The Academy Awards are over and by now the buzz about the films of 2015 has died down indefinitely. So, I felt a nice way to start this blog would be to send 2015 off proper with a series of micro-reviews of all the 2015 films I saw. Though most of my reviews won't be too in depth, I hope you get at least a snapshot of what I felt about last year's films, and maybe I'll pique your interest on some you may have missed! With that, let's dive in.
The Martian
A fun and thrilling sci-fi epic, The Martian foregoes the usual survival story tropes of unnerving isolation or ever-present danger in favor of a lively sense of humor and an examination of human industriousness. A charming, if not particularly inventive, addition to Ridley Scott's repertoire, which until now seemed to be one ill-conceived exercise after another. All in all, its greatest strength doubles as one its most glaring flaws: as said, the film foregoes a grueling and dramatic tale of human perseverance as survival films are often wont to do, which allows the film to thrive in a largely unserious but still certainly compelling narrative; but it does at times feel a little too easy going which can bring down the dramatic tension which makes it difficult to ever really be on the edge of your seat.
It Follows
For me, this was one of those cases where the concept was more interesting than the film itself. For those who don't know, It Follows is about a malicious supernatural being that follows a doomed person at a walking pace until it either kills them or the host passes on the being though sex. It is overall well crafted, and certainly inventive in many respects, and it's certainly interesting to try and decipher what exactly the demonic force represents. Furthermore, it did contain some of the better horror moments I've seen in films of recent years, but the climax was somewhat boring and perhaps even out of place. Still a very creative and interesting horror film, but not the modern classic I was sold on.
Furious 7
Yes, I love the Fast and Furious movies. Yes, the second and third ones are terrible, and the first and fourth are mostly just decent. But five, six and seven are awesome. Fight me.
Moving on.
Furious Seven is all you could hope for in a thrilling action film: excellent stunts (with an emphasis on the practical when possible), pulse-pounding action set-pieces, and an unapologetic sense of fun. Also a fitting send-off to the late Paul Walker with a touching and tasteful tribute to the departed at the film's conclusion that leads you to believe that the film's emphasis on found family extends behind the scenes. An increased emphasis on globe-trotting this time around for the heist/action series cements the franchise as a credible rival franchise to James Bond and Mission Impossible.
Spy
I almost really liked this movie. McCarthy proves for sure that she can carry a movie with aplomb. Jason Statham's turn as a parody of himself was possibly one of the more hilarious things to happen in film this year. But the running sexual harassment joke was just, awful. It was at best unfunny and at worse disturbing and insulting. I could have forgiven the film if it had been a one-off, after all, hardly in any comedy piece does every joke land. But it's such an overbearing presence that it took the wind out of my film-going sails.
Jupiter Ascending
I do not understand why this film got so much hate when it came out. Admittedly, it's a little goofy and there was, at least, one cringe-worthy scene and a few dropped plot threads. But, it isn't terrible. In fact, it's actually rather entertaining and occasionally even clever. I wouldn't say drop everything and watch it, but if you're looking for some whimsical sci-fi fantasy to pass some time, you could do a lot worse.
Bridge of Spies
One would assume that a beloved director, a talented lead, and an intriguing slice of Cold War history would amount to a solid film. Yet somehow, I just can't bring myself to like this movie. It's overlong, often boring, and heavy-handed. Did you ever get the sense that the Soviet Union was crappy and America is pretty great? Well don't worry, this movie is here to confirm all your beliefs in spades, even if it has to use punishingly obvious visual metaphors and inaccurate portrayals of events to do so. The one highlight here is Mark Rylance's deft portrayal of Soviet spy Rudolph Abel.
Bone Tomahawk
This movie flew under the radar somewhat, and it does make sense why. The horror western is clearly intended for a niche audience, and only enjoyed a limited release. That being said, it's a fairly solid film. Its slow burn pace might be a turn off for some but it's a fairly smart film and works in its own terms. It might be worth keeping an eye on S. Craig Zahler's career from here on out.
