Montreal Magnum

With two feet firmly planted in the historic noir genre of the 1940s and 50s, Joel and Ethan Coen went about making their first feature film, Blood Simple.. Though it was not, by any means, that ‘simple’. Creating a trailer long before production (it has Bruce Campbell in it – who never appears in the final motion picture), strangely enough, it does not feel entirely compatible with their final product, but somewhat like a distant relation to the iconic cult horror classic Evil Dead. On the advice of Sam Raimi (director of the above mentioned movie – who helped advise the brothers), the Coen’s went door to door with a projector and their trailer, seeking out investors. Think of it as the original GoFundMe. In just over a year, they raised the needed capital and got to work on their film – which, in case you thought that I made a mistake up above, contains a period after ‘Simple.’. A striking neo-noir, the title comes from an old Dashiell Hammett novel, "Red Harvest", a term that highlights the muddled, jittery and anxious mindset of people who have had a protracted immersion in violent affairs.

Providing us with a window into a more than hairy situation, writer/director Jeremy Saulnier in many ways thrusts us through said glass directly into a predicament that no one would want to be placed in. The movie is 2015's Green Room, a horror thriller that follows a struggling heavy metal punk rock band – its members being Pat (Anton Yelchin), Sam (Alia Shawkat), Reece (Joe Cole), and Tiger (Callum Turner), as they learn that their most recent gig has fallen through. Tad(David W. Thompson), a radio DJ, suggests they head to a small secluded club where his cousin Daniel can set up a performance for them. Desperate, the group, who are running very low on cash, take the tip, making the somewhat lengthy drive into the severely wooded area. More than pleased that they have a paid show, they don’t care that it is at a neo-Nazi skinhead bar, while youthful exuberance even has them daringly perform a cover of Dead Kennedys’ "Nazi Punks Fuck Off". Though some beer bottles are thrown (clearly pissing off the politically right leaning patrons), things turn out okay, with their original material eventually winning the crowd over.

Revelling in the mysterious aura that it builds, Jeff Nichols’ Midnight Special is a love letter to the science fiction films of the 1970s and 80s. Bringing to mind motion pictures like Close Encounters of the Third Kind and E.T. The Extra-Terrestrial, the story begins in earnest as we join Roy (Michael Shannon) and Lucas (Joel Edgerton) – the pair have kidnapped Roy’s son Alton (Jaeden Lieberher) and are now being chased by a number of spooks. Roy has nabbed the boy out of the long clutches of his adoptive father, Calvin Meyer (Sam Shepard), the leader of The Ranch – a cultish group of religious individuals who have spun their lives around the happenings of the mystifying Alton. Meyer has sent two of his most trusted underlings to recapture the boy.

Utilizing the same name as the quaint village in which it is set, Manchester by the Sea depicts the lives of a family struggling with the recent death of a father and brother. The story follows Lee Chandler (Casey Affleck), a man wallowing in a morass of pain, sorrow and apathy. The quiet, introverted gent works as a handyman in Quincy, Massachusetts, though soon gets a call that his brother Joe (Kyle Chandler) is in the hospital. Rushing to Manchester, with its clapboard houses and brisk, windy, wintery weather, he is too late. Having the unenviable task of tracking down his nephew Patrick (Lucas Hedges) to tell him the dispiriting news (he finds him at hockey practice), he soon discovers that his brother has left him in charge of raising the sixteen year old. While in the picturesque locale, people point, stare, whisper and snarl at the former resident (a mystery that will, in its own fine time, be revealed).

Based upon a stage play, Denzel Washington utilizes August Wilson’s adaptation of his own drama Fences to tell an engrossing story of an African American family growing up in the 1950s. Both literal and figurative, Troy Maxson (Washington) is building a fence in his backyard, though it is also a symbolic barrier placed up to guard against his own projections of the impending Grim Reaper (fighting off a serious case of pneumonia, aka. Death, at a young age, he is constantly vigilant for his return – though not afraid in the least). He enjoys the chess match that they play over time. It is also a powerful allegory for the walls he builds between himself and different members of his family. On the opposite spectrum, it is also a way for his wife Rose (Viola Davis) to put up something that will protect her family, keeping them safe on the inside, while keeping unwanted dangers at bay.

Filmed with visual panache, Eran Creevy’s Welcome to the Punch gives London a cold, austere blue hue, helping depict a complicated, crime-filled world. Our lead is officer Max Lewinsky (James McAvoy), a man who is haunted by a mistake made in his past. Nearly catching notorious criminal Jacob Sternwood (Mark Strong), instead, he finds himself with a bullet in his leg and then reprimanded for disobeying orders. Now a shell of his former self, he has lost the fire that once drove him, trudging through life in a haze of pain and apathy. Paired with a partner, Sarah Hawks (Andrea Riseborough), who has the drive that he once had, she is constantly fighting his indifference.