The critical to reveal the film they want to win the best picture

The arrival

The updating of the fake film, which has provided Argo with its title, no science fiction film has ever won the Oscar for best picture. The arrival is the perfect film to address it. Not only is Denis Villeneuve’s thoughtful sci-fi puzzle politically relevant in the era of the Trumpet, his first contact premise provides a framework for spectacular visual effects, the narrative intelligent and deeply moving performance of Amy Adams as a language expert have to communicate with the film of the tentacle-clad alien visitors. As they trigger complex thoughts about the shape of his character in his life terminally ill daughter, Adams grounds the film emotionally, which allows him to pull off a subtle dazzling twist that makes the whole record. Oscar-winning movies tend to look to the past. Arrival look at the past, the present and the future and the points of view of it all as one. It is a giant of a tale leap worthy of recognition. Alistair Harkness, The Scotsman

Clair de lune

The concept of Moonlight, using three actors to represent the protagonist at three stages of youth, sounds stagey: it was adapted from the play by The light of the Black Moon Boys Look Blue by Tarell Alvin McCraney. But Barry Jenkins ‘ film about a sensitive boy growing up in the drug-soaked Miami of the 1980’s is cinematically expressive and emotionally real. With fragments of the work of the camera, reflecting Chiron is often disturbed by the prospect, Jenkins built a sincere yet, including ambivalent coming-of-age and coming-out story that has tough things to say about the construction of african American masculinity. Manchester by the Sea is also touching; The Land is also clever, but the light of the Moon may correspond to one of the other candidates in a crowded best picture category for the clarity of Jenkins, the vision and the delicacy of the performances by Alex Hibbert, Ashton Sanders and Trevante Rhodes. Kate Taylor, The Globe and Mail

Manchester by the Sea

This is one of the most beautifully written of the photos I’ve ever seen or heard. Every word, even the most mundane, shapes, characters, their fate, and our perception of their lives and their actions. This amazing film text gives birth to a be constituted of a film. Kenneth Lonergan is a playwright and screenwriter, but in three films, he became one-of-a-kind director, who shall exercise his actors and actresses to get them terribly sincere performances and put in a perfectly defined environment. This constant attention to detail is the tool that enables Lonergan to get to the heart of the mysteries he explores: why we love, why we hurt those that we love, and how can we live with the pain, ours and that of others. Manchester by the Sea is a dark story which, paradoxically, illuminates the lives of those who see it. Hope that the members of the Academy are photosensitive. Thomas Sotinel, The World

The The Land

Until now, The Land ” has been the front runner for the best film at the Oscars, and for good reason: Damien Chazelle candy color of the musical, which refers not only to the MGM grand’s song and dance films of the 1950s, but the pensive, pastel-hued meditations of Jacques Demy – enhances a well-loved Hollywood genre with bravura brush strokes. But The Land also plays as a love letter to a medium that Chazelle sees clearly at risk. Ryan Gosling’s character, a jazz musician, with tetchy purity standards for the kind of music he likes, but that could have been a film-maker who sees such advances as digital cinema and home entertainment centers to the ambivalence, if not outright grief. Technically and thematically, The Land checks just about every box for the members of the Academy who no doubt admire Chazelle’s energy and prowess and sharing her passion for cinema as an art form, emotional, driving and the endangering of the cultural practice. Ann Hornaday, chief film critic, The Washington Post

Hacksaw Ridge

You can not like Mel Gibson too much, but after having seen the Hacksaw Ridge, the film that brought him back into the Hollywood of the acceptance, you simply cannot deny his qualities as a filmmaker. There is a brutal frankness of his narrative, that other directors shy. This true story of Desmond Doss, a conscientious objector who served heroically as a physician in the hell of Okinawa, is a classic of the war film where it is necessary to Save the soldier Ryan. By choosing this topic, a man who would not touch a weapon, Gibson deftly turned his own penchant for violence, so often condemned, in one of the strong points of the film, which allows him to stay away from the very thing that it shows. The film convincingly shows that there can be heroes in real life in the cartoon world, and Gibson gets a better performance from Andrew Garfield here that Scorsese has made in the Silence. Therefore, it is not progressive? Hacksaw Ridge is, ultimately, a faith in the film and what he believes is courage. David Sexton, London Evening Standard

