The Best Films of 2016 (so far)

I truly believe that every year in cinema develops its own tone, demonstrating the trend in art for that time. 2016 isn't even half over at this point, but still the general tone of cinema for this year is starting to take shape. And it's pretty exciting. With seven months to go, there have already been multiple films that have taken real risks. From indie films with unusual premises, to groundbreaking major blockbuster releases, to franchise films which have headed in an unexpected direction, to films that have accomplished unprecedented technical feats, the best movies of 2016 haven't just been good, they've been genuinely surprising. And I would say that this trend holds true even for the films I haven't liked so much. The films of 2016 have been inconsistent in terms of quality, but I feel that some of the lesser films I've seen this year at least failed while trying to accomplish something interesting. Perhaps the poster-child for this would be the Miles Davis biopic Miles Ahead. Directed by, written by, and starring Don Cheadle (who does deliver a great performance), the film doesn't even try to fit into any notion of reality, and basically reads as Miles Davis fan fiction. The whole thing is weird and underwhelming, but it is at the very least one of the more original films I've seen in recent years. It's just a shame it doesn't quite live up to the film I imagine Cheadle had in his mind.

But I don't want to talk about the films I didn't like, I want to focus on the film I did like. And there have been quite a few. So without further ado, here's a look at my top fifteen films of the first part of 2016!


#15-High-Rise and #14-The Lobster

Tom Hiddleston broods in an elevator in High-Rise

I didn't intentionally place these two next to each other on my list, but I'm glad that it worked out this way because they are shockingly similar. Both of them feature very pointed yet very broad social commentary, both feature outlandish dystopian societies, They both even feature soundtracks of predominantly classical music. Perhaps most strikingly, both are incredibly violent and difficult to watch. In fact, there were moments in both of these films where I literally shielded my eyes from the screen. High-Rise, for example, starts with a scene of Tom Hiddleston calmly killing and eating a dog, and then just gets more disturbing from there. Hiddleston stars as Robert Laing, a doctor who moves into a high-rise apartment which is divided along social lines, with the upper classes living on the top floors and lower classes living on the bottom. And as the differences between the classes become heightened, drama ensues and eventually the apartment resembles a post-apocalyptic world. The Lobster meanwhile, has an even weirder premise. It takes place in a world where single people of a certain age are brought to a hotel where they have 45 days to find a mate or they will be turned into an animal of their choice. Colin Farrell stars as a man who checks into the hotel with a dog in tow (which used to be his brother). Both films are beautifully made--the visions of directors Ben Wheatley and Yorgos Lanthimos are so abundantly present in their respective films. They're wonderfully executed, and so strange in their own distinct ways that it's impossible to not at least be intrigued about where these films are going to take you. But I do feel that both of them would have ranked higher on my list if they had demonstrated more restraint. Each one starts off with a disturbing presence, and gets exponentially more disturbing with each scene. By the end of each film, they are so far removed from anything resembling our reality that any social commentary the film was trying to make becomes moot.

Colin Farrell and his brother check into their hotel room in The Lobster

For example, I loved the first part of The Lobster for how insightful it was. The world of the hotel was clearly designed to parody the modern dating scene, and it does so with aplomb. But in the second part of the film, the movie ventures to the world outside of the hotel and becomes an entirely different movie, where the chaos of the film's environment overshadows the substance so present in the earlier half of the film. Both of these films, at least on my first viewing, had moments where I felt they gave way to the temptation of shock value, relying on disturbing ideas and images without really using them to make a point. But they earn their places on this list because they both kept me engaged all the way through, and both have some really strong moments. The Lobster in particular, has moments that are sheer brilliance, and I wonder if my estimation of it might rise on later viewings. For now, though, they're solid if uneven films, which easily could have ranked higher on this list in other, weaker years. If nothing else, they deserve to be seen for their sheer ambition and intensity.

#13-Tale of Tales

Salma Hayek takes the phrase "Eat your heart out" too literally in Tale of Tales

Stories like Cinderella, Hansel and Gretel, and Rapunzel are known the world over. And while they are often attributed to the Grimm brothers, the first known appearance of stories like these and many others is in an Italian book called The Pentamerone. And while some stories like the ones I've mentioned have endured, there are also some that never caught on. A new film from Italian director Matteo Garrone brings three of these lesser-known fairy tales to light in Tale of Tales, and that takes the #13 spot on my list. This movie has its flaws to be sure. The three stories are told simultaneously, rather than one at a time, and at times this makes the movie feel unfocused. And the stories highlighted by Garrone are outright bizarre--you understand why they haven't ever gotten their own animated Disney adaptations--and there are moments when you wonder why on earth Garrone thought these stories were essential to tell. But the thrill of this film is that Garrone commits to the stories' true natures. This is the undoubtedly bloodiest fairy tale film ever made, and while I haven't read these stories I imagine they're pretty faithful to the source material's notoriously gorey nature. But it's also the most visually stunning film I've seen this year. Tale of Tales looks like how a fairy tale film should look (I'd love if this small film could somehow be remembered for its costume design come Oscar time). Ultimately, the design elements carry Tale of Tales. For its faults, Tale of Tales really does transport you to another world that is utterly engrossing and a true joy to visit. Plus, I actually think that Garrone does a good job of balancing all three stories. They're equally interesting and so that no single story feels like the weak link compared to the other two. And there are some fun performances here, with standouts being Salma Hayek as a demented queen, Shirley Henderson as a desperate old woman, and Toby Jones as a foolish king who becomes enamored with a flea the size of a horse. Jones probably deserves the most credit for making his scenes with said flea not feel utterly ridiculous.

#12-Hardcore Henry

Critics of Hardcore Henry point to its weak screenplay while fans of it say "WHOOOOOOOOOOOOOOOOOOOOOO!"

My personal tastes in film tend to air more towards the artsy and indie. I mean, so far, my "best of" list has featured three films that have hardly had major releases. Which is why I think some might be surprised to see the action film Hardcore Henry take the #12 spot. The film, about a man who wakes up to discover he's been altered to now be a cyberkinetic supersoldier, gained some recognition for its gimmick of being shot entirely from Henry's perspective, in the style of first-person shooter video games. Henry has been critically divisive, with its main detractors feeling that the film lacks any substance and that the gimmick has diminishing returns as the film goes on. And while I don't think these critiques are without merit, when I consider the reaction to this movie, I can't help but think back to the reaction to a more acclaimed film from last year: The Revenant.

Hear me out. Both of these films are low on story, but the story they have is one of revenge (early in the film, Henry's wife is kidnapped and he spends the film trying to find her). Both of them are technical marvels, with harrowing stories about the difficult process of filming. The only difference is that The Revenant had a $135,000,000 budget and lots of awards recognition, while Hardcore Henry had a $2,000,000 budget and a 48% score on Rotten Tomatoes. But I would argue strongly that Hardcore Henry is the superior film. For one thing, it's a lot more enjoyable to watch. But I also think that it succeeds more on a technical level. I don't think that Hardcore Henry is getting its due for how miraculous it is that it has been pulled off. It's not as objectively beautiful as The Revenant, but these action sequences are so meticulously choreographed and the stuntwork is simply incredible. But what impressed me most about Hardcore Henry was the use of sound. The sound editing and sound mixing is off the charts. Because of the way the film is shot, the camera's view is limited, and so the film can't use any of the film editing tricks that are typically used to pull off action sequences. Instead, it relies on sound to make it clear to the audience what's going on. Watch any of the scenes from Hardcore Henry on mute and it'll make no sense, but thanks to this film's brilliant use of sound, you can perfectly follow Henry's actions and movements amongst the chaos of an elaborate action sequence. It's pretty exciting to watch as an audience member, but also as an appreciator of film.

Sharlto Copley in one of the many iterations of Jimmy.