Crimson Peak
Let me just say that Guillermo del Toro is easily one of my all-time favorite directors. I'm not sure any film has a had more of an impact on how I see and appreciate film's more than Pan's Labyrinth has. Which brings us to Crimson Peak. There's a lot done right here. The acting is solid, especially Jessica Chastain in top form as the maniacal Lucille Sharpe. Allerdale Hall is an incredible piece of set design, a veritable House of Usher come to life. The ghosts are sufficiently creepy and del Toro continues to prove he's a master of the macabre. And yet, I just can't bring myself to love it. Something about it falls flat for me. And I don't know why. Maybe I'll even watch it again sometime and like it. It's happened before. But I think the lesson here might be that sometimes how you feel about something can't necessarily be pinned down; it's just that: a feeling.
Mission Impossible: Rogue Nation
If you haven't yet caught on to this action franchise, now is as good a time as ever. Following the infectiously thrilling MI: Ghost Protocol, Rogue Nation proves that the series can sustain the high octane energy and unabashed sense of fun that made the fourth installment so likeable. If you are feeling soured on 007 (which if what I have heard about Spectre is true, you are), then the ongoing Mission Impossible should satisfy all your espionage action needs.
Avengers: Age of Ultron
This movie exhausted me so much that even writing about it is fatiguing. So I will keep it short. It's overstuffed with plotlines and shared universe building to a degree that was unnecessary and just made it irritating to follow. The action sequences lacked any of the whiz-bang fun found in the first team-up film, and had a newfound and unnecessary obsession with slomo shots. The Hulkbuster vs. Hulk scene, while being likely one of the film's better action sequences, has essentially little to no bearing on the plot. Even though James Spader milks each scene with aplomb, Ultron spends most of the movie doing little else beyond grandstanding, and it gets old. That's only a slice of how I feel but thinking about this movie gives me a headache. I'll leave it with saying that after this movie, Civil War has an uphill climb in recouping my confidence.
Mad Max: Fury Road
This movie is, simply, masterful. This film is a tour de force of visual splendor and mayhem. The practical effects and stunts are incredible. The digital effects are seamlessly integrated into the frame. The action sequences are pulse-pounding, high octane thrill rides. The chase narrative leaves you constantly on the edge of your seat. Tom Hardy is undoubtedly compelling despite playing the largely quiet Max, and Charlize Theron drives the film forward with serious gusto. Yes, it's dialogue light, and yes, the plot is very straightforward (literally). But by stripping away complex plot progression and needless exposition, the complexity of the film and its story are allowed to unfold through activity, movement, composition, physicality, color, music, and character action. Indeed, it speaks much to what makes film such a unique medium, and that alone makes it worth watching.
Jurassic World
I won't mince words here: I really, really do not like this movie. "Why?" You might ask. Was it the aggressively bad dialogue? Was it the lazy color grading that makes it seem like you just entered some offputtingly washed out blue-and- grey-tinted alternate dimension? Was it Chris Pratt's overbearingly alpha-male archetype Owen Grady? Was it Bryce Dallas Howard's high-strung working woman character Claire, whose greatest crime in the movie is not having any time for someone else's children? Was it the fact that it laughably succumbs to fulfilling bigger-is-better corporate mentality it seems so eager to indict? Certainly, it is all of these things. But I think what irritated me the most was its attempts to use nostalgia to endear itself to me. Oh, you liked Jurassic Park? Well here's an emotional piano rendition of the original theme as we slow pan over its set and props. While Jurassic World succeeded at frequently reminding me that I liked another movie, it's a shame it couldn't be bothered to convince me to like the one I was watching.
The Hateful Eight
This film certainly had most of the trappings of a Tarantino film: snappy dialogue, solid cinematic style, homages galore, and graphic violence. But, for me, it was missing the satirical, sardonic edge I find embodied in his better film. Personally, I can't really find much that it amounts to at all. The moral issues at play don't feel particularly well explored. It's attempts to work as an Agatha Christie style one room murder mystery fall flat.The endless racism and misogyny was perhaps supposed to have some subversive meaning but I certainly missed it and, judging by the audience around me guffawing at racial slurs and gender violence, it may even be being interpreted more sinisterly. Perhaps if you are a die-hard Tarantino fan you'll have a good time here, but I remain unconvinced and unamused.
The Gift
The Gift is a fairly capable psychological thriller. Jason Bateman takes full advantage of his normal relatable guy persona and then upends it to great effect. Joel Edgerton proves that he has some solid cinematic talent and may end being as successful behind the screen as he has been on it. It's a decent thriller with a solidly unnerving twist, but it ultimately plays more as a proof of the talents involved (Bateman, Rebecca Hall, and Edgerton on screen, and Edgerton behind it) than it does as a great movie on its own.
