Sunday, February 28, 2016

Top 15 Films of 2015

In what now seems like a new tradition (see: my 2013 and 2014 lists), I am posting my Top Favorite Films of 2015 List today, on Oscar Sunday.  These extra weeks allow me to catch up on 2015 releases, and since I'm not getting paid to write any of this, I say why not wait until I've seen a good amount of them before finishing a list.

As always though, even with all the extra time, I still haven't seen a boatload of things (especially Oscar nominees), including Carol, The Big Short, Spotlight, Son of Saul, Steve JobsStraight Outta Compton, Crimson Peak, Kumiko the Treasure HunterThe Assassin, Magic Mike XXL, Mustang, Macbeth, Krampus, Goodnight Mommy, The Forbidden Room, 45 Years, Brooklyn, Beasts of No Nation, or The Revenant.  So keep all that in mind..

Out of the 50 or so movies I did see from 2015, these were my favorites:

TOP 15 FILMS OF 2015

Mad Max: Fury Road
Like most, I couldn't help but absolutely love this movie.  My expectations were high and they were met at every level.  The relentless momentum of this film is exhilarating, with a breathlessness that is warranted.  It has a great, simple plot structure and some deeper emotional moments and themes running throughout.

Tom Hardy as Max is amazing, tough and silent, and I love how the movie isn't afraid to have one of his best action moments offscreen.  His throwdown his Furiosa is fantastic too, as is Furiosa herself (Charlize Theron has an all-timer character here; she's so badass)...  So many great things in this movie:  the car designs, the car crashes, the tight editing and framing, the crisp visual action choreography, the set and art design, the eye popping color tones, "I live! I die! I live again!," The Doof Warrior, the guys on poles, Mother's Milk, that freaky tiny guy in the chair, the non-corny nods to the previous films, the spray paint, the religious symbolism of the steering wheel, and of course, Immortan Joe: Darth Vader of the wasteland.

Fury Road is an action masterpiece and a brilliant piece of pure cinema.  If you don't like it you're a crazy smig who eats schlanger!

The Hateful Eight
Tarantino takes his "tension filled dialogue that explodes into violence" approach to filmmaking to it's squirm-inducing nihilistic end.  Cruel and uncomfortable, this is America at its ugliest and worst, paying for and reliving its sins of slavery and greed, and riding out on a positive ending built around bullshit and subterfuge.   The nihilism is so evident in this drawing room mystery that I can't help but think of another nihilistic film made by a filmmaker who was angry at the increasingly frustrating social and political nature of the times.  I'm speaking of course of the late Wes Craven's The Last House on the Left, a transgressive scream of a horror film made at a time in American history when things were boiling over with Vietnam, Kent State, racial tension, etc.

The comparison between Craven's and Tarantino's films is made implicit with the use of a song by David Hess (who starred in and provided the soundtrack for Last House), a track called "Now You're All Alone."  In Last House it is used in the lead up to poor Mari's execution and in Hateful Eight it creeps up in the scene where Joe Gage shoots helpless Charly.  Both scenes involve the murder of an innocent and invoke the mournful inevitableness of death, the cold approach of forever.

Tarnatino has never been accused of being a political filmmaker but with his last two films it would seem he has some things on his mind when it comes to the state of pain and divide within our nation.

Something has happened to me over the last few years:  I've become a massive fan of the Rocky series!  I've always liked the movies, loved the first one as a classic, thought the rest were okay, but my love and interest in these movies has grown rapidly recently.  Maybe it's because I'm getting older?  Who knows.. What I can say is this:  Creed is a worthy continuation of the Rocky mythos and one of the very best in the series.  Great cast (Jordan, Thompson, Stallone are all fantastic), great story (it mirrors the OG Rocky but is also its own thing), some of the best boxing action every committed to celluloid (seriously, the single take fight is breathtaking!), some excellent emotional moments (the relationships between Adonis/Bianca and Adonis/Rocky are both played perfectly), some fist pumping YES! moments (when Bill Conti's theme music comes up for the first time: CHILLS!), this is a damn great film and a true winner.