I'd also say that while the first-person gimmick is certainly what makes Hardcore Henry standout, I was pleasantly surprised to see that this film had some other interesting sci-fi elements going on. My favorite element of the film was the character of Jimmy, played by Sharlto Copley in what is actually one of the best performances of the year so far. Slight spoiler here, but Jimmy is a man who can transfer his consciousness to various clones of himself that he has around the city, meaning that on Henry's revenge quest, he is constantly being aided by Jimmy, but always a different clone of Jimmy. Copley does a great job, essentially playing multiple characters and one character all at the same time--making it plausible that each Jimmy is one and the same, while also imbuing each with a distinct personality. I got excited every time a new Jimmy showed up, because it was a delight to see what Copley would do next. Ultimately, I understand why some people disliked Hardcore Henry so much, but I do think it's worth seeing to make the decision for oneself.

#11-The Witch

Ralph Ineson morosely chops wood in The Witch

Horror films are having a bit of a resurgence at the moment. After several years relying on torture porn, jump scares, and found footage, we're finally starting to see the genre return to a level of artistry and restraint that is exciting to see. The past few years have given us multiple films that are destined to become new classics, and joining those ranks is The Witch. It's a bizarre film to be sure, with much of the dialogue being taken directly from historical transcripts from the Salem Witch Trials, but placed in a new context to tell a tightly-contained campfire horror story. Director and writer Robert Eggers makes an incredibly strong debut with The Witch, and shows that he's not concerned with traditional rules of filmmaking, but also that he understands those rules enough to know how to break them. He doesn't like giving his audience any set answers, but also understands that this ambiguity can lead to a wonderful sense of unease. Watching The Witch, you have no idea what's going on, but you know you're scared by it. It's a masterful (and beautifully shot) entry in the new canon of horror movies, and I can't wait to see what Eggers does next (and he's rumored to be working on a remake of the vampire classic Nosferatu).

#10-April and the Extraordinary World

April discovers electricity in the animated sci-fi thriller April and the Extraordinary World

It's going to be an exciting year for animation, with lots of promising animated films in the works. The genre is already off to a strong start with the French-Canadian steampunk sci-fi thriller kids movie April and the Extraordinary World. From the same company that made Persepolis, this is a film that truly understands the possibilities of animation, and uses the medium to its advantage to create a world which, as the title states, is extraordinary. The film exists in an alternate timeline of world history where all the scientists and inventors of the world have mysteriously disappeared, and the existing scientists must live in secret so that they don't meet the same fate. One such scientist is a young woman named April, the last remaining member of her scientist family, who along with a pickpocket and a talking cat discovers where all the scientists have gone. It's a great story--one which involves dragons, mysterious serums, and lots of cameos from famous scientists. It's often very funny, and a lot of fun, but what impressed me the most about the film was the sheer amount of detail that goes into the film's environment. We've seen steampunk movies before, but April and the Extraordinary World is the first one I've seen to actually justify its use of the aesthetic. The thought is that since scientists have all disappeared, electricity was never discovered and so all technological advancements in the world had to progress without it. It didn't get a large release in theaters, but it certainly deserves to be seen.

#9-Elstree 1976

Bored extras lounging around the set of Star Wars, the subject matter of documentary Elstree 1976.

It's tough to know what makes a great documentary. Crafting a documentary is as much of an artform as making a non-documentary film, but quite often, a documentary can get by as long as its chosen subject matter is interesting enough. And that is definitely the case for Elstree 1976. If you haven't heard of it, Elstree 1976 interviews ten actors who played bit parts in the original Star Wars films--everyone from Boba Fett to a rebel pilot to a Stormtrooper responsible for a famous blooper. The commercials bill Elstree 1976 as being about the making of Star Wars and, in part it is. Those who watch it specifically for the Star Wars connection will undoubtedly love hearing the behind-the-scenes stories. But Elstree 1976 is more about the actors than about the franchise they're a part of. We learn about their lives before the film, during the filming, and then after the film's release, and this is what made me love this movie as much as I did. It's not really about Star Wars, it's about these so-called ordinary people, and the care that it takes to tell us their stories is lovely. Elstree 1976 uses the Star Wars connection as an excuse to simply talk about people, and it makes it an incredibly personal film. I also think it's an especially useful film for any actor to see. Many--although not all--of the people they focus on are actors who had various degrees of success, and it's an authentic and frank look at what it's like to struggle in this industry.

#8-Green Room

The unfortunate protagonists of Green Room

Writer and director Jeremy Saulnier is still a relative newcomer to the world of film, but with just three films he has already demonstrated his own style and perspective that is a welcome addition to the horror genre. In his latest, Green Room, a young punk band desperate for a gig (Anton Yelchin, Alia Shawkat, Joe Cole, and Callum Turner) ends up accidentally witnessing a murder in the green room of the venue where they're performing. If that weren't bad enough, the club is run by neo-Nazis. Saulnier's is one of the rare horror directors whose films take place entirely within the realm of reality, with no supernatural elements ever being at play, and this nightmarish cat and mouse game is his most thrilling film to date. It's unrelenting and builds to an unbelievable fever-pitch. Plus the cast is great all around, although the standout is definitely Patrick Stewart as club owner Darcy Banker. Stewart doesn't play villains often, but he takes to it naturally, with his always powerful presence taking on new light in this film.

#7-Captain America: Civil War

Iron Man and War Machine take flight in Captain America: Civil War

 Marvel has done something unprecedented with their films. They've built a strong franchise that truly feels unstoppable, and has proven equally adept at building upon existing properties and introducing new characters. Captain America: Civil War was in a difficult position. After the success of Captain America: The Winter Soldier, it had to continue the tone of that film while incorporating about fifty times as many characters AND setting up at least twelve other films. And it does a great job on all fronts. On its own, it's a solid entry with a great amount of action and drama. What impressed me most about the screenplay is that it manages to remain detached from its central argument. The "civil war" between the Avengers, with a side led by Captain America and Iron Man respectively, is a complex issue, and neither side comes across as distinctly right or wrong. It manages to present both sides as valid, and actually approach the central issue of the film from an interesting philosophical perspective. Even if it weren't about superhero characters, I think this film would have been a solid thriller, with one twist in particular being as well executed as I've ever seen a twist pulled off in film. In the scope of the Marvel Cinematic Universe, Captain America: Civil War is equally strong. I had already been excited for the movie Black Panther, but seeing Chadwick Boseman as T'Challa made me even more excited. And I had been skeptical about ANOTHER Spiderman movie, but Tom Holland's take on the character has completely won me over. But what Captain America: Civil War perhaps does best is build upon the relationships between these characters from previous films. The fact that there's so much dramatic material for this franchise to work with now means that these characters are already fully-realized and developed, which means that the film can really delve into their relationships. Captain America: Civil War takes advantage of the framework set forth to create a film that's enjoyable if you've never seen any Marvel film before, but becomes even better if you've seen them all.

#6-Sing Street

Ferdia Walsh-Peelo and Mark McKenna writing songs in Sing Street

I absolutely love John Carney. I truly believe that in his three feature films to date, he has proven better at making movies about music than any other filmmaker in history. His first film, Once, is universally regarded as a masterpiece at this point, and I thought his follow-up Begin Again was an underrated gem. Sing Street has all of the familiar themes from Carney's previous works--music, love, sadness, etc.--but is also his most personal film to date. Based partially on his own childhood, Sing Street follows a kid in Ireland named Conor (newcomer Ferdia Walsh-Peelo) who starts a band at his new school to impress his crush, Raphina (Lucy Boynton). The original music is great, and the songs immediately feel like classics, and still have a sort of rough charm that it feels believable that they were written by talented kids. Perhaps more impressively, the band changes their musical styles as Conor is introduced to new bands by his older brother Brendan (Jack Reynor) so the soundtrack is like a tour through the most popular bands of the 80's. But as great as the music is, the film really excels in its development of the characters and their relationships. One musical number, where Conor fantasizes a Back to the Future-inspired music video for his band, somehow provides some of the best character development of the year in a single scene. And at the heart of the film is the relationship between Conor and Brendan. Reynor steals the entire film as a college dropout coping with his unrealized talent while encouraging his younger brother to explore his separate artistic talents. It's a role that could have easily become a familiar caricature, but Reynor finds new dimensions to go in, and the dynamic between the two brothers is heartbreaking in its tenderness and authenticity.

