Top 10 of 2015
Honorable mentions: "The End of the Tour," "The Big Short," "Bridge of Spies," "Maps to the Stars," "Beasts of No Nation," and "The Revenant"
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- DirectorBill PohladStarsJohn CusackPaul DanoElizabeth BanksIn the 60s, Beach Boys leader Brian Wilson struggles with emerging psychosis as he attempts to craft his avant-garde pop masterpiece. In the 80s, he's a broken, confused man under the 24-hour watch of shady therapist, Dr. Eugene Landy.Musical biopics usually impress in some way, whether through great performances (Chadwick Boseman as James Brown in last year's "Get On Up"), clever use of iconic music (2005's "Ray"), or social themes through a distinct directorial/technical style (Clint Eastwood's "Jersey Boys"). But "Love & Mercy" is by far one of the best biopics to channel the struggles and pains of a strong musical icon, and in this film, it's The Beach Boys' Brian Wilson. Flashbacks are not just flashbacks. There are two simultaneous narratives going on here, and although that in itself isn't revolutionary, it's the way director Bill Pohlad edits the movie so superbly that makes it work. The origins of "Good Vibrations," "In My Room," and "God Only Knows" are always fun to observe, but here they're delicately underplayed to explain Brian's tortured psyche. Paul Dano and John Cusack are both incredible as Wilson, playing him as a teen and as an older man, respectively. Paul Giamatti, always known for powerhouse enthusiasm in his roles, begs us to loathe his character: a corrupt psychologist who manipulates Brian. And Elizabeth Banks is also a flawless supporting role/love interest for Brian as he tries to climb his way out of the wreck. Color contrasts using a surreal blue and some documentary style filmmaking both have a hand in making this a truly well-done, polished film. The best film of 2015. (2015 release despite IMDb's 2014 date)
- DirectorAlex GarlandStarsAlicia VikanderDomhnall GleesonOscar IsaacA young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a highly advanced humanoid A.I."Ex Machina" plays with a delicate question we've seen time and again, which is, "What makes us human?" In a bold, provocative, and original way, director Alex Garland's first feature addresses this question through our addiction to the internet. All of the major characters manipulate one another based on their respective connections to the virtual lives they (and indirectly, we) share online, and the film itself culminates with a very sinister twist that causes the viewer to ponder whose side should really be taken. Slick production design, visual gimmicks, sharp color contrasts (the lock-down scenes, for example), and techno-influenced music all contribute in making this a cult classic - a cult classic that pays its respects to previous filmmakers and also introduces new concepts to mirror the information age of 2015. And Oscar Isaac is always fun to watch; his role here as an alcoholic sociopath continues to help showcase his talent.
- DirectorDenis VilleneuveStarsEmily BluntJosh BrolinBenicio Del ToroAn idealistic FBI agent is enlisted by a government task force to aid in the escalating war against drugs at the border area between the U.S. and Mexico.Though the premise of "Sicario" is that of a war on drugs near the US/Mexican border (specifically, Juarez), the tense thriller is situated best as a character break-down of Kate (Emily Blunt). Blunt is well-established as a leading lady in sci-fi (see "Edge of Tomorrow," "Looper," and "The Adjustment Bureau"), and now she takes, and succeeds in, the opportunity to be a truly dimensional character. Although the idea of taking down a strong female character might seem premature when the general establishment of said characters is still a growing trend, I thought the dynamic of making Kate a lone wolf in one of the world's most hostile environments was both intense and brilliant. She is used and manipulated - primarily by men, and it all works into making her a truly sympathetic but solely honorable character. It also works when you're complimented by an awesome performance from Josh Brolin. And let's not forget the movie's exquisitely staged shots (paired with a threatening bass-heavy soundtrack): from an ominous sunset, to the traffic jams outside the southern border, to the infra-red style cinematography for the harrowing climax. Depressing? Maybe. But it's deep on many levels and one of the best movies I've seen this year.
