As we continue to look back at the last 10 years of movies, it’s time to point out the ones that fell between the cracks. It wasn’t easy narrowing down our list of under-seen gems to just 15, but we are fairly confident about the ones we’ve chosen. The selection process stemmed from personal taste, word-of-mouth, lack of awards contention and the impact I believe these movies will have in the years to come. They may be going unnoticed as we speak, but there’s no reason why their greatness will be avoided in the years to come, especially as time slowly but surely builds a case for them.
“A Most Violent Year”
Five Years on, J.C. Chandor’s “A Most Violent Year” remains one of the most underrated films of the decade. You know that saying, ‘they don’t make them like they used to’? Chandor’s immaculate portrait of greed and corruption in ’80s NYC feels like the best film Sidney Lumet never made. Set in 1981 New York, when the city was suffering from intense daily violence and crime, a fuel supplier (Oscar Isaac) tries to adhere to his own moral compass amid the rampant violence, corruption, and decay that threatens his family and his business. His fuel drivers keep getting robbed, but, ignoring the advice of his Lady MacBeth-like wife (a powerful Jessica Chastain) he refuses to arm and defend his territory. Chandor continued to show his talents for expertly choreographed, hold-your-breath action sequences. Aided by Bradford Young’s immaculate camerawok, this is a movie that shows the chops of a confident maestro, a filmmaker who is in total control of his mise-en-scene. It's an epic and visceral saga, the kind of movie that feels like it is part of a bygone Hollywood era, one in which smartly-delivered drama used to be the norm.
“Krisha”
Some of you may have missed out on 2016’s hidden masterpiece, Trey Edward Schults’ “Krisha.” However, there is a vocal fanbase behind the film and many are starting to see Shults as one of the most talented young indie filmmakers to come around in ages. “Krisha” was a movie that defied standard film experiences, feels way ahead of its time, and could prove to be, in the forseeable future, a pivotal moment in film history. A scathing, Kubrick-ian vision of a family reunion from hell, “Krisha” not only turned out to be a miracle for the work of art that it was, but it also felt damn near miraculous to have such an intimate and independently financed film, shot in nine days with a cast consisting mostly of Schults’ family, existing in the current cinematic zeitgeist.
“Fury”
The brutal horrors of war are all over in David Ayer’s “Fury,” a visceral depiction of the final months of World War II in Nazi Germany. Depicting the tank crews that served during the war, Ayer’s depiction of the disillusionment that comes with serving and experiencing battlefield horrors is a pure adrenaline rush. The five-man Sherman tank crew (played by Brad Pitt, Shia LaBeouf, Logan Lerman, Michael Peña & John Bernthal) is led by ‘Wardaddy’ (Pitt) and puts together a heroic attempt to hold their position despite being heavily outnumbered and outgunned by the enemy. Pitt, one of the best actors alive, is perfectly cast as the heroic and fearless figure. Rarely has a film captured the viewpoint of a tank crew in such gripping fashion. This is a war movie that feels so real it closely veers towards horror. It’s as loud, intense, violent, and relentless an account of war as we’ve seen this decade.
“Warrior”
Warrior delves into the world of mixed martial arts in such raw and undeniably entertaining ways. As a distanced father, Paddy (Nick Nolte) sees his two sons, Brendan (Joel Edgerton) and Tom Conlon (Tom Hardy), in desperate need for cash, enlisting in an MMA tournament. The family has been torn apart by abuse, alcoholism, and abandonment, but Paddy believes that this could be a good chance to reconnect with Brendan. Bad idea. Paddy trains Tom for the tournament while trying to reach out to Brendan. The two underdogs face some of the toughest MMA fighters on the planet, but the real struggle seems to be happening at home. Forget about the clichéd climax; what makes “Warrior” impactful is the path to redemption that all three of the main characters seek. Nolte, in one of the best performances of his career, makes this family drama entirely gripping as the core DNA of the tale.
“10 Cloverfield Lane”
It’s always an opportune time to remind our readers that John Goodman deserved an Oscar nomination for his terrifying performance in 2016’s underrated ’10 Cloverfield Lane.’ A wholly original genre hybrid from director Dan Trachtenberg, and rooted in psychological tension, the film has Michelle (Mary Elizabeth Winstead), after a serious accident, find shelter in a bunker with Howard (Goodman), a stranger who informs her that she is safe with him and that the world outside is inhabitable. Should he be trusted? Filled with considerable dread and mystery, 10 Cloverfield Lane never needed to be associated with the “Cloververse”—it’s far better than that. As a standalone genre title, it encompasses shock after shock, twist after twist, in such artfully twisted ways that it, more or less, shatters your nerves. Goodman’s Howard is the character that keeps the stakes riveting, an unpredictable, monstrously imposing man with more than his fair shares of demons.