#5-Deadpool

Deadpool and Negasonic Teenage Warhead have a sensitive heart-to-heart.

As good as Captain America: Civil War was, it's not even my favorite Marvel film of the year. Deadpool is a great superhero film, but as its titular hero constantly reminds us, he's not exactly your average superhero. Where Deadpool excels is in its comedy. This movie is hilarious. Seriously, it can hold its own with some of the all time great comedy films, and certainly ranks as one of the best action comedy films ever made. And it does this by finding its own comedic voice. Not only is it funny, but it has its own comedic voice that really is unlike anything else I've heard in film. I also have to say that I think that Ryan Reynolds deserves a lot of credit for his superb performance. As they've become so popular, comic book movies tend now to attract top talent, and I would say that Marvel movies are usually well acted. But the movies are typically not ABOUT the performances. Chris Evans does a great job as Captain America, for example, but the role isn't being written to showcase his performance, it's being written to serve the franchise as a whole. But with Reynolds, things are different. Not since Robert Downey Jr. in Iron Man has a performer been given such a chance to shine playing a superhero, and Reynolds takes full advantage of it.

#4-The Jungle Book

The best movie villain of 2016 so far is a talking cat.

It has become clear that Disney plans to just keep remaking all of their animated classics into live action films. And while I don't think that this is necessarily a bad idea, it has seemed fairly so far. Their live action Cinderella, for example, was fine but utterly pointless (not to mention pretty and bland). But The Jungle Book was exactly what a live-action adaptation of an animated classic should be. It remains faithful enough to the familiar film to satisfy fans, but also distinctly puts its own spin on it and completely justifies why it deserved to be made. Seeing the film in live action works far better than I ever could have expected, and it's easy to forget that the film is almost entirely computer generated. It's so beautiful to watch, and the CGI so well done that you legitimately feel like you're there in the jungle. And I at least immediately found the talking animals incredibly lifelike and engaging. Perhaps none more so than Shere Khan. Due to the animation, but also due to Idris Elba's commanding vocal performance, Shere Khan is sinister and at times legitimately frightening as the scarred tiger seeking vengeance on humans. And Elba isn't the only strong voiceover performance. Casting Bill Murray as Baloo the sloth bear is both seemingly obvious and also inspired, and Christopher Walken is odd and surprisingly menacing as King Louie the Gigantopithecus. But the smartest thing Disney did was to get Jon Favreau to direct--this is someone who simply understands filmmaking. While The Jungle Book is breaking ground with its visuals, its story is ultimately very simple and Favreau knows how to tell it perfectly, keeping everything balanced.

#3-Zootopia

If Disney hasn't already started working on a Zootopia spinoff called Sloths then I am SO copyrighting that idea right now.

Disney's had a great year, with two films cracking my top five. I was intrigued by The Jungle Book fairly early on, but I will admit that Zootopia took me entirely by surprise. The premise doesn't sound all that original or exciting. "A world where animals can talk." Umm...isn't that most Disney movies? But watching Zootopia it is immediately clear that a lot of work went into this premise. They took the simple concept and ran with it, playing with it in a way that is both detailed and incredibly creative. On top of the world they've set up, the film's screenplay is fantastic. Honestly, you could take the same basic story and plotpoints, cast human actors, and you'd have a thriller that would probably be directed by David Fincher. But the thing that makes Zootopia especially noteworthy--and what everyone has been talking about--is its surprisingly effective tackling of issues of discrimination. What I love about the film is that it keeps its handling of social issues very broad and general. In doing so, it doesn't make its message specific. While most of the articles I've read about Zootopia say it's commenting on racism, I'd actually argue that this film will endure because it can be applied to multiple issues of discrimination in our society. It's not just a great kids' film, it's a great film that happens to be acceptable for kids to watch. If you haven't seen it yet, believe the hype and go watch Zootopia. Even if you're not as impressed by the story as I was, it has so many puns that it simply demands to be seen.

Also, it managed to break practically every record previously held by Frozen. That's right. It defeated Frozen. That earns it several extra points in my book.

#2-10 Cloverfield Lane

2/3 of the cast of the superb 10 Cloverfield Lane

I'm always intrigued by films with a small cast. If you have a limited set of characters and a limiting setting, it forces filmmakers to focus on the characters and story, which ultimately makes a film better. So what intrigued me most about 10 Cloverfield Lane was that it has, for the most part, only three actors. The underrated and always excellent Mary Elizabeth Winstead plays Michelle, a woman who wakes up from a car crash chained to a bed in an unfamiliar basement. The only other people around are Emmett (John Gallagher Jr.), a man with a broken arm, and Howard (John Goodman), the person who is essentially Michelle's captor and who tells her that she can't go outside because there's been a nuclear attack and the air is no longer safe to breathe. From that point, the movie is a constant guessing game. Is Howard lying about the nuclear attack and using it as an excuse for Michelle to not leave? Is he telling the truth and actually did save Michelle's life by keeping her in his basement? Or does he think he's telling the truth but that's just because he's crazy and Emmett and Michelle need to escape now? I don't want to give anything away, because part of the brilliance of this film is that it constantly keeps you guessing. As the film goes along, more information is revealed about where they are and what's around them. More importantly, more information is revealed about each of the characters so that we as audience members are constantly changing our perceptions of the evens we see unfolding. It's one of the most engaging thrillers I've seen in a long time. All three cast members are great. Gallagher Jr. is always an interesting performer, and here he brings a lot of weight to what I imagine is probably the least developed of the three characters at least on the page. Winstead really shines as the film's protagonist and ostensible audience surrogate, and Winstead walks the often difficult line of playing Michelle as not too smart but also not too helpless. We get a capable character who is thrown into an impossible situation, and every action of Winstead's is understandable and clearly portrayed. But the standout is undoubtedly Goodman. This is his best performance since The Big Lebowski, and my favorite performance of the year so far. He is by far the most enigmatic of these three, and our perceptions of him change the most wildly and the most frequently. At times he's fearsome, and the next moment he's sympathetic. He at times comes across as brilliant, and at times as completely delusional. What's most impressive is that, even though the audience's opinion of Howard changes every scene, Goodman's performance remains consistent. This character is so defined that he can remain rock steady even as new information changes our perceptions of him, and his performance somehow always manages to justify whatever the audience's current perception is. His performance brought to mind Kathy Bates' brilliant work as Annie Wilkes in Misery, but it's unfair to compare the two. Howard Stambler is his own distinct character, and Goodman really knocked this role out of the park.

If I had any criticism about 10 Cloverfield Lane, I will say that I found the ending a bit disappointing. It's not a bad ending, but it's certainly not what I would have gone with. But the rest of the film is so strong that it hardly matters, which is why it's so high up on my list and has a good chance of making my top ten list at the end of the year. But there was one film that I liked even more.

#1-Remember

Christopher Plummer and Martin Landau plan an unlikely revenge quest in the thrilling Remember.

Most people haven't heard of Remember. I don't remember seeing it advertised very much, and it came and went while it was in theaters. And that's a shame because it is easily my favorite film that I've seen so far in 2016. All the other films I've mentioned so far were great, but Remember engaged and affected me in a way that none of these other films even came close to. The film follows Zev (Christopher Plummer) an elderly man in an assisted living home whose wife Ruth recently passed away. Zev is approached by Max (Martin Landau, in a rare but very welcome film appearance in his later life), another resident of the home who asks if Zev remembers what he promised to do after Ruth died. Zev, who has dementia, says he doesn't, but Max gives him an envelope and asks him to read it and follow the instructions to the letter. Zev opens the letter to find stacks of money and detailed instructions. Following them he exits the home and gets into a cab that is waiting for him. And I don't want to say anything else because I hope that this beginning has gotten you intrigued to see this movie for yourself. But it's going to go to some really interesting places. When I've recommended it to people, which I've done often, I describe it as a cross between Kill Bill, Memento, and Schindler's List. So try to imagine that and this might give you some inkling of what Remember might be like.

