Here’s one last, irreverent look back at the highs and lows of the 2016 movies:
Best comic-book movie: “Captain America: Civil War.”
Worst comic-book movie: “Suicide Squad.”
Most insufferable comic-book movie: “Batman v Superman: Dawn of Justice.”
Most self-aware comic-book movie: “Deadpool.”
Most unnecessary comic-book movie: “X-Men: Apocalypse.”
Most worn-out film genre: Comic-book movies.
Read more: Our picks for the best movies of the year
Best special effects: “Doctor Strange.”
Best reason to go see “Rogue One: A Star Wars Story”: Those last five minutes. Man!
Biggest missed opportunity: The decision to release Ang Lee’s 3-D, 4K “Billy Lynn’s Long Halftime Walk” in plain old 2-D.
Second biggest missed opportunity: The paucity of songs in the live-action “The Jungle Book.”
Worst videogame film adaptation: “Warcraft.”
Best videogame film adaptation: No such thing exists yet.
Best animated movie: “Kubo and the Two Strings.”
Most surprising animated movie: “Zootopia.”
Most disappointing animated movie: “Finding Dory.”
Raunchiest animated movie: “Sausage Party.”
Best performance stranded in a so-so movie: Isabelle Huppert in “Elle.”
Best thriller set inside a confined space: The first 90 minutes of “10 Cloverfield Lane.”
Most elegant revenge tale: A seamstress (Kate Winslet) gets even with the townspeople who wronged her as a child in “The Dressmaker.”
Most convincing evidence that just because everyone loves watching funny cat videos online doesn’t mean you can spin a movie out of them: “Keanu.”
Most outlandish premise that made for a surprisingly good movie: Daniel Radcliffe as a farting corpse in “Swiss Army Man.”
Best celebration of old-fashioned exploitative violence: “Green Room.”
Funniest comedy nobody saw: “Popstar: Never Stop Never Stopping.”
Best one-joke comedy: “Florence Foster Jenkins.”
Best reminder that Kate Beckinsale can do a lot more than slay vampires in a cookie-cutter franchise: Whit Stillman’s “Love & Friendship.”
Worst trailer: The preview for the World War II thriller “Allied,” starring Brad Pitt and Marion Cotillard, gave away so much of the story you didn’t need to see the actual movie.
Most intriguing sci-fi movie that completely imploded in its final 15 minutes: Jeff Nichols’ “Midnight Special.”
Best emotional explosion: Viola Davis dressing down Denzel Washington over his philandering in “Fences.”
Best reason to stock up on Kleenex: The ending of “Me Before You.”
Best Miami homeboy made good: Writer-director Barry Jenkins, who catapulted onto the A-list of American filmmakers with his second movie, “Moonlight.”
Best Miami homegirl made good: Writer-director Kelly Reichardt (“Wendy and Lucy,” “Night Moves”) made what is arguably her best film to date, “Certain Women.”
Best Miami winning streak: The artists at the Borscht Corp. collective will be screening new works at the Sundance Film Festival for the seventh year in a row.
Best argument that you can’t always believe the Sundance Film Festival hype: “The Birth of a Nation.”
Best argument that you should believe the Sundance Film Festival hype: “Manchester By the Sea.”
Worst remake: “Ben-Hur.”
Most irritating remake disguised as a sequel: “Blair Witch.”
Most disappointing remake: “Ghostbusters.”
Most superfluous remake: “The Magnificent Seven.”
Movie that worked a lot better when it was a television series: “Absolutely Fabulous: The Movie.”
Latest example of how CGI is ruining movies: All those patently fake gorillas in “The Legend of Tarzan.”
Proof that famous names don’t draw audiences the way they used to: George Clooney and Julia Roberts co-starred for director Jodie Foster in “Money Monster,” yet the movie only grossed $41 million in the U.S.
Best hourlong material stretched out to feature length: Clint Eastwood’s “Sully,” which clocked in under 90 minutes, and that was including at least six recreations of a passenger plane landing on the Hudson river.
Best closing line: “You’re the only person that ever touched me” — the adult Chiron (Trevante Rhodes) in “Moonlight.”
Best true story turned into an unexpectedly funny movie: “War Dogs.”
Best supporting character that deserved his own movie: Michael Shannon’s suspicious Texas lawman in “Nocturnal Animals.”
Best minor character that deserved their own movie: The ornery small-town waitress in “Hell or High Water.”
Best argument that zombie movies can still be great: The South Korean import “Train to Busan.”
Best argument that Tom Hanks should try making comedies again: The Dan Brown adaptation of “Inferno” bombed just a week after the actor killed his hosting gig on “Saturday Night Live.”
Best choreographed musical number: People stranded in a traffic jam climb out of their cars and start singing in “La La Land.”
Best unchoreographed musical number: Ralph Fiennes dancing spasmodically to the Rolling Stones’ “Emotional Rescue” in “A Bigger Splash.”
Song that really should have been a pop hit in the 1980s: “Drive It Like You Stole It” from “Sing Street.”
Best humorous musical number: Channing Tatum in “Hail, Caesar!”
Saddest career downturn: Kevin Spacey played a man whose soul was transported into a cat in Barry Sonnenfeld’s “Nine Lives.”
Best movie made up of a guy talking into the camera: “De Palma.”
Best use of a fart joke: Steven Spielberg’s “The BFG.”
Best example of a score doing a movie’s heavy lifting: Mica Levi’s sensational music for “Jackie.”
Most disappointing resolution after a promising start: The second half of “Arrival.”
Worst adaptation of a bestselling book: “The Girl on the Train.”
Most convincing argument that Hollywood should give boxing biopics a rest: The box office failure of “Hands of Stone” and “Bleed For This.”
Most convincing argument that Hollywood should give music biopics a rest: The box office failure of “I Saw the Light.”
Most preposterous movie: “The Accountant.”
Best comedic duo that deserved a better movie: Russell Crowe and Ryan Gosling in “The Nice Guys.”
Best movie nobody saw because it sounded too depressing: Antonio Campos’ “Christine,” about the Florida TV news reporter who committed suicide during a live broadcast.
Best comeback: Mel Gibson returned to the director’s chair with the blunt but effective “Hacksaw Ridge.”
Worst comeback: Oliver Stone returned to the director’s chair with the surprisingly dull “Snowden.”
Best sequel: “The Conjuring 2.”
Worst sequel: “Zoolander 2.” No, “The Huntsman: Winter’s War.” No, wait, “Alice Through the Looking Glass.” No, “London Has Fallen.” No, definitely “Independence Day: Resurgence.”
Most exhausting sequel: “Jason Bourne.”
Worst kind of movie to be in 2016: A sequel.
Best gross-out: In “The Brothers Grimsby,” Sacha Baron Cohen and Mark Strong evade some killers by hiding inside an elephant’s vagina. Then a male suitor comes calling.
Best movie co-starring an animal: Blake Lively versus a shark in “The Shallows.”
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