“The Mule”
Eastwood has built up a considerable fanbase over the last five decades. His name is now synonymous with and represents many values within that base; they will go see whatever movie he directs or stars in just purely based on those beliefs (“Gran Torino,” The 15:17 to Paris,” American Sniper,” “Sully”). However, more importantly, “The Mule” proved Eastwood could still make relevant movies at the twilight of his career. In his first starring role since “Gran Torino,” Eastwood played Earl, an AARP card-carrying patriot in a tough financial situation who decides to become a carrier of drugs for a cartel, which brings Earl closer to his estranged family, but at a cost. This was fantastic, a straight-shooting drama that could only be made by an old-school veteran of the craft. “The Mule” amassed a domestic total of $103 million against a budget of just $50 million. It wasn’t just because it was Eastwood, but because the movie was actually very good. That’s right, it proved that the 88-year-old writer-director-actor-composer was still a major attraction for moviegoers nationwide.
“Blue Ruin”
There is something entirely captivating in watching a film as little and unknown as “Blue Ruin”. Debut director Jeremy Saulnier crafted something very unique, a film that grew in impact the more it went along. Saulnier doesn’t necessarily adhere to any conventions, as he has a bigger plan. “Blue Ruin” is very much a “crime” film that infuses a boatload of originality to reinvent that aforementioned genre. Saulnier properly structures his narrative to intrigue us from the very first shot as a beach bum (Macon Blair) finds out his parents’ murderer is getting out of jail after a 20-year stint. He hops on a stolen car and travels back to his hometown of Virginia with revenge on his mind. Saulnier obviously owes much to the early crime works of Tarantino and the Coen brothers, especially “Blood Simple,” which this film has clearly been much inspired by. Saulnier was obviously a talent to watch and he followed it up with the equally excellent and viscerally violent picture, “Green Room.”
“The Founder”
John Hancock’s “The Founder” barely had any traction when it was released in December 2016. This was a well-made and gripping portrait of the greed that seeps through the cracks in this country. Ray Kroc (Michael Keaton) plays the titular “founder” (more of a schemer), who found his way to stealing the labor of love built by the McDonald brothers in San Bernandino, California to build up his own empire. The McDonald brothers didn’t want to franchise as they wanted to keep their integrity intact, not to mention the lack of quality control when you franchise fast food. Kroc didn’t listen to them; although he convinced them to open up another McD’s location in a small Illinois town, he hid the fact that he was expanding to 19 other States. Yes, Hancock’s film follows a familiar trajectory, but the story itself is fascinating and wholly American. There is plenty of stinging cynicism in Robert Spiegel’s (Big Fan, The Wrestler) screenplay. The American dream, although a beautiful and resonant idea for the values of this country, can produce toxicity of the highest levels as seen here.
“Columbus”
Jin (John Cho), a Korean-born man, arrives in Columbus, Indiana, one of the great architectural cities in the world, where his legendary architect father is in a coma. He meets Casey (Haley Lu Richardson), a young enthusiast of his father’s, who wishes to pursue her dreams outside of the small city but is burdened to take care of her recovering addict mother. The bond these two lost souls create in this magical city of architectural heaven is not just touching, but has a surreal aspect to it that makes the viewer feel as if they just got lost in a dream. Columbus, Indiana’s famous modern architecture, is featured prominently throughout as Casey guides Jin to her favorite spots. Their corresponding conversations, filled with cigarette smoke, gradually become more detailed and more revealing. Director Kogonada, in his impressive debut, conveys emotion through sight and sound. He turns out to be a master of not just visual setting, but of conversational filmmaking, and his “Columbus” might just be a masterpiece.
“Wakefield”
The most underrated and underappreciated movie of the whole year. ”Wakefield” is a movie for its time, as Howard Wakefield, a New York City lawyer, decides to shelter himself in the attic of his home for weeks. He does come out in the daytime when his family is at work and school. It’s a withdrawal from a society that matches the scary era we live in. This would not be as fascinating if its central performance wasn’t as fully fleshed out as Bryan Cranston makes it. In the best performance of his career on the silver screen, it’s made even more impressive by the fact that he is mostly alone for the majority of the film, but what he does is never less than riveting. He infuses his character with humor, heartbreak, and scathing cynicism. His Howard Wakefield is not necessarily a man one is supposed to like and, in many ways, he represents a kind of anti-hero that not many actors could pull off. Robin Swicord, mostly known for her screenplays such as “The Curious Case of Benjamin Button” and “Little Women,” shows a surprising amount of restraint compared to her previous works. Here she makes a film stripped of artifice designed to ponder deep, humane questions about existence. With an ending meant to spark debate and cause both anger and provocation in its audience, Wakefield fights formula and creates its own unique cinematic language.