What you might not be prepared for is simply how exciting it gets. Christopher Plummer isn't the first actor who comes to mind when you think "revenge thriller," but Oscar-nominated director Atom Egoyan and screenwriter Benjamin August use that unpredictability to their advantage. At one point, Zev stays in a hotel in room 238, an obvious reference to The Shining. At first, I thought this was an odd reference to sneak into the film, considering that Remember seemingly has little to do with the supernatural forces at work in The Shining. But by the end of the film I understood. This film may not deal with forces from another world, but it manages to extract thrills and horror from parts of our own reality, and somehow manages to craft moments that at once feel surreal and all too realistic. At times it's like a trip to the twilight zone. And, of course, it features some incredible performances. Plummer is brilliant in the main role. Seriously, considering this and his Oscar-winning work in Beginners, I actually think he's doing the best work of his career in his later life. And the supporting performances are great too. Landau is excellent, and Breaking Bad's Dean Norris practically steals the movie in a single nail-biting scene playing a brutish cop who's a proud member of the American Nazi party. I honestly cannot recommend Remember enough. See it if you can--it deserves so much more attention that it initially received.

Dean Norris menacing Christopher Plummer in Remember.

And there you have it, my picks for the top fifteen films of the first part of 2016! It's already been a great year, so I can't wait to see what not-yet-released films can top these selections. What are some of your favorite films of the year so far? Did I miss any of your favorites? Which films are you most excited to see that are coming soon? Let me know in the comments!

The Best Movies of 2015: Part 3 of 3

The countdown is finally down to its last installment. After naming my picks for the best performances of the year, and starting my countdown with my pick for the 30th best film of the year, then continuing it with the next batch of ten, we're finally coming into the home stretch. It's time for me to announce my picks for the ten best films of the year. It's a pretty great lineup if I do say so myself, with plenty of movies I think everyone can agree on, and a few weird choices thrown in there. So, let's get started: here are my selections for the 10 best movies of the year!

#10: Spotlight

The current frontrunner to win the Academy Award for Best Picture, Spotlight is one of the year's most acclaimed movies for very good reason. Spotlight follows the investigative journalists who exposed the Catholic sex abuse scandal, and handles this delicate subject matter with a steady and sensitive hand. The secret to Spotlight's success is that it really does focus on the journalists and the work they do rather than on the scandal itself. By doing so, it allows Spotlight to avoid coming across as preachy, while still making its point loud and clear. Everything about this film is subtle--the direction, the writing, and the acting--it's all level-headed and calm, but carries with it an astounding amount of gravitas. This isn't just a great movie, it's an important one.

#9: The Walk

Although it received critical acclaim when it was initially released, everyone seems to have forgotten about this movie by the year's end. And that's a real shame, because this movie was one of the biggest surprises for me this year. The Walk tells the true story of Philippe Petit as he famously walked on a tightrope between the Twin Towers. Now, this story was already told in the Oscar-winning documentary Man on Wire, and when I first heard about this movie was being made, I kind of thought it would be redundant. Man on Wire is excellent, and already tells the story of how this happened in an entertaining way--wouldn't any film adaptation of it come across as an imitation? And one that doesn't feature the real man who performed the feat? Well, The Walk completely won me over, thanks in huge part to director Robert Zemeckis. While Man of Wire tells the story of Petit's famous walk better, The Walk does a better job of showing WHY this walk was important, and in the film's incredibly final half hour, actually transports you to the tightrope so you feel like you were there. Zemeckis has a long track record of creating true movie magic--films like Who Framed Roger Rabbit?, Forrest Gump, and of course Back to the Future truly capture our imaginations and transport us to these fun and fully realized worlds. The Walk, for me, deserves to be thought of in this upper echelon. Throughout the whole movie, not just the final sequence, Zemeckis finds some wonderful moments of magic and whimsy, all leading up to this breathtaking walk, which was certainly one of the most unforgettable scenes of the year. I also think that Joseph Gordon-Levitt did a good job with a really tough role--anyone who saw Man on Wire knows that if he had played Philippe Petit as accurately as possible, he would have come across as a cartoon character as opposed to a human being, but I think Gordon-Levitt found a good balance of playing a toned down Petit. He captured Petit's spirit, while still coming across as an actual human.


#8: A Pigeon Sat on a Branch Reflecting on Existence

This is undoubtedly the weirdest movie on my list, this Swedish film from director Roy Andersson is truly unlike any other movie I've ever seen. In lieu of a plot, A Pigeon Sat on a Branch Reflecting on Existence consists of about two dozen unconnected scenes. Each of these scenes is just one shot--the camera sits in a fixed position and doesn't move for the duration of the scenes. And the scenes are weird--all of the actors (none of whom are actors by profession) wear a bizarre prominent white makeup. It's as if these characters are all clowns, but they're clowns who exist in a world utterly deprived of joy. And then the scenes themselves are just bizarre. There's the shy king who stops into a cafe during war time to hit on one of the barmen while a seemingly endless parade of soldiers marches outside. There's the old man who has a flashback to what his favorite bar used to be like, until that flashback turns into a dirge-like musical number where the barmaid trades shots for kisses. There's a series of mysterious phone calls, where we only hear one side of the conversation, and that side of the conversation is always the same but with different people speaking the lines. Oh yeah, and one of those phone conversations takes place while a monkey screams in the foreground as part of some disturbing science experiment. There are, of course, the two toy salesmen (the closest this movie has to protagonists, and the only characters who feature in more than two scenes) who repeatedly deliver a downtrodden pitch for their utterly useless products (one of my favorite movie lines this year is their somber refrain of "We want to help people have fun.") And then, of course, there is the only scene in the movie that isn't filmed from one fixed position--and I won't say too much about what it is, but it happens to be the single most disturbing and baffling part of any movie this year.

Confused yet? Well, let me tell you something to confuse you even more: Watching A Pigeon Sat on a Branch Reflecting on Existence is the most I've laughed at any movie this year. This movie is hilarious--it's so awkward and odd and absurd, that you can't help but laugh at the whole experience. With the exception of that one disturbing scene I mentioned, I don't think I stopped giggling throughout the entire movie.

"We want to help people have fun."

That being said, I don't know if I'd recommend this film for everyone. When I saw it, even though my friend and I were laughing throughout, pretty much everyone else in the theater hated it. Over half of them walked out before the movie was done, and early on, someone even chastised us for laughing so much (my friend politely informed them that this movie actually is a comedy). My recommendation is to watch a scene or two on youtube--like this one, or this one of the salesmen--and see what you think. These scenes are pretty indicative of what the entire movie is like. If you hate them, you will hate the movie. But if, like me, you find these scenes fascinating, then check out this movie and you'll be in for an experience you won't soon forget.


#7: The Martian

It's tough to make a popular movie. Movies with their eyes set on being major box office successes often walk a fine line between artistic integrity and commercial appeal. As much as I hate the trend, I can understand why producers seem to place emphasis on explosions and effects as opposed to clever writing, because explosions are more likely to get people into the seats. When blockbuster movies tend to fail as a piece of film, it has become fairly common for directors to take to social media and complain about how the studios prevented them from making the film they wanted to make--that happened twice this year with Joss Whedon for Avengers: Age of Ultron (the movie was fine but not incredible) and Josh Trank for Fantastic Four (the movie was a complete and utter disaster). This is why it's so exciting to see a blockbuster movie that figures out a good balance between smart filmmaking and mass entertainment, and I don't think I've ever seen a movie accomplish this balance as well as Ridley Scott's The Martian. I think this might just be the absolute best popcorn movie ever made. It's a movie you can turn your brain off for and enjoy--it's hilarious, but it's gripping and exciting too. But it's also a movie that offers plenty of food for thought, and holds up to analysis if you wish to examine it artistically. The film is about Mark Watney (Matt Damon), an astronaut and botanist who gets stranded on Mars after his crew mistakenly believes he died in a violent sandstorm. After he's stranded, the movie splits its time between Watney figuring out how to survive on a completely inhospitable planet, and the crew at NASA who are trying to figure out how they can possibly bring him back home. The acting across the board is strong, with everyone playing their part well (the standout of the supporting players, for me, was Chiwetel Ejiofor) but the movie clearly belongs to Damon. For the movie to work we have to really be rooting for Watney, and Damon definitely succeeds in making him likable (although he's aided by a great script which gives Watney numerous endearing and funny lines). He uses his humor as a defense mechanism, to help make his situation not seem so bad. But then there are moments where he freaks out, and this is what elevates Damon's performance from good to great. He pulls off these moments of frustration, of anger, and of fear perfectly. I enjoyed The Martian as an entertaining movie. But I also enjoyed it as a cinematic symbol of the value of human resourcefulness, ingenuity, and spirit.


