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Once again, we’ve come to that time of year when we reflect upon the high and lows, the successes and failure, the good memories and bad of the last 12 months. For some, that means re-evaluating goals and searching for a new diet plan. For film critics, it means scrambling to fit in those last few screeners, much like college kids cramming for finals. Each year, we watch it all: the good, the bad, the completely forgettable. And it all comes down to this: the top-ten list.
Once again this year, this list was a challenge: attempting to sort a mostly B+ year into a piece on the year’s greatest films. It’s hard to sum up a year of movie-watching in just one short list. And, to be honest, by the end of the year, it’s all a bit of a blur. But, of course, it’s my job to try to sort through them—to recap some of the best (and worst) moments of the year in film. So here’s my take on the last 365 days in film (loosely ordered , building up to my favorite of the year).
The Walk
In the last few weeks, my list has grown and evolved and changed. I’ve dropped things off the bottom and put them back on. I’ve raised and lowered positions. This isn’t, after all, a scientific process. But, in the end, this fun-filled caper had to make my final list. It may not be getting any award season buzz, but Joseph Gordon-Levitt’s wacky performance and the breathtaking footage made it one of my favorite cinematic experiences of the year.
Creed
The Rocky franchise has certainly had its ups and downs—but it comes fighting back with its latest installment. Like the original Rocky, Creed is more than just a boxing movie. That’s not to say that the boxing scenes aren’t action-packed and intense—but the rest of the film is almost as hard-hitting as the scenes that take place in the ring.
Anomalisa (review to come)
Charlie Kaufman’s quirky puppet movie is the kind of movie that causes arguments. While some will see it as pretentious and unnecessary and confusing, others will see it as wonderful odd and strangely profound. It certainly isn’t the typical animated movie—and it isn’t a mainstream release, either. But those who give it a chance (and do a little bit of homework before sitting down to watch it) will be in for a smart, mesmerizing, thought-provoking surprise.
The Revenant (review to come)
Director Alejandro González Iñárritu’s follow-up to his Oscar winner, Birdman, is both beautiful and brutal. It’s a gorgeous film that will leave you feeling like you’ve been kicked in the stomach. It’s certainly not an easy film to watch, but the stunning cinematography and memorable performances make it one of the year’s best.
The Martian (review to come)
It may not have the award season buzz of other sci-fi films like, say, last year’s Interstellar, but Ridley Scott’s The Martian is a smart and entertaining film. It’s intelligent but not confusing. It’s also dramatic and emotional—and surprisingly funny, too. And, thanks to Matt Damon, it feels human—far from the typical cold, clinical sci-fi thriller.
Brooklyn
While most award season films set out to be that big, bold movie that everyone’s talking about, Brooklyn is quiet and charming—yet it’s still vibrant and full of life. It’s a delightful coming of age story, with likable characters and a style that’s imaginative and artistic. Though it may not be that wild, crazy, gimmicky film that everyone’s racing out to see, it’s a thoroughly enjoyable experience.
Mad Max: Fury Road
Speaking of wild and crazy… This was film that came and went from my list this year—but my second viewing solidified its standing on my top-ten list. Three decades after the last Mad Max film, George Miller has managed to make a follow-up that’s just as gritty and outlandish as the original trilogy while telling a completely new, updated story—complete with the strongest female action star in years.
Star Wars: The Force Awakens
I may not be a die-hard Star Wars fanatic, but I definitely had high hopes for the new installment. And not only did J. J. Abrams and his team meet my expectations, but they blew them away. The story may not be flawless, but The Force Awakens has everything that fans were hoping for—without those irritating extras. It’s fun and thrilling and entirely satisfying—the perfect way to kick off a new generation of Star Wars films.
Steve Jobs
Five years ago, Aaron Sorkin swept nearly every voting body’s screenwriting award—and deservedly so. The sharp dialogue from The Social Network makes Steve Jobs another clever and quick-witted tech bio—one that’s filled with noteworthy performances, too. Admittedly, the film doesn’t do wonders for the late Apple icon’s memory, but it’