Engaging and very well made, all the more impressive as this was shot entirely on an iPhone5.  I love how the film just drops you into this world of these transwomen prostitutes, turning tricks, doing drugs and living life and it's all presented non-judgementally.  There's no broad statements or proclamations here either, instead it's just a funny, unique, very human and kinda sweet story that's a bit fucked up.  It's also a Christmas movie, so maybe buy Grandma a copy this year for the holidays.

Bone Tomahawk
A really good western that descends into intense horror territory.  The dialogue and the characters are excellent, with Kurt Russell, Matthew Fox, and Richard Jenkins really breathing life into their roles (Patrick Wilson is okay, but honestly, inmyopinon, he was a bit outshined by the others).  The cinematography is excellent and the gore effects are incredible, this is a strong and assured debut film and as far as horror-cannibal-westerns go, it will be hard to beat.

Incredibly authentic portrait of middle-aged male depression and narcissism colliding in an Ohio hotel room, made all the more remarkable as it is entirely stop-motion animated, quite realistically so (there's full frontal nudity).  The film is sweet, sad, uniquely weird, and also very funny (there's a hilariously relatable sequence in the shower).

Charlie Kaufman proves that no matter the medium he is the master of telling idiosyncratic stories about depression, life, love, existence, etc.  He also proves that nothing good ever happens in hotel rooms.  Or Cincinnati.

Absolutely fantastic, has a pulp premise (a disfigured concentration camp survivor, unrecognizable due to facial reconstruction surgery, returns to post-war Berlin looking for her husband) but everything plays out in subtle nuances and small, little character moments.  Strong performances throughout, especially from Nina Hoss, and the final scene in the film is among the very best ever, a marvelous moment that puts a perfect cap on a great film.

The Duke of Burgundy
I didn't ultimately care for director Peter Strickland's previous film, Berberian Sound Studio, but in this film, a wonderful and fascinating story about lesbian love and sexual domination, I found the cinematography, the performances, and what was being said about love, romance, and relationships to all be remarkable, fascinating, stunning, and beautiful.
Pinastri, forever.

Inside Out
Smart, unique, clever, fun, touching, rousing, engaging, one of Pixar's best films with some of their very best animation (the abstract thought sequence is fantastic).  If I have to sit through a few years of the company making sequels to their hit movies before I get to see something original and amazing like this, well, I guess I'll sit through Finding Dory and just wait then.  Wait and dream...

It Follows
Spooky and well made, a modern horror classic.  The atmosphere and tension come from a very simple concept and story (also from the stellar soundtrack by Disasterpiece).  One of the things I love about this movie is how the kids all seem to behave in age appropriate ways, from how they interact with one another to the decisions they make when things start getting weird.  I've read complaints about how they just run from place to place trying to hide from/deal with this entity, but to me it all makes logical teenager-sense.  Even their ill-advised trip to the municipal pool at the end is the kind of half-baked idea that teens would come up with.  It all worked for me and I think it works for the world within this movie.

This is one of those "the less you know about it" kind of movies, so I'll keep it brief:  Brie Larson (who knocks this one out of the park) is a kidnapped young woman who is trapped in a room with her young son (also fantastic) who has never known anything but the inside of the room.  Claustrophobic and heartbreaking while also managing to be a tense thriller, the film ultimately finds epiphanies on parenthood, childhood, isolation, adaptation, and love.

The Diary of a Teenage Girl
The exploration of a young girl's sexuality and her coming of age.  Set in 70s San Francisco, with all the drugs, hippies, weirdos, big parks, flared pants, and needle drops that that implies, this is the story of a 15 year old girl, an artistic type named Minnie, who is dating her mother's boyfriend.

Frank and upfront, there's a realism coming through here (even with the moments augmented by animation) that I would imagine would make this a realistic and authentic portrayal of what it is like to grow up as a girl, emotionally speaking of course.  I mean, I hope most young girls aren't sleeping with older men, even if they do look like Alexander Skarsgård.

Bridge of Spies
Solid, clean, classical American filmmaking.  This Spielberg guy knows what he's doing.  The contributions from the Coen Bros. in the script can be felt throughout, bubbling up in the plot mechanics, small character moments, and slight bits of humor.  Not one of Tom Hanks' funnier movies, but still a great thriller with an amazing (based on a true) story.