#6: Ex Machina

We go from the big budget The Martian, to a smaller sci-fi film that approaches the genre in a much darker and smaller way. Ex Machina is about Caleb Smith (Domhnall Gleeson, who had one heck of a year), a computer programmer who is invited to the reclusive home of computer genius and multi-billionaire Nathan Bateman (Oscar Isaac) for what he thinks will be a week-long retreat. When he gets there, however, he finds that there's a more significant purpose for his visit: Bateman has created artificial intelligence, and wants Caleb to be the human component of a Turing test for his robot, Ava (Alicia Vikander, who also had a heck of a year. So did Oscar Isaac for that matter. Good job, cast of Ex Machina!) As Caleb tests Ava, it becomes clear that there is far more at play. Nathan's arrogance turns into a sinister megalomania, and some unexplained occurrences begin to take place which completely disrupt any semblance of normalcy. As Caleb explores the true intentions of both Nathan and Ava, what we get is a three-part cat and mouse game between Nathan, Caleb, and Ava, and we don't find out until the very end which of them is a cat and which of them is a mouse. Written and directed by Alex Garland (in his directorial debut) the film never lags in momentum, building ever-increasing stakes and a tremendous amount of tension from its isolated setting. The acting too is top-notch. Gleeson is affable and appropriately geeky as Caleb, and imbues within him a necessary sense of intellect and inherent shyness. I'm pretty convinced at this point that Isaac will never give a bad performance, and his portrayal of Nathan is commanding--Nathan's a complete asshole, Isaac never lets us forget how dangerous this guy truly is. We believe he's capable of anything, and Isaac brings an incredible amount of sheer menace to almost every scene. There's also a good performance from Sonoya Mizuno as Nathan's silent housekeeper Kyoko. But the true revelation here is Vikander. Ava was always going to have to be at the center of the story. Is she human, or not? How aware is she of what's going on outside of the room in which she's always lived? Is she helpless and sympathetic, or is she dangerous and in far more control than she lets on? Vikander's performance manages to walk a perfect balance. You love this character, and truly believe that there is a humanity to her, but she also keeps the performance from being too natural that you forget her robotic origins. For most of the movie, she is a blank slate, and her performance ingeniously allows for any interpretation you may want to throw her way. Do you believe that she's plotting an escape and manipulating Caleb? Congratulations, that theory works with Vikander's performance! Do you believe she genuinely has feelings for Caleb and is an innocent who merely wants him to like her back? Congratulations, that theory works with Vikander's performance! Any theory that you may create in your mind about the true nature of Ava is allowed by Vikander's versatile acting. And, at the end, when all the mysteries of Ex Machina are revealed, her performance still holds up. Ex Machina is an example of sci-fi at its best: it utilizes inhuman and impossible ideas to allow for a more thorough examination of humanity. It will make you question everything you think you know about how your own brain works, and will do so while telling one of the most tightly orchestrated stories of the year.


#5: Clouds of Sils Maria

I'll get right to the point: Clouds of Sils Maria is one of the best screenplays of the decade. Written and directed by Oliver Assayas, it plays with its audience's minds the same way Birdman did last year, and constantly makes you question what is being presented to you. Clouds of Sils Maria is about actress Maria Enders (Juliette Binoche), who got her big break over twenty years ago when she was cast in the role of Sigrid in a play, and then subsequent film, called Maloja Snake which propelled her to stardom. We find out that Maloja Snake is about a volatile relationship between the young Sigrid, and her boss Helena, who begin a romantic relationship that soon turns manipulative and utterly destroys Helena's life. At the start of the play, the playwright dies and a revival of the production is announced: with Maria playing Helena this time. Maria is accompanied by her young assistant Valentine (Kristen Stewart), while the role of Sigrid will be played by the scandal-ridden Hollywood actress Jo-Ann Ellis (Chloe Grace Moretz). The movie is truly about the dynamic between these three women, which is constantly called into question. Valentine and Maria seem to have a relationship that might be like that of Sigrid and Helena's--and scenes of the two of them running lines are almost indistinguishable from their real conversations. The play is woven together to constantly blur the lines between reality and the play within the film, and it's an exciting mindgame to witness.

On top of the screenplay, the casting is inspired. Not only does Clouds of Sils Maria play off of the reputations of these actresses (some of Jo-Ann's scandals are clearly based off of tabloid headlines involving Stewart), but they deliver three excellent performances. The ensemble work between the three is nothing short of extraordinary--the relationships that they build with each other helps their performance as a cast build far beyond the already good performances they pull off individually. If there was one standout performance, however, it would be Stewart's. She won the Cesar Award--the French Oscar--for her work in this, and in doing so became the first American actress to do so. The movie is a masterclass in acting, writing, and directing, and one of the most fascinating movies I saw all year. It's definitely a movie you have to pay attention to, but this complex tapestry of a film is one worth trying to unravel.


#4: Creed

It's tough to keep a franchise going for seven movies. Things tend to lag and get stale, and you experience inevitable comparisons to originals that are now considered classics. When Creed was first announced as a new addition to the Rocky franchise, people let out a collective "huh?" No one was asking for another Rocky movie, especially has the franchise has had some missteps in the past. But Creed is like a shot of adrenaline, which revitalizes the franchise to the point that I wouldn't mind several more Creed films. But it's not my fourth favorite film of the year because of how it compares to the original--I rank it so high because it's such a good standalone film in its own right.

Creed follows Adonis Johnson (Michael B. Jordan), the illegitimate son of Apollo Creed who dreams of being a fighter and building a legacy of his own. He moves from L.A. to Philadelphia and enlists Rocky Balboa (Sylvester Stallone, of course) to train him. The story here is very familiar--it's an underdog story that clearly pays homage to the original Rocky. But while Creed is notable for the similarities between it and Rocky, it's also notable for the differences. Creed is its own film, and Adonis is his own hero. I'm fairly certain that everyone already agrees that Jordan is one of the most promising young talents out there, and he continues to prove why with this performance. At the start of the film, he's living in a mansion and has a steady job, where he just received a promotion. His decision to become a fighter is a really bad one on paper, but Jordan does a great job of showing us Adonis' passion: it's clear that this is the only thing he will be happy doing. Adonis is headstrong, and at times arrogant and angry to a fault, but you never stop rooting for him. If Rocky Balboa was the old face of Philadelphia, Adonis Johnson represents the new Philadelphia, and maintains the same sense of inherent goodness and powerful resolve that made Rocky such a great hero.

Speaking of Rocky, Stallone is back and fulfilling the role of trainer this time--Rocky has become Mickey. Stallone is wonderful, giving one of the absolute best performances of the year. In many ways, it's unfair. Stallone has played this role for so long, and understands this role so intimately, that he possesses such a strong sense of this character that most actors can only dream of. It's a joy just to watch Stallone exist on screen in character. Every moment he's on screen is so natural and so deliberate. Sure, there are particular scenes where he's allowed to really showcase his acting chops, and those are incredible (one scene in a hospital made me cry--if you've seen the movie you know which one) but every second Stallone is on screen is simply a joy to watch.

