character posing as a suave dandy. Plus Merle Oberon is ravishing here as his unsuspecting wife Lady Blakeney. Been meaning to see this since forever. Maybe I'll finally give it a go. Might share some thoughts on a few worthy recent titles. Stay tuned.