“Killer Joe”
William Friedkin’s “Killer Joe” got the dreaded NC-17 rating upon its release. Rightfully so, as a lot of the things we see are quite honestly shocking, especially its disturbing finale, which blurs the lines between good and evil. A cop (played by Matthew McConaughey), also moonlighting as a hitman, agrees to kill the hated mother of a desperate drug dealer (Emile Hirsch) in exchange for a shot with the young man’s virginal sister (Juno Temple). McConaughey is scary good as a crooked cop, who rivals in perversity Harvey Keitel’s 5.0 pervert in “Bad Lieutenant,” in a performance that will be talked about for years to come (at least I hope). Friedkin directs with flair this tale about the dark side of humanity and how far we would go for the sake of greed. If you want to get provoked, just like all the other films on this list, seek this one out.
“The Edge of Seventeen”
A new, unique female voice is discovered in “The Edge of Seventeen.” Writer-director Kelly Fremon gives us an incisive look at female teenage-dom. Nadine, a never better Hailee Steinfeld, is already an awkward and isolated high-schooler when she finds out her best friend is dating her older brother, which sets up a chain of events that feels both unexpectedly moving and hilarious. A geeky boy in her class (Hayden Szeto) seems to be the escape she needs, although she isn’t sure if she actually likes him. Oh, to be a teenager. The top-notch cast is rounded out by Kyra Sedgwick, playing Nadine’s mom and Woody Harrelson as Nadine’s History teacher, and mentor. The Edge of Seventeen is the most John Hughes-esque film to come around in quite some time. It feeds off of the awkwardness of its characters’ plights, but also humanizes them in ways that are so rare for the teen movie genre. You could tell Fremon brought some of her own personal experiences to the table for the film, which is also the funniest movie I have seen so far in 2016.
“Searching”
“Searching” has been dubbed the movie “that’s completely set on a computer screen.” Ok, fine. However, an inventive gimmick can only go so far if the story doesn’t evolve or make you care for the stakes at hand. In his feature debut, Aneesh Chaganty, a former Google commercials creator, overcomes those hurdles with this touching and tense movie worthy of Hitchcock. It uses all the technological forms of communication at our disposal to tell a whodunit that keeps you guessing until the very end. Despite the aforementioned “gimmick,” Chaganty’s movie is very much cinematic. The brilliance of “Searching” lies in the way David works his way around Margot’s social media network to find his own clues. He scrambles through his daughter’s Facebook, Gmail, Videocast, and Instagram accounts and logs in to find messages, and reach out to acquaintances that might know a thing or two about the last night she was seen. As with any parent diving into their child’s social media world, David finds out things about his daughter that make him second guess her honesty, and make him and Rosemary second guess their instincts about what really happened. Chaganty and co-writer Sev Ohanian deliver wonders on both the technical and narrative ends of “Searching,” but editors Will Merrick and Nick Johnson do an astounding job as well. How some of the scenes were pulled off is still a mystery to this critic, and all the better for it, as the film has plenty of flair and tension to suck just about anybody into its story. “Searching” does begin to lose steam near its very end, but nonetheless, the twists keep it fresh, alive, and clickable.
“The Way Way Back”
A solidly crafted film with top-notch performances, “The Way Way Back” stars newcomer Liam James, Steve Carell, Sam Rockwell, and Toni Collette, a great cast that has a ball delivering their performances. Under the direction of Nat Faxon and Jim Rash (“The Descendants”), James plays Duncan, an introverted teenager who goes on vacation with his mom (Collette) and her douchebag boyfriend Trent (Carell, in an unexpectedly devilish performance). Trent has his friends come over to the vacation home for a 24/7 adult drinking party, leaving Duncan feeling isolated and wanting to escape. Enter Sam Rockwell’s Owen, owner of a local water park who takes Duncan under his wings. The bond between Owen and Duncan is what drives the film. Owen is a middle-aged schlub that doesn’t really care much for his responsibilities. Yet, there’s an enduring likeability to him that you cannot deny. Rockwell, truly one of the best actors around, excels at conveying a relaxed and comedic performance. A film this smartly written and filled with this many great performances deserved an audience.
“Limitless”
Eddie (Bradley Cooper) is a sad-sack loner, an author with major writer’s block, who is urged to try a drug that gives him a razor-sharp mind. As he makes progress in the stock market, he attracts the attention of a few negative elements from the deep state and pharma. This is the movie that claimed that humans only use around 20 to 30 percent of their brain capacity (something scientists dispute), but the minute Cooper’s bummed out loner writer takes an illegal drug that makes you use your brain in its entire capacity, you don’t care about the lack of realism, in fact, you totally get sucked into the labyrinthine ride director Neil Burger constructs for us. Suffice to say, the film is quite entertaining as it zips zaps through frenetic speed and rarely lets up.