Creed is a testament to director and co-writer Ryan Coogler--this is simply one of the best made films of the year. The fights are amazing--you really feel like you're in the ring in a way I've never felt before. Many have talked about it before me, but there's one fight in the middle of the film that is absolutely extraordinary. Done in one take, the scene is a masterclass in sound mixing and cinematic staging. Creed is a great movie on both a technical and an emotional level. Whether you've seen the previous Rocky movies or not, Creed is really not one to miss.


#3: Room

The premise of Room is not the most appealing one. It's about Joy Newsome, known in the film as Ma (Brie Larson) who has been kidnapped and held captive in a renovated garden shed for seven years. For five of those years, she's also had her son Jack (Jacob Tremblay) by her side. To shield him from the pain of their situation, Ma has told Jack that their prison, which they call Room, is the entire world, and that nothing exists outside of it. Much of the movie focuses on their day to day routines and Ma's attempts to keep Jack happy and herself sane. But then, after his fifth birthday, she decides that it's time for them both to try and escape.

If this all sounds depressing, don't worry, it definitely is. But Room is also wonderful in its outlook and insight into the mind of a child. Those involved in the making of Room have managed to mine great joy out of small moments in a horrifying situation. Seeing Jack happy, and seeing the satisfaction that this brings Ma, is both devastating and beautiful. The film is, unsurprisingly, held together by the incredible performances of both Larson and Tremblay--they operate as one wonderful unit. For each one, the other is quite literally the entire world, and the closeness of these characters can't help but be powerful. Written by Emma Donoghue, who also wrote the book it is adapted from, and directed by Lenny Abrahamson, Room creates one of the most distinct worlds of the year. It takes a nightmarish situation and makes it feel very real, but in a way that provokes thought as opposed to being flat out disturbing. Horrifying and inspirational, it's a remarkably effective film. At times, it almost feels like an improbably fairy tale with how it creates heartwarming moments out of much darker origins. In the later part of the film which (spoiler) takes place outside of Room, the film isn't quite as strong, but still holds its audience at attention and offers some incredible moments. This is a film that truly stays with you long after you have left the theater.


#2: Anomalisa

One of the best screenwriters of all time is Charlie Kaufman. When I look at his filmography, I'm struck by how many of his films feature truly original concepts. Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind, Syencdoche NY, these are all movies that offer something truly unique. It's amazing to me that one mind can come up with so many ideas that are so completely realized while being definitively one-of-a-kind. And so when I heard that Kaufman was releasing his first film in about eight years, I was really excited. And once again, Kaufman has created a movie completely without peers--one that is truly unlike anything else. It's hard for me to discuss it without giving away the plot, which I'm going to go over in the next paragraph, so if you're concerned with spoilers and want to experience this movie fresh, then skip over the next paragraph, but know that despite being an animated movie, this is one of the most innately human movies of the year and that it really is not to be missed.

Anomalisa follows Michael Stone (David Thewlis), a customer service guru and reasonably well-known author who is in Cincinnati on a business trip. But there's something about Michael: to him, for the past eleven years, every other person in the world has had the exact same face and voice (all voiced by Tom Noonan, who somehow manages to make his characters distinct even though he must deliver his lines with no differentiation in his voice and with almost the same cadence). Until he is shocked to overhear in the hall outside his hotel room a different voice, that of Lisa Hesselman (Jennifer Jason Leigh). He is, understandably, intrigued--and the film wonderfully portrays Stone's desperation and enthusiasm as he rushes into the hall to find the source of this new voice. A romance begins between them that night, and I loved how simple it was. Lisa is not an extraordinary person--she's kind of awkward and offbeat, and much of what she says is rather plain. And yet watching the film, you, like Michael, absolutely fall in love with her for the very reason that she's herself. And, really, I can't think of a more apt way to display what it's like to be in love with someone: when you are in love, you love a person's personality and characteristics no matter what they are precisely because those traits belong to them. At one point, Lisa sings a charming and thoughtful rendition of "Girls Just Wanna Have Fun," for Michael and it's the first time he's heard a person sing in years (early on, he tries to listen to some opera on his ipod which is sung atonally and perfectly by Noonan). Lisa, oblivious to how Michael perceives others, says she loves Cyndi Lauper because "she's not afraid to be herself." Little does she know that, despite her own insecurities, she is a symbolic embodiment of that own sense of self-identity.

Pictured: many Tom Noonans.

I don't want to say too much more because I think that this movie is filled with poignant moments that you have to experience for yourself, and which each person will interpret differently. This is a movie about how we operate as people, and everything is geared towards that level of introspection. From Michael's profession working in customer service where he lumps all people together as a singular "consumer" and gives advice on how to appeal to them, to the fact that the hinges are kept on the models' faces to showcase the mechanics of how our expressions operate, the film is full of subtle and not so subtle touches which make us think about the nature of humanity more than pretty much any movie I've ever seen. It took an animated film to shine a light on real people so perfectly.

And, while this should go without saying if you've seen any Charlie Kaufman film ever, there's plenty of offbeat humor and outright weirdness--especially in one incredible sequence involving a hotel manager, a distorted hallway, and someone's face literally flying off.


#1: Phoenix

Most people have not heard of this film. But, you know who has heard of this film? Anybody who has spoken to me this past year, because ever since I saw it, I've said "this is going to be my pick for the #1 movie of the year." A German film (which was criminally deemed ineligible for the Foreign Language Oscar due to a technicality), Phoenix is about holocaust survivor Nelly Lenz (Nina Hoss), who has  reconstruction surgery to restore her face after suffering injuries in the concentration camp. She seeks out her husband Johnny (Ronald Zehrfeld) who believes that she died in the war, despite her friend Lene's (Nina Kunzendorf) belief that Johnny betrayed her to the Nazis which led to her capture. When Nelly finds Johnny, he doesn't recognize her, but does think she looks enough like  hisbelieved to be dead wife that he recruits her for a scheme: he asks her to pretend to be his dead wife so that he can collect her inheritance. Nelly, wanting to be with Johnny again, and curious to find out if he betrayed her or not, agrees to the plan, and goes about being coached to be like her old self. The premise is downright Hitchcockian (it's clearly inspired in part by Vertigo), and gets more and more complex and mysterious as more information is revealed.

This is, quite simply, a perfect film. It's a truly masterful work by director Christian Petzold, who uses each moment to his advantage--I can't think of a single line that was out of place, or a single frame that wasn't utilized. Very little is ever said outright--it's all simply inferred from quieter clues. And much credit should be given to the performances, especially from the three most prominent performers, Hoss, Zehrfeld, and Kunzendorf. As Johnny, Zehrfeld is a true enigma, and we are as in the dark about him as Nelly is. Could he be a sleazy villain, or is he a misunderstood good guy who genuinely loves his wife? Or could he lie somewhere between these two camps? Zehrfeld makes every possibility equally plausible. Kunzendorf almost steals the movie as Nelly's friend Lene--an angry and capable woman who comes across as a voice of reason. Kunzendorf portrays her with a level of strength that makes you trust her instantly, and is a truly commanding presence on the screen. But the undeniable star here is Hoss. Nelly is vulnerable, yet completely in control. Nelly never speaks her motivations out loud, but we understand why she does everything she does thanks to the confidence that Hoss brings to this performance. She's sensational to watch, especially as she runs a complete gamut of emotions. Her performance builds and builds up until the ending--one of the absolute best endings in the history of film. I won't give away how it ends, but I will say that, as the title would suggest, it is a moment of complete rebirth for Nelly. In the more than capable hands of Hoss, this character ends the movie completely transformed into a new version of herself, and it is astonishing to watch. This movie, and Hoss' performance in particular, is a masterclass in acting.