- DirectorDanny BoyleStarsMichael FassbenderKate WinsletSeth RogenSteve Jobs takes us behind the scenes of the digital revolution, to paint a portrait of the man at its epicenter. The story unfolds backstage at three iconic product launches, ending in 1998 with the unveiling of the iMac.Disregard any preconceptions on whether or not this portrayal of the revolutionary Steve Jobs is accurate. You won't care because Danny Boyle's new film is an extremely addictive, segmented narrative that gets so much right cinematically. Michael Fassbender plays Jobs as a flawed protagonist in the best way possible, thanks to Boyle's direction and screenwriter Aaron Sorkin's story. We are able to observe him during the most hectic times of his life: three launches of iconic products that highlight the visionary's career. Fassbender is wonderfully complemented by Kate Winslet, who plays his overworked but ever-patient PR manager: knowing all of the right things to say and when to say them, despite her boss' temper. She is just passive enough for Steve to get the point without clarification. In three distinct acts filmed differently to reflect Apple's advancement in technology, the film utilizes subtle, odd, but colorful images to perhaps hint at the postmodernist struggle that any "great artist" deals with. Steve Jobs believed that a computer is a painting - but how can it be, especially under the pressure of unbridled ambition? Danny Boyle invites us to answer this question in a visually and thematically addictive thrill ride of a movie.
- DirectorFrancis LawrenceStarsJennifer LawrenceJosh HutchersonLiam HemsworthKatniss and a team of rebels from District 13 prepare for the final battle that will decide the fate of Panem.In "The Hunger Games" franchise, we've watched the brutality of televised death matches that reflect gladiatorial battles of ancient Rome, oppressive hierarchy within a class system, the molding of the feminist heroine icon, and her unwilling participation in a war of propaganda. In the final installment, Katniss (Jennifer Lawrence) is stuck in a real war with loved ones dying left and right. "Mockingjay - Part 2" is the most appropriate ending to this highly successful and fantastic franchise, as it centers on self-reflection. After the first three, we are finally granted a film that really digs deep into Katniss' struggles as a person, and even though her love triangle between Peeta (Josh Hutcherson) and Gale (Liam Hemsworth) is melodramatic, this is the most appropriate film for its focus. The film's muted and grey mise-en-scene works in showing us how depression spreads through society with ease, and each action sequence is filled to the brim with suitable tension. Even Katniss and Effie's (Elizabeth Banks) most extravagant outfits hold back a little. With all that and a befittingly bittersweet ending in mind, I argue that "The Hunger Games" film franchise is one of the best to ever grace our screens. As a whole it's better than "Harry Potter" (2001-2011) and nearly on par with "The Lord of the Rings" (2001-2003). It's a unique character study set in a hauntingly relevant dystopian future that paradoxically offers so much in its bleak, cold world.
- DirectorLenny AbrahamsonStarsBrie LarsonJacob TremblaySean BridgersA little boy is held captive in a room with his mother since his birth, so he has never known the world outside.There is so much going on in this film, and all of it can be appreciated. It's both spiritually uplifting and emotionally exhausting as we watch Joy (Brie Larson) deal with the horrors of being a captive for seven years, not just as herself, but as a mother as well. Director Lenny Abrahamson knows it's important to tell the story strictly from Jack's (Jacob Tremblay) perspective, as he is forced to grow up a second time; in the real world that he is unaware of. Jack offers the audience a salvific point of view, not just as a child glimmering with hope, but also as a character with subtle Biblical references. For example, his long hair alludes to Samson, whose unnatural strength was gained through his hair. Symbols like that abound in "Room," which plays out the common child psychology of wishing one was younger due to new responsibilities. Jack says he wants to be age 4 again, and his newfound, disturbing knowledge as a 5 year old doesn't make us envy him. Jacob Tremblay is the movie's scene-stealer, and has wonderful chemistry with Larson as his selfless but stern-for-survival mother. Both carry the film spectacularly. With claustrophobic camerawork for the first half, followed by intricate staging for the second, all permeated by a blue mise-en-scene to signify and hope within absolute dread, "Room" is certainly a movie that evokes the positive message of life. It's worth every painful minute.
- DirectorPete DocterRonnie Del CarmenStarsAmy PoehlerBill HaderLewis BlackAfter young Riley is uprooted from her Midwest life and moved to San Francisco, her emotions - Joy, Fear, Anger, Disgust and Sadness - conflict on how best to navigate a new city, house, and school.We had our fears with Disney and Pixar's recent endeavors ("Cars 2," "Brave," and the fact that "Monsters University" was a prequel), but "Inside Out" proves that this animation studio can still win our hearts and ignite our intellects. The world created by directors Pete Docter and Ronaldo Del Carmen is one of Pixar's most innovative, so much so that the film's sole flaw is that I wish it could've been a bit longer. A moving score coupled with the emotions of these characters really helps the themes of maturity and growth hit home, despite their simplicity. Amy Poehler, Phyllis Smith, and Richard Kind are the stand-outs in the voice acting department because of how they compose and carry their respective roles with ease. And not since "WALL-E" (2008, Andrew Stanton) has animation mirrored a film's concepts so well - the way Joy (Poehler) gathers up and clutches onto all of the memories is very reflective to how we as humans try to hang onto everything without looking back on our own flaws and mistakes. And that is just one of many little details to notice in this magnificent effort that reinforces Pixar's strength.
