David MacKenzie
Happiest Season is a holiday film that transcends a one size fits all, welcoming everyone home for the holidays.
Outlaw King is ambitious, striving for originality and historical accuracy, but overall fails to bring much to the table in terms of grounding its characters.
Arrival and Hell or High Water are both allegorical, effective films from last year, yet they also tend to state their themes too bluntly.
Class consciousnes and its oft-contingent condemnation of wealth was a theme at the 2016 Cannes Film Festival that one would be hard-pressed to overlook. The most obvious reason for this is the fact that Ken Loach’s poignant portrait of one man’s struggle to navigate Britain’s welfare system, I, Daniel Blake, took home the Palme d’Or. But this topic was also prominent in part because films about wealth, or lack thereof, pervaded the entire festival, spanning its various sections.