I also want to make a note about how this movie deals with the subject of the holocaust. It's a holocaust movie, but one that takes place after the war has ended. The film doesn't focus on the war, but its lingering ghost is an all-pervasive backdrop. And I think that this film deals with the holocaust better than almost any film I've ever seen. Nelly has clearly been through a lot, but never talks about it. Before her surgery, we never see her face except under bandages and don't know the extent of her injuries or how she received them. There's only one scene where she actively talks about her time in the holocaust, and even then she's unable to finish the horrifying story she tells, and tells it only after falsely stating that it was a story she heard, not one she experienced. The fact that she is unwilling to talk about the camps makes their presence all the more apparent, and is what makes this film's treatment of the delicate subject so powerful. As Johnny coaches her to act like herself in front of their friends, she frequently says, "Surely they'll want to know about what it was like living in the camps, shouldn't I think of stories to tell them," and he assures her "no one will ask." And indeed no one does. This silence speaks volumes, and is equal parts chilling and heartbreaking. The way that Phoenix deals with this subject shows admirable restraint--restraint which extends to its storytelling as a whole. Pound for pound, frame for frame, in terms of acting, writing, directing, importance, story, character, and mood, Phoenix is, to me, a no-brainer pick for the best film of the year. It's thought-provoking, but also entertaining--a mysterious thriller that will keep you guessing in the best way.

Oh, and in case you missed it in theaters, Phoenix is currently on Netflix. Watch it. You will not regret it.

Bonus Pick: Yes! Ham Goes Up An Escalator

As great as Phoenix is, I think we can all agree that the real best movie of the year was this masterpiece from the website clickhole. If it doesn't win the Oscar for Best Cinematography, it'll be a huge snub.

Well, those are my picks for the very best films of 2015. What are your thoughts? What movies did I get right, and what movies did I get wrong? And what movies do you think I missed entirely? Share your own top ten lists in the comments, and I look forward to another year of great movies in 2016!

The Best Movies of 2015: Part 2 of 3

My countdown of the best movies of 2015 started yesterday--feel free to check out part one here. But now, here's part two--the next batch of ten movies that were some of the best of the year.

#20: 99 Homes

The awards season has so far given a lot of attention to The Big Short, a movie about the financial housing crisis in the early 2000's. It's an important topic--one that affected pretty much everyone, but which a lot of people don't understand too much. But, I have to say that I hated The Big Short, and have been somewhat dismayed at it's success. I won't get into all of my problems with that movie right now, but I will say that I think a major reason I feel the acclaim for The Big Short is undeserved is that there was already a much better movie released this year about the housing crisis. That movie is 99 Homes, which is a raw, depressing, and beautiful film (while The Big Short comes across like that one high school teacher who swears in class because he thinks it'll make him seem cool). 99 Homes' success comes from focusing on those who were most affected by the housing crisis: the numerous low-income families who were evicted from their homes. The head of one such family is 99 Homes' protagonist Dennis Nash (Andrew Garfield) who loses the home he shares with his mother (Laura Dern) and son (Noah Lomax). To make enough money to survive, he enters a deal to work for real estate mogul Rick Carver (Michael Shannon), the man who evicted them from their home in the first place. This movie is brutal, and thrives on the foils of the two main characters. Garfield gives what might be his best performance to date as Dennis--a volatile mixture of desperation and inherent goodness. Shannon gives one of the best performances of the year as the villainous Carver--one of the slimiest and most compelling antagonists in recent film history. He personifies greed and all the evil that comes with it. The movie is like an all-too-real fable for the modern age. Some of its detractors have called it too melodramatic, but I can't imagine anyone to not be profoundly affected emotionally after watching this movie.

#19: The End of the Tour

It is always impressive when a film can wring fascinating drama from two people merely having a conversation, and that’s essentially what happens here. Writer Donald Margulies ingeniously wove together a screenplay adapted from recorded interviews that journalist David Lipsky (Jesse Eisenberg) had with author David Foster Wallace (Jason Segel) over the course of several days while Wallace was on tour. What we get is an introspective character study that is both poignant and thought-provoking. It helps that these interviews are pretty interesting stuff, but the true gem here is Segel, who delivers a career-changing performance as the enigmatic author. There’s both a grandeur and a profound quietness to Segel’s performance—a convincing interpretation of a shy genius who had a lot to offer the world. It’s a small film, but one that is worth the time to pay attention to.

#18: Steve Jobs

At one point considered the Best Picture frontrunner, Steve Jobs got good reviews, but didn’t really perform as well with either critics or audiences as expected. And I think the reason for this is because it’s ultimately a pretty strange movie. Rather than simply being a biopic about former Apple CEO Steve Jobs, it’s more of an examination of Jobs as a figure in pop culture. Screenwriter Aaron Sorkin is far less concerned with telling things as they happened then he is about trying to get to the root of Jobs. In other words, it's not a movie about Steve Jobs, it's a movie about the idea of Steve Jobs. The key to the film’s success is an incredible Michael Fassbender, who doesn’t look much like Jobs, but again this film is not too concerned with accuracy. The films draws rather unsubtle comparisons to Citizen Kane. From its powerful central figure, to its jumps in time, to its "this was the true inspiration behind the man" ending, the similarities are too present to ignore. Much like Orson Welles in Citizen Kane, Fassbender’s performance (along with Sorkin’s script) changes depending on who he’s talking to. When he’s talking to his lifelong friend Woz (Seth Rogen) he comes across as vulnerable. When he’s talking to faithful underling Andy Hertzfeldt (Michael Stuhlbarg—easily the standout supporting performance for me) he comes across as a tyrant. When he’s talking to his ex-girlfriend Chrisann (Katherine Waterston), he’s a jerk, and when he’s talking to his daughter Lisa (Perla Haney-Jardine, Ripley Sobo, and Makenzie Moss depending on her age) he’s an enigmatic hero. Only when he’s talking to his confidant, Apple marketing executive Joanna Hoffman (Kate Winslet, doing good work albeit with an erratic accent) does he ever come across as fully human. It’s a fascinating character study that, while flawed as a film, is nonetheless a very worthwhile and thoughtful film, provided you’re not caught off-guard by the unconventional storytelling.

17: The Hateful Eight

At one point in The Hateful Eight, John Ruth, a bounty hunter known as "The Hangman" (played by Kurt Russell) says, "You only need to hang mean bastards, but mean bastards you need to hang." Well, basically every single main character in this movie is a mean bastard, but they're certainly compelling mean bastards. Director and writer Quentin Tarantino never wants his characters to fit into a neat little mold, and The Hateful Eight features some of his most intriguing creations yet. And while Tarantino is known for large plots that often take place across multiple locations and times, most of this film takes place inside of a single room--a callback to his first feature Reservoir Dogs--which allows his unique knack for dialogue to truly sing. This is Tarantino's version of a locked-room mystery, and in its best moments--of which there are many--it is a high-stakes Western that is truly thrilling to watch. But like its characters, this movie is a little rough around the edges. At times, the story gets a bit sloppy, and there are a few things that don't quite make sense. But you don't care about those because Tarantino cleverly ropes you into this complex web of a movie.

I must say part of the reason I was so taken with this movie was because I was lucky enough to see it as part of its Roadshow Presentation--where it was played on 70mm film as opposed to digital, had an intermission in the middle, an overture at the beginning, and came with a program. In the program, Tarantino talks about how movies used to be an event--that they used to be treated with the same regard as going to a Broadway show, and how he wanted to capture that with this presentation. And I think he undeniably succeeded. The viewing of this movie felt very special. Don't get me wrong, the movie is good enough to be enjoyed even without all the extra stuff, but if you have a chance to see it as a special presentation, take it. It's worth it.

#16: Crimson Peak

Guillermo del Toro is one of the most visual directors working today, and in his pet project Crimson Peak, he has delivered one of the most stunning films ever made. The script—basically if Jane Austen had ever written a gothic horror ghost story—fully takes advantage of both its period piece aesthetic and gothic origins, to make an eerie and captivating film that is reminiscent of many other horror movies, but manages to find a unique tone all its own. It’s not downright terrifying, but it is definitely creepy, with an especially wicked performance coming from Jessica Chastain, doing what I think is her best work to date. Crimson Peak is a great-looking classic ghost story, and I think its reputation will only get better as time goes on and people have a chance to reflect on it. Honestly, I would have ranked it higher if not for what I think is a fairly lackluster performance from its star, Mia Wasikowska--she seems to be trying to channel another Mia, Mia Farrow in Rosemary's Baby, but just ends up coming across and vacant and boring. But based on its writing, direction, and design alone, Crimson Peak deserves its place as one of the best of the year.