“Bellflower”
Billed as an apocalyptic romance, Evan Glodell’s “Bellflower” earned its fair share of good reviews, as well as an Independent Spirit Award nomination, though it still seems to have totally bypassed movie fans this decade. Director/Writer/Editor/Star Glodell made a film that worked as an anti-arthouse romance film, with enough eccentricity to also work as an homage to “The Road Warrior.” This is a movie that found Glodell and his crew building one-of-a-kind cameras to deliver a unique visual experience involving two apocalypse-obsessed dudes, a heavily modified car, and a seemingly doomed relationship. “Bellflower” actually tapped into a lot of ideas, maybe too many, but it never felt anything but compelling. Made on a shoestring budget, the film is rough around the edges, but also intensely wonderful to look at as a visual oddity with a lot of ambition. It also features a cinematic vehicle that could have become iconic if the film had received more considerable attention — who can resist a 1972 Buick Skylark equipped with flamethrowers and referred to as Mother Medusa? That’s right, absolutely nobody.
“The Front Runner”
Jason Reitman's "The Front Runner," Based on Matt Bai‘s “All the Truth Is Out: The Week Politics Went Tabloid,” is a depiction of the events which led Gary Hart, a front-running Presidential candidate back in 1988, to resign his nomination after news of illicit adulterous affairs, with a number of women, came to light. The media pounced on the opportunity to cover the story, this was the beginning of a ratings-obsessed media spectrum that would sacrifice ethics for low-brow journalism. I was surprised by the general lack of enthusiasm for this forcefully entertaining and relevant picture. The reviews were mild, a 64% fresh rating on RottenTomatoes and a 60 on Metacritic, huh?! Did we watch the same movie? I'm sorry folks, but I saw this film as a prophetic statement on the death of actual journalism, showcasing the date, time and year that it happened: May 3rd, 1987, the day Presidential candidate Gary Hart's scandal was first reported by the Miami Herald. The whole nation followed suit soon after. Time will be kind to Reitman's film, but, right now, with a President that is consistently attacking the likes of CNN and MSNBC as "fake news," nobody wants to watch a movie about the demise of ethically-driven journalism. In a few years, people will re-evaluate Reitman's film for what is: a great movie.
“Logan Lucky”
“Logan Lucky” is Steven Soderbergh’s first film following his so-called “retirement,” which always seemed like an extension of Soderbergh performance art. Now that his Cinemax TV series “The Knick” has been, frustratingly canceled, the 54-year-old writer-director has come back this summer, ready to add more to an impressive filmography. What we have with “Logan Lucky” is a highly entertaining heist movie, set in the NASCAR world, starring Daniel Craig, Adam Driver and Channing Tatum. This was dubbed Ocean’s 7/11 by some, but instead of Danny Ocean’s slick Hollywood gang, there’s the Logans, a family living on the rundown hills of West Virginia. Tatum’s Jimmy Logan is fired from his job and decides it’s time to turn his family’s luck around by employing Redneck Robbers in a plan to steal more than $14 million at the Charlotte Motor Speedway. The heist itself is expertly crafted and features some of the most joyously entertaining sequences this year. There’s an abundance of giddy joy on-screen and the filmmaking is, as always with Soderbergh, infectious. You never really went anywhere, but, regardless, welcome back, Steven.
“Indignation”
James Schamus’ directorial debut is a thing of beauty. Although this particular love story might be thought of, on-paper at least, as “conventional” by some, the surprise is that it’s far from it. In fact, some of the movie’s breathtaking set pieces are so daringly imagined and produced. Based on the late Phillip Roth’s difficult, but brilliant novel, “Indignation” is set in the late ‘40s and concerns a Jewish student’s (Logan Lerman) sexual and cultural dissatisfaction of a society gone astray. The small Ohio college he decides to attend wakes him up in life-alarming ways so does a troubled, attractive blonde played by the talented Gloria Gadon. There’s no way around her for this brilliant student.
“Bernie”
Tackling the real-life story of a Texan man who shot and killed a “companion” in the back, you might expect this to be one of the darker films in Linklater’s filmography. Suffice to say, what we got instead was quite possibly the most likeable murder-mystery in cinema history. Bernie Tiede, as played by a never better Jack Black, was a well-liked church going fella who didn’t seem to have a bad bone in his body. What led to him committing such a terrible crime? Linklater and Skip Hollandsworth’s screenplay tries to dissect the events and come to understand the mindset of a murderer. However, like most of the director’s movies, the answers don’t come easy. It’s a fascinating look at human nature and, if, at first, it seems like unfamiliar territory for Linklater, it couldn’t be more relevant to the themes and questions he’s been seeking answers to his entire career.