Cinema 2015: 10 Favorites
In 365 days, 2015 threw at our theater screens and digital displays a whole new world of wonderful stories, exciting adventures, and captivating characters. Old universes returned, heroines took the spotlight, and I once again found myself with another ten favorite films.
10: Ant Man
The Marvel Cinematic Universe has it’s critics mainly because they seem to hire directors with unique visions, but stifle them into creating film-by-numbers products to keep their brand cohesive. While Ant-Man does showcase a rather shaky production history, seeing the departures of Edgar Wright late in the process, the film tends to rise above simply following a template.
Perhaps its the subject matter. There isn’t exactly a conventional way to showcase a superhero whose powers are being strong and tiny and the film’s humor finds a way to balance between accepting the narrative it’s given while also winking to the camera, something Paul Rudd is exceptionally good at. Not a god nor a super solider, he’s just an ex-con with child-support to pay. He’s the weird underdog working class hero. He’s fine with that and so are we.
9. Ex Machina
The concept of possession is a central focus of this tense slow burn science fiction thriller. Can you own something that looks and acts like you, but is only made of microchips and wires? Who gets hurt if you destroy a humanoid to make a better one? Does anyone? Isn’t it for the betterment of mankind to do so? What lines of morality must be drawn when you’re the one playing God?
In a year that many female protagonists have been embraced by feminist scholars and the culture as a whole, Alicia Vikander’s Ava is dealing most directly with the issues concerning the marginalized gender. She is literally Nathan’s (Oscar Issac) plaything. It’s his world and the thought that he might not have the right to use his harem of robot women for parts when he’s done with them hasn’t even crossed his mind. The film may be mostly quiet in its delivery, but its loud in it potential subtext.
8. The Hateful Eight
Quentin Tarantino has never been one for restraint. Loud, brash, and gory is more his style and The Hateful Eight is no different in that respect, but his choice to create what amounts to a single room play is, at the very least, a tad intriguing. It is perhaps the closest thing we’ll get to self-imposed creative borders from this auteur and, with even a small bit of his classic veneer thrown out into the cold, it is up to his writing to win the day.
While the plotting is a tad overcooked, Tarantino’s rouges gallery of cinema veterans, from Sam Jackson to Jennifer Jason Lee and a rather twee, almost Wes Andersony, Tim Roth, are all on their A-game and their ability to mix the humor and menace given to them brings a levity to the proceedings I felt the director’s last western lacked.
7. What We Do In The Shadows
Mockumentary comedies are nothing new, but What We Do In The Shadows finds a way to one up the staple concepts of the genre while also bringing a sweetness to the proceedings that so many of its ilk trade in for cynicism. More The Odd Couple then Interview With a Vampire, these four roommate vampires spend their nights bickering like ancient married couples while hitting unhip nightspots for female sustenance.
These are not dashing Legosis nor twinkling Edwards. They’re, for the most part, good natured immortals who have fallen out of step with society and find a second chance through a newly christened millennial vampire and a technology savvy human that they’ve taken an oath not to bite. They’re just trying to get their groove back…their ancient blood-thirsty groove back.
6. Love and Mercy
There is perhaps nothing sadder than a gentle soul sideswiped by the greed and expectations of others. There is also perhaps nothing more fulfilling than watching the same soul come out of the cognitive fog and flourish in the care of those who truly love him. This biopic of Brian Wilson of Beach Boys fame is all of this and more.
A touching portrait of an artist that continually pushed music in new directions, the iconic figure is duly played by Paul Dano and John Cusack at different points in the performer’s life. The key to their team-like success stems assuredly from the fact that neither actor spoke to the other about their process of becoming Wilson, creating a portrait of not just two different eras, but two different protagonists tethered together by the time unseen between them.
5. Carol
The most dreamlike and mesmerizing film of the year showcased Cate Blanchett in a titular role that could define her career and Rooney Mara as the object of her attraction. While director Todd Hayes certainly has experience creating lush Truman era melodramas in the Douglas Sirk vibe (Far From Heaven), this film has a different bite in its sexual tension.
Treating its same-sex relationship not as forbidden, but the natural inclination of two people, the film looks upon those who question it not as evil, but frustrated with a lifestyle they don’t understand — making them possibly more dangerous. It is key that Carol’s fear is not of being caught in her lover’s arms, but losing access to her child. This is not a film focused on a sensual affair (through there is one), but of a woman who desires to fully embrace her heart and whatever that may entail.
4. Inside Out
The thesis statement of one of the most successful and praised “kids movies” of the year is that it is not only okay to be sad at times, but beneficial to our overall emotional spectrum. That alone should be enough to make it on this list, but the film is also as funny as it is bittersweet and deft at showcasing how its inner-world works, making it simple to understand for parents and kids alike.
But let’s get back to that thesis. My first screening of this was not only with my wife, a therapist by trade, but a whole graduate school counseling class. When the credits rolled, this crew of professionals working with the emotional spectrum on a daily basis went gaga. Through their eyes I saw that Pixar had not only created another great film, but an absolute service to their profession.
3. An Honest Liar
I’m sure this isn’t a film you’ve heard of and I’m equally sure it should have been. An edge of your seat documentary, An Honest Liar follows the curious life of James Randi, a retired escape artist turned scientific sceptic, who spent decades nipping at the heels of charlatans like televangelist Peter Popoff and spoon-bender Uri Geller. He is a champion for truth with a capital T, but the complexities of his own life are only now coming to light.
Occasionally a documentary comes out that just makes you feel like you’re in the thick of it, reeling from discoveries that the filmmakers themselves had no idea were coming. This one falls nicely in that category as, what starts off as a rather typical life story, becomes an examination of truth, love, and lengths people will go in their desires for both.
2. Star Wars: The Force Awakens
Critical analysis is something one should certainly strive for, but sometimes a film comes out that just hits you so purely in your childlike nostalgia that your analytical faculties take a backseat. Now one of the biggest movies of all time, The Force Awakens is an honorable successor to the original trilogy the proceeded it as its just as fun and wide-eyed about myth and adventure.
Sure, the plot is a bit of a retread. Sure, it’s the first head of a massive media hydra that Disney is creating, but dammit if I didn’t have fun and completely fall for our new trio of heroes. Not to mention, “stop taking my hand” might be the most influential piece of dialogue for a generation of young girls one could ask for.
1. Mad Max: Fury Road
Let’s be clear as a bell about this — Mad Max: Fury Road is a post apocalyptic feminist film. There is no denying that the plot centers on a group of abused women escaping a patriarchal society only to realize that the only way to be free is to go back and take their rightful place. That’s not subtle. That’s brazen, beautiful, and empowering.
If that’s all the film had going for it perhaps it wouldn’t be here at number one, but, beyond its stirring message, George Miller has crafted a gorgeous movie that shifts from kinetic action to art-house imagery in seconds. It leaves you breathless and has a grit hard to find in this CGI laden movie landscape. Its the type of film incapable of comparison as its so powerfully all its own.