#15: Carol

Depending on who you ask, Carol's greatest strength or its greatest detriment is that it's a fairly simple love story. I can understand the problems some might have with the film's simplicity--the story isn't all that interesting on its own, and potentially doesn't take full advantage of the fully-realized characters that it sets forth. I would argue, however, that the simple story is a sign of restraint. In director Todd Haynes' good but heavy-handed Far From Heaven, which was about an interracial affair in the 1950's, the political stigma of the time was at the forefront, and made very apparent. Carol takes place in the same era, but this time focuses on a lesbian relationship, and while the taboo-like implications of this relationship are certainly acknowledged, they are not so much at the forefront. Instead, Haynes spends his efforts in creating a fully realized romance, that features one of the most believable on-screen couples in recent memory. This is, of course, due in large part to the performances of its leading ladies, Rooney Mara and Cate Blanchett. Both are alluring in their own ways. As shopgirl and amateur photographer Therese Belivet, Mara possesses a sweet charm--she gives off an air of innocence. As the socialite Carol Aird, Blanchett is instantly captivating, and possesses a certain magnetism that Blanchett exudes in her best performances. You understand why these two characters feel such a sudden connection so immediately. Blanchett gives the flashier performance--her character is far more outgoing, but what sold this film for me was Mara's nuances. You can see how differently she acts when she's around Carol and when she's not--you can see in her body, her face, and her voice how much happier she is. It's a tender and sweet romance, that succeeds because it doesn't try to overreach its bounds.

#14: Mad Max: Fury Road

Mad Max: Fury Road shouldn't work. It's from a franchise that hasn't had a new installment in years, and which no one was really asking to be revived. Plus, it doesn't have much of a story--at its essence, the story is "the bad guys chase the good guys through the desert," like a weird action movie crossover of The Road Runner and Wile E. Coyote with Wacky Races. There are lots of characters who have no story arc whatsoever, and whose origins go completely unexplained. Yet this has become one of the best received movies of this year with both audiences and critics, and when you watch the film, most will understand why. Director George Miller has created an artistic whirlwind--a true tour-de-force that simply consumes you with its visionary view. Everything is so carefully done that you don't need a fully-realized story: the design alone will carry you through the movie's runtime. The character design is brilliant here. With one look at Immortan Joe, you understand everything about him. With one look at Nux and the other war boys, you instinctively understand the culture of their society without it being explained to you in any detail. Hell, one of the most talked about characters in any movie this year was The Doof Warrior--a wordless character who managed to be fascinating simply by playing guitar (albeit a guitar that shoots fire). Every element of this film is so in sync, and Miller is so in control, that the film is allowed to operate in a world of perceived chaos and we'll still trust it and go along with it. Basically, it's good enough, that the movie is allowed to break all the traditional rules. There is no movie like Mad Max: Fury Road. But with any luck, there will be worthy successors in the future. It's a true game-changer, and I for one look forward to the inevitable lineup of action films which place an emphasis on artistry that will follow in its wake.

And, oh yeah, Charlize Theron is excellent, and Tom Hardy's restrained interpretation of Max is a wonderful reimagining of the character.

#13: Youth

 
Most movies stick to a certain degree of logic. There are rules that they follow to tell a certain story to the audience. Even Mad Max: Fury Road, which does so many things outside the box, follows a few key dramatic conventions. But director Paolo Sorrentino, best known for the Oscar-winning The Great Beauty, is unconcerned with such matters. His films are free-form, and tend to be a series of beautiful moments and reflections on ideas which somehow convene into a solid narrative. Most movies are like prose, but Sorrentino's are like poetry. And, like poetry, Sorrentino's films are not going to be everyone's cup of tea, but for those who are willing to embrace it, there will be a lot of value in Youth. Held loosely together by the relationship between lifelong septugenarian friends Fred Ballinger (Michael Caine), a classical composer, and Mick Boyle (Harvey Keitel), a movie director, who are vacationing in the alps, Youth offers keen insight into the nature of life, love, loss, aging, art, and our own senses of self-worth. Youth is filled with some magical moments, and is truly a thing of great beauty (hehehe).

Plus, sorry to give away a great sight gag, but I didn't know that I needed to see Paul Dano eating breakfast while dressed as Hitler before I watched this movie, but it turns out I did indeed need that visual in my life. It's amazing.

#12: Brooklyn

If someone were to tell me they didn't like Brooklyn I flat out wouldn't believe them. This film is so absolutely charming that it's impossible to not be won over in at least some capacity. Faithfully adapted from the best-selling novel by Colm Toibin, Brooklyn is a stylish period piece, and a delightful and inspiring love story. Brooklyn follows Eilis Lacey (Saoirse Ronan, who cements her place as one of the finest young talents working today), a young Irishwoman in the 1950's who is sent overseas to live in Brooklyn and make a better life for herself. A coming of age story, we get to watch as Eilis comes out of her shell and learns more about the world--including falling in love with the Italian-American Tony (a lovely Emory Cohen). There's not too much analysis to provide--it's not that there isn't substance or subtext, but much of it is pretty apparent upon your first viewing of the film, but Brooklyn is placed so high on this list because it is simply a joy to watch. It's sweet, but is so earnest that it never comes across as saccharine. Basically, Brooklyn is the cinematic equivalent of a hot mug of Irish Breakfast tea on a cold day. It's comforting, satisfying, and sincerely pleasant.

#11: Mississippi Grind

Mississippi Grind already has the feel of a classic, perhaps because of its familiar story and character types. But when you pay attention to this film, you realize that there's a lot more going on in this film than meets the eye, and many of the things that feel most familiar about the movie end up being the areas where it surprises you most. Mississippi Grind follows Gerry (Ben Mendelsohn), a sad-sack gambler who's clearly smart, but slightly off, and on a bit of a losing streak, who teams up with the younger, more confident, and better-financed Curtis (Ryan Reynolds) in the hopes that it will turn his luck around. After meeting one night, each seems to recognize something in the other, and they embark on a roadtrip, with the intention of entering Gerry in a high-stakes poker game in New Orleans. As their trip progresses, they learn more about each other, and we learn more about them. What I find so fascinating about this film is the ever-shifting dynamic between them, and the film's refusal to reveal their true intentions. Are these two buds on a roadtrip, or is one attempting to exploit the other? Or are BOTH trying to exploit the other? The film features a smart script, but is highlighted by strong performances from Reynolds, and especially Mendelsohn, who is absolutely brilliant as Gerry. Gerry is the all-time embodiment of a loser--one of the most pathetic characters in film history--and yet Mendelsohn refuses to play him as such. He instills in Gerry a desperate enthusiasm, and a clear intellect which makes him all the more sympathetic. While the two of them embark on this journey together, Mendelsohn makes it distinctly Gerry's movie, a snapshot into the life of a man who has hit rock bottom.

Aside from the fascinating character study, Mississippi Grind is a gripping depiction of addiction. Curtis and Gerry gamble, and gamble often, and these scenes are terrifying to watch. While it's hard to call either of them lovable, it's impossible to not be invested in them, and as their mutual compulsion for betting comes more into focus (the film offers subtle touches, like Gerry casually flipping a coin to decide if he should make a phone call or not) the stakes of each gamble becomes increasingly nerve-wracking. Whether they win or lose, their inability to not gamble is heartbreaking and all too realistic. Even when they're not at a poker table, we see evidence of how addiction has affected both of their lives to a devastating degree (a scene where Gerry visits his ex-wife is especially powerful).

The film is deceptively simple, and takes what could have been a familiar story, and imbues it with a compelling sense of importance. Plus, its depiction of the country through montage and music is fairly remarkable. This movie sort of flew under the radar, but much like its sad-sack non-hero, it's a diamond in the rough that is immensely satisfying to spend time with.






The movies get better and better, but there are still ten films that I liked even more than these gems! What could they possibly be? Stay tuned for the final batch of ten, coming soon.