Fences

Denzel Washington is the adaptation of August Wilson’s Fences up in the Pulitzer Prize-winning play of the whole scene, yet manages to avoid the pitfalls that often befall stage-to-screen adaptations. Instead of opening the game with new scenes, director of Washington and his director of photography Charlotte Bruus Christensen to open the frame around the actors, positioning them so as to make the mountains of dialogue that they utter as visually cinematic as possible. This focus on the actors as they powerfully deliver Wilson’s words and emotions is a lost art, reminding the viewer of the works by Sidney Lumet and Billy Wilder. Fences made of universal his bitter overview of the difficulties of the 1950s, working-class african-Americans. Wilson’s Message is beautifully rendered by the career-best performances from Washington and Viola Davis. If I had seen the play, this film haunted me more than any fiction 2016 movie I’ve seen. Odie Henderson, Rotten Tomatoes

Hidden Numbers

The best films show us our shared connections. They remind us of our humanity. They tell stories that move us. Although not many films are able to accomplish this feat, Masked Figures absolutely. The film tells the story of three African-American women who are experts in Stem (Science, Technology, Engineering and Mathematics). We see so few women at the display of work in these areas, and even fewer who are african-American. And the fact that this is a true story, but most are not familiar with, is outrageous. We have been deprived of this amazing story about women of color too long. But the film does not dwell on the fact that history has ignored these women’s valuable contributions. By Masked Figures ‘ emotions, wonderful actor, and a joy, we become part of the story and are taken on a journey with these women, which culminates in one of the greatest feats of humanity: a person to go into space. Hidden Numbers teaches us is that man makes of space thanks to the calculations of a incredibly brilliant african-American woman. With its success at the box-office, Hidden Figures proved that the public is hungry for these types of stories, and just like The Right Stuff, it will be a film about the struggle to obtain the space that will last for future generations. Melissa Silverstein, founder and editor-in-chief, Women and Hollywood

Hell or High Water

‘Muscular film-making”, is one of those film-critical clich้s that gets spat out as often as “a rollercoaster thrillride” and “Fun for the whole family!” but Hell Or High Water is really just. Muscular film-making, it is not Fun for the whole family!’ Heavy and exciting, featuring performance impact of an Oscar veteran (Jeff Bridges) and the Oscar unavoidable (Chris Pine and Ben Foster), it tells a worthwhile story of cops and robbers, of age and youth, of reverse mortgages and, uh, angry, armed to possess. The writer Taylor Sheridan – who also gave us Sicario – we brings real characters with real depth, and British director David McKenzie (Starry, Young Adam) runs each stage of the modern Western thriller with such confidence that you’ll swear he was born and grew up in Texas itself. Beautiful, sophisticated and exceptionally rewatchable, it is eminently Oscar-worthy, and well, muscle, the production of films. Ali Plumb, the Radio 1/1Xtra film critic

Lion

Unequivocally worthy of the Oscar for best picture, the Lion is beautiful, brilliant, and easily one of the most important films of the year 2016. Inspiring and amazing as it can be, which makes Saroo Brierley’s story so powerful is that it is also universal. You don’t have to be a young boy lost in India, namely, the fear of separation, or adopted child of a continent from home in the year for a connection to its roots. This is the Lion of the activity – it is intrinsically related to every man, woman and child in the world. At a time where the global dynamics (in particular those concerning foreigners) are evolving at a breakneck pace, for a film to avoid borders and to embrace these basic human truths, that the house and the love is deeply needed. Timeliness alone, however, does not make it a movie, the best of its year. Expert craftsmanship, superb cinematography, and stellar acting all the world must contribute. In the Lion, they do, and the result is a true, poignant, and urgent film nonpareil. Zach Hollwedel, staff writer, Under the Radar