Carol
Carol is a romantic drama set in 1950's Manhattan and follows Therese Belivet, a young aspiring photographer, and her relationship with an upper-class woman, Carol Aird, who is going through a difficult divorce. There weren't really any elements of this film that didn't work for me. The directing is superb, the screenplay is excellent, and the cinematography is sublime. But the strongest aspect of this film is easily the acting, and full advantage is taken of that fact. Rooney Mara's performance as Therese is perfectly understated and played just relatable enough to not fall into painful ingénue tropes. Even more special is Cate Blanchett, whose turn as the titular Carol is both incredibly alluring and intensely human. Blanchett is easily one of the most talented women in the industry and Carol only serves to prove it further.
Brooklyn
Clearly this was a good year for 1950's New York-based romantic dramas! Who knew. Brooklyn is the story of Irish immigrant Eilis (pronounced ay-lish) trying to make a new life for herself in, well, Brooklyn. It's beautifully shot, solidly written, skillfully directed, and fantastically performed. Saoirse Ronan (pronounced seer-shuh, by the way.) puts her all into Eilis and her effort is rewarded in spades. What I think this movie does best is that it manages to work very well as an excellent romantic story, and yet remains unwaveringly focused on its lead. And thus, you get a focused and effective character study of a girl attempting to construct a life for herself. It does at times lean on the slightly saccharine side (only very slightly), which puts it on the safer side of the two similar romantic dramas featured here, but it is still, nevertheless, quite a treat.
Theeb
Theeb is a Jordanian film about a young Bedouin boy named Theeb, living in the Hejaz region of what is now Saudi Arabia, in the middle of World War I as the Ottoman Empire fights the British and their Arab allies. When a British man comes to his encampment seeking guides, Theeb embarks on a life changing journey. The film is essentially a blend of a coming-of-age story and a Western (or perhaps a Middle Eastern, as it were.) It's well made and very engaging from start to finish. However, Theeb's coming of age here is represented by enacting violence, and it just didn't resonate with me. Still, a capable film and those involved should be proud.
Trainwreck
Trainwreck is comedian Amy Schumer's major cinematic debut, both in writing and acting, and she really does pull it off. I've followed her career as a stand-up performer on-and-off for a few years, and she has rapidly toned her comedic muscles in that time, and it shows as much here as it does in her other ventures. Certainly the film is rather raunchy, which seems to be the industry standard for American comedy right now, but unlike many of her contemporaries, Schumer shows here that she knows when to hold back, appreciating the context of the moment or when to allow other forms of humor to take the wheel. While Schumer carries the film both on and off screen, one of the major drawbacks for me is director Judd Apatow, whose directing I have found to be largely uninteresting, even of his movies that I like. Ultimately, while it may not break much new ground for the romantic comedy genre, it's still a very funny movie with an excellent rising comedic star.
Inside Out
Pixar has been building a sterling reputation since their 1999 breakout as a studio know for consistent quality and originality in their productions. While there were a brief couple of years where it was thought that Pixar might be unseated due to fatiguing sequels and Disney Animation Studios resurgence with films like Tangled, Wreck it Ralph, and Frozen. While certainly Pixar has to share the landscape now, Inside Out proves that Pixar can still bring the magic in spades. Inside Out draws off of the most up to date and widely accepted scholarship and research on emotional theory and neuropsychology to construct an animated tale of a young girl going through a major transition, whose mental process is represented by anthropomorphized emotions that are the leading players in this piece. The film is very funny and often poignant, as any good Pixar film tends to be. Indeed, it manages to hit the heights of many of Pixar's best and is the perfect fuel against anyone who suggests that entertainment aimed at children is somehow less intelligent.
The Man from U.N.C.L.E.
The Man from U.N.C.L.E. may be one of the year's more underrated films. Certainly the film is still rather flawed; it's pacing, in particular, is rather off and is one of the biggest issues of the film. Still, it's a fairly fun spy-thriller, that's pulled off with serviceable panache from director Guy Ritchie. Armie Hammer and Henry Cavill make for solid leading men, and their comedic repartee carries the film. Alicia Vikander is the real standout here, and with a rather stellar year under her belt, the Swedish actress is a talent to watch out for. The film's meager box office performance likely has more to do with coming out amongst a flurry of other higher profile summer releases, and being based on an old property with little of the enduring popularity that might draw nostalgia-minded crowds. Nevertheless, it's a pleasant diversion if you're ever looking for a fun movie to rent.
