I look forward to Slate’s annual movie club roundup of critics discussing the best and worst of the year.

Slate’s own Dana Stevens points out that there was only one title on all four participants’ top ten lists for the year, Barry Jenkins’ “Moonlight.” She says, “‘Moonlight’s’ commercial and critical success—the near-universal recognition of its hard-to-define specialness—was one of the cracks in the wall that allowed light (that liquid Miami moonlight) to shine into this sometimes pitch-dark year.” Mark Harris calls it “a beautifully accomplished work that takes seminar-room issues of race, class, sexuality, and identity and transforms them into something artistic, sexy, tragic, wrenching, human, and fully American.”

I am more interested in the discussions and debates about particular movies than in the effort to look for themes in the movies that were released or popular in any individual year or consider them as a reflection on our times. But I did like Brooks Barnes’ essay in the New York Times about how in the tumultuous year all of the top box office films were fantasies.