The Look of Silence
Follow-up and companion film to The Act of Killing, which was my favorite film of 2013.  The Look of Silence isn't as artistically daring with recreations or its locations as its predecessor, but the story is every bit as amazing and powerful.  Following a military coup in Indonesian in the mid-60s there was a mass genocide of suspected communists and dissenters, most of them innocents.  Up to a million people were killed.  The men who perpetrated those crimes are still in power to this day.

While The Act of Killing focused on those men and getting them to discuss what they did, this film instead gives voice to the families of the victims, specifically that of a young optometrist who goes around interviewing some of these guys while giving them eye exams.  Their reactions to the realties of what they did is chilling and you start to have grave concerns for this optometrist's safety, as talking about these things in such a way is something that just isn't done.  It's quite a brave thing that's done here, the lifting of silence.  A remarkable two film series.

What We Do in the Shadows
In general I'm not a huge fan of vampire movies, but this New Zealand comedy really takes the piss out of the bloodsuckers and makes good use of the lore, legends, and history of vamps.  Not much of a plot but what goings-ons there are here manage to be pretty funny with good gags, jokes, and likable performances (who doesn't like the werewolves?!).  One complaint: I would've liked there to be more Petyr.

the next ten:
-Ex Machina - A great small scale/big idea science fiction thriller, with impressive special effects and an interesting and intriguing story; it's like Neil LaBute's The Shape of Things by way of Spielberg's A.I.  Also, that Oscar Isaac dance scene is INCREDIBLE!

-Chi-Raq - A hot mess but fascinating and very enjoyable.  Will be interesting to see how Spike Lee's encapsulation of our current troubled racial climate ages over time.

-Sicario - Doesn't add much new to the drug cartel movie genre, but it does have great cinematography, performances, and a couple superb suspense sequences.

-The Tribe - Ukrainian arthouse film, told only in sign language.  Mesmerizing and meditative but also unflinchingly brutal and uncomfortable.  A difficult film to be sure, but worthwhile.

-Queen of Earth - Elizabeth Moss cries her eyes out in Alex Ross Perry's lake house version of Repulsion.

-Love & Mercy - Surprisingly solid biopic that avoids becoming run-of-the-mill with its artiness and use of montage.  Also, any chance I get to see Brian Wilson (even a fictionalized version) working in the studio recording Beach Boys magic, I'm going to take it.

-Ant-Man - Refreshing smaller scale Marvel superhero movie.  The Cure "Disintegration" moment might be my favorite joke of the year.

-We Are Still Here - Effective and spooky grieving parents/haunted house movie with a great soundtrack.

-Mistress America
"I think I'm sick, and I don't know if my ailment has a name.  It's just me sitting and staring at the internet or television for long periods of time, interspersed by trying to not do that and then lying about what I've been doing.  And then I'll get so excited about something that the excitement overwhelms me and I can't sleep or do anything and I just am in love with everything but can't figure out how to make myself work in the world."

"I think I have that too."

-The Martian - The funniest space movie since Space Jam!

Worst Movies I Mistakenly Thought Might Be Worth Watching:

-Cooties - Very disappointed in this weak zombie children horror comedy.  Don't get Cooties.

-Pound of Flesh - Van Damme has been making some great movies in recent years.  This is not one of them.

-Burying the Ex - I hate to rag on a Joe Dante movie, but this is a big *whiff*

-Jurassic World - The best part of this was, after the movie finished in the theater, some guy up in the balcony shouted out a displeased "booooo!"

-Slow West - The cartoonish "salt in the wound" scene made me fold my arms and shout "oh, c'mon!" at my TV.

-The Gift - A lot of people like this.  I'm not one of them.  It starts off with some promise, but descends into sub-mediocrity, like maybe just a step above "made for cable TV thriller."  Jason Bateman leans hard into his natural unlikability, but the other two leads offer me nothing.  Who am I supposed to be rooting for in this movie?  And the ending, the big reveal, well, no spoilers, but seems to me some tests could alleviate some questions about the gift, am I right?

Well, there you go.  What do you think?
Agree?  Disagree?  What were your favorites of 2015?

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