Sicario
Sicario is a bleak look into the world of the war on drugs, although you're looking for something dealing with the internal politics of the drug war you may be found somewhat wanting. rather than being a film focused on the subject itself, Sicario instead uses the war on drugs in Mexico and the American Southwest as a framing device to probe the question of the nature and place of a human morality in an often immoral world. Strengthening the film are tense and engaging performances from Emily Blunt, Benicio del Toro, and Josh Brolin, phenomenal and heavily symbolic cinematography (especially the use of colors), and a highly unnerving score. Though the film may turn some people off with its pointed bleakness, Sicario is a fascinating dark visual poem examining the nature of human morality that is well worth watching for those willing.
Star Wars: The Force Awakens
One of my earliest memories is of watching Stormtroopers storm the halls of the Tantive IV. I also grew up during the releases of the rocky prequel films. So it was with a mix of giddy excitement and apprehensive uncertainty. After having seen it I can say that Abrams and company really delivered. Certainly the film may have some shortcomings (arguably no Star Wars film doesn't), but they managed here to really tease apart the essence of what many love about the original films and recontextualize that essence for a new generation of filmgoers. The franchise's new blood, Daisy Ridley, John Boyega, Adam Driver, and Oscar Isaac, really aid in carrying the film into a new era. Particular praise must be singled out for Ridley's excellent spin as Rey, especially as someone having never headlined a major film. Also to be lauded are all involved in the art and production design, and the effects teams, for drawing off of the aesthetics of the old films but with a new approach in order to maintain a sense of cohesive evolution, and the for making sure to strike a balance between practical and special effects. The Force Awakens successfully reinvigorates the franchise for a new era and hopefully future Star Wars films will hold to a similar standard of quality.
Ant-Man
I certainly did not anticipate Ant-Man being the Marvel film I enjoyed the most this year. And yet, here we are. While one will never know if Edgar Wright's take on the character would have been better, those working on the film still manage to pull together a fun and endearing superhero film. Paul Rudd is his usual charming self here, which certainly helps to sell the film. The large-to-small powers that facilitate the action sequences work better than expected and often full of some very funny sight gags. Ant-Man does stick fairly rigidly to the Marvel movie three act formula and superhero origin story tropes in general, which may be a turn-off for people looking for something a little more unique. Ultimately Ant-Man plays it very safe, but it still manages to be a funny and engaging superhero flick.
Beasts of No Nation
Much like Sicario this film has much less to do with the real world geopolitical landscape and much more to do with morality and psychology. In fact, Beasts of No Nation takes this even farther than Sicario by situating in an unnamed West African country clearly informed by real world conflicts but with no clear inspiration. The story follows Abraham Attah as a boy named Agu as he becomes a child soldier in a group of rebels led by the Commandant, chillingly portrayed by Idris Elba. The film uncompromisingly examines the horrors of war, and their effects on one's psychology. Furthermore, this film is a chilling perversion of the coming-of-age story, deconstructing the notion that violence begets maturity and instead leaving with the unsettling but true-to-life notion that violence, destruction, and warfare have the power to severely damage one's psychology but that a child is still a child. Beasts of No Nation is daring and well made, if difficult to get through, film and is proof that Netflix is willing to encourage unique and quality projects, a trend I certainly hope they keep up.
The Big Short
The Big Short is the story of several financiers (all based on real people, although with mostly changed names) that uncovered the impending late 2000's housing bubble and sought to profit from it by shorting subprime housing mortgages. First and foremost The Big Short seeks to be informative, and it does this rather well. Using regular fourth wall breaking, and cameos, and cribbing the style of documentaries and even YouTube video essays, Big Short makes a strong effort to explain complex financial issues to those who would not understand otherwise (myself included.) This makes the film take a very stylistic and hybridized approach to telling its story. This makes an undeniably entertaining watch, more so than I think it would have been had it played it straight, but it does leave most of its characters as somewhat thinly sketched as a result. Certainly one of the more unique films to come out this year, and likely you will leave entertained, a bit angry, and, if nothing else, with a better sense of the crisis that led to the 2008 financial collapse that instigated Great Recession.
Tangerine
Tangerine focuses on the lives of two trans women, Sin-Dee (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor), trying to get by in inner city L.A. The film is, notably, shot entirely with iPhones and some extra equipment., mostly to keep the budget down. This ends up giving the film a rough quality that manages to enhance the film's grounded nature. Rodriguez and Taylor draw off of their own experiences and pour them into their characters and puts an undeniably honest edge to their performances. This film is an examination of honesty, isolation, and, above all, friendship. A very funny, quirky, occasionally poignant, and very fresh indie comedy.
Spotlight
Spotlight tackles The Boston Globe's investigation into the Boston Archdiocese that led to an eruption of scandals and media coverage over the systemic cover-up of sexual abuse of children by clergymen. This film could very easily have been mishandled à la Bridge of Spies, succumbing to the temptation to gratuitously moralize, or falling to the impulse to bend the events portrayed to fit a greater thematic context (not always bad, but must be applied carefully.) The filmmakers of Spotlight instead take pains to ensure that the themes inherent in the events, such as culpability and the pervasive presence and power of institutions, largely speak for themselves. The film also foregoes some of the more stylistic elements found in films of a similar caliber, going for what might be considered more traditional or even "typical" filmmaking. I would argue, however, that a restrained and grounded approach was necessary to emphasize the reality of the events the film portrays. Moreover, such a critique ignores the subtler artistic choices that are certainly still at play. Aside from what I have highlighted, there are three more things I want to touch on. the first is the score, another wonderful effort by Howard Shore, which weaves through the film together subtly and effectively. The second is the acting, which is truly excellent, with a particularly standout performance by Mark Ruffalo. Particularly effective here, I find, was the actors' use of subtle and mundane physicality to convey character. The third is the film's epilogue, which instead of the typical "where are they know" shtick, chooses instead to take the opportunity to drive home the themes of the film, and will likely sit with you long after the film has finished.
Ex Machina
Between Mad Max and Star Wars ,this year has been excellent for action oriented Science Fiction spectaculars. But Ex Machina ensures that this was a phenomenal year for science fiction as a whole, being a far less bombastic but no less thrilling sci-fi film that immediately situates itself among some of my similar sci-fi favorites such as District 9, Blade Runner, and Alien. The less I say about the plot the better, as I believe this film to be best entered with as little knowledge about it as possible. Without giving much away, the makers of Ex Machina expertly find a balance between taking the time to explore curious philosophical and ethical questions on consciousness, sentience, perspective, gender, and subjectivity, and constructing a captivating nail-biter of a sci-fi thriller. The filmmakers expertly use clever set design and cinematography to further cultivate the film's suspenseful and unnerving atmosphere. Stars Alicia Vikander, Domhnall Gleeson, and Oscar Isaac shine here, with Gleeson playing the excellent unwitting protagonist in Caleb Smith, Isaac milking a both charismatic and unnerving persona out of his performance reclusive entrepreneur Nathan Bateman, and Vikander constructing an alluring aura of uncertainty in her portrayal of the robotic Ava. One would also be remiss to highlight the incredible special effects work involved, despite its modest budget.
Room
Room takes an interesting approach that makes the film much more approachable than I think it could have been. The film tells the story of a young woman held captive in a shed for seven years and the child she has raised within the room who has never experienced the world outside of it. The film, just like the book it is based on, takes the perspective of the boy, Jack. While the mechanics of taking such a perspective is relatively easy in a book, it is more complex to do in a film. The filmmakers rely on narration, clever camera work, and even sound design, to accomplish the effect. While certainly this does not make the subject matter any less heavy, taking a child's perspective tempers much of the starkness the film might otherwise have contained, and sells the themes of hope and optimism more than I think it would have otherwise. While this approach is rather effective, it can occasionally be somewhat cumbersome, although that's mostly contingent on how you feel about voiceover. The biggest highlight of this film though is the acting, with Brie Larson showing an incredible range and depth as Ma, and Jacob Tremblay displaying incredible skill for his age.
And there you have it! Keep a look out for some posts I have in the works, including a backlog of film reviews as well as a series I'd like to start on the basics of film literacy. Stay tuned!
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