- DirectorTom McCarthyStarsMark RuffaloMichael KeatonRachel McAdamsThe true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.Definitely an "awards bait" movie, "Spotlight" is a tad underwhelming, but appropriately so. It highlights the JOB of being a journalist, not the thrill of it. Instead of a nail-biting investigation where dark secrets are hidden, we see these four journalists spending late hours in libraries, uncovering dusty files, calmly interviewing subjects, making phone calls, and typing away...finding dark secrets along the way. Michael Keaton is an impressive leader to the group; he is a calm spearhead who goes about his daily routine with purpose. Rachel McAdams and Brian d'Arcy James take after this approach, while Mark Ruffalo is the high-strung but dedicated member. The editing style of the film is great because we see multiple interviews take place in a single scene as we switch from one reporter to the next. It's a fast-paced but still intricate way to include everything without making the viewer uninterested. This film won't be big without controversy though. Focusing on the clergy abuse scandal in the Catholic Archdiocese of Boston, "Spotlight" can give uneducated viewers a "reason" to hate the Church. As a Catholic, I believe this outstanding movie really goes to great lengths to show how evil can exist anywhere, even in the holiest of places. Skepticism provided by "Spotlight" allows for devout Catholics to be aware of the "devil in the details" (quite literally). I know so many holy and trustworthy priests, and this movie isn't out to demonize them. Rather, it's out to take apart and give due criticism to a corrupt system that uses troubled individuals. It shouldn't be written off as a movie that refuels resentment. Instead, it's a movie that shows humans as fallible beings making egregious mistakes while other humans go about their admirable work to set things straight.
- DirectorSpike LeeStarsNick CannonTeyonah ParrisWesley SnipesA modern day adaptation of the ancient Greek play Lysistrata by Aristophanes, set against the backdrop of gang violence in Chicago, Illinois.Truth be told, my expectations weren't high going into "Chi-Raq." However, after boldly opening the movie with a lyric video to "Pray 4 My City," Spike Lee's ridiculous satire just kept getting better. "Chi-Raq" is an appropriately exaggerated rallying cry to address gun violence, specifically, Chicago's gun violence, which in itself is treated like a separate issue. Lee and Kevin Willmott have put forth one of the best adapted screenplays ever, giving the Greek play "Lysistrata" a modern twist...while all the characters speak in verse. Every exaggeration moves the film along brilliantly, though the emotional appeal is still there through Jennifer Hudson's character. And speaking of characters, this movie of course champions black feminism in the strongest way through the pivotal sex strike led by excellent work from Teyonah Parris and Angela Basset. John Cusack compliments it all by giving the movie's most compelling speech, hitting every factor of gun glorification with passion and wit.
- DirectorWoody AllenStarsJoaquin PhoenixEmma StoneParker PoseyA tormented philosophy professor finds a will to live when he commits an existential act.After watching last year's "Magic in the Moonlight," it's clear that director Woody Allen is in the mood of constantly questioning his own beliefs through his estranged characters and "short but sweet" films. While I didn't care for "Magic in the Moonlight" because it paired this theme with a naive and lighthearted love story, "Irrational Man" piles on views of morality and existentialism into a neatly-woven package that is appropriately shallow, suspenseful, but still light enough to be a film that Allen owns. He handles the movie's most intense and surprising elements so nonchalantly that instead of recoiling, an audience is more likely to follow along with Abe (Joaquin Phoenix) and question the consequences of his irreversible actions. Even the mentions of certain philosophers and thinkers appear to help the plot instead of coming off as pretentious (Hannah Arendt and the "Banality of Evil" gets a well-deserved mention). "Irrational Man" can almost come off like an Alfred Hitchcock film - if Hitchcock had bleak world views to constantly and humorously question. Even the film's score is oddly simple and laid-back, though it flawlessly matches Allen's dryness for the material.