Some entries in the largely undistinguished dysfunctional - family - holiday - film subgenre — The Family Stone (also with Keaton) and Jodie Foster's Home for the Holidays, to name two — are watchable despite their forced zaniness and
predictable emotional beats; the spectacle of attractive stars packed into the frame to act out universal problems (meddling parents, sibling rivalries, unfulfilled romantic and professional lives) has its charms and comforts.
With magnificent turns by Miles Teller and J.K. Simmons (the latter especially, who should be considered for Best Supporting Actor once we fast - forward seven months from now), and a well maintained adrenaline rush by focused directing and excellent editing, the only reason Whiplash isn't in the Top 10 is because of it's noticeably poor depiction of women and
predictable emotional beats.
Not exact matches
Cretton works well in tightly focused
emotional hothouses; handed a decade - spanning commercial saga, he falls back on
predictable storytelling
beats and easy ironies.
Black Panther's third act is less impressive by comparison, as the movie's action gets bogged down in CGI overload and its plot
beats lack the
emotional resonance of earlier moments, either because they are rushed or a bit too conventional (re:
predictable).
Wreck - It Ralph hits all the
emotional and narrative
beats from Screenwriting 101, but it does it so skilfully that the film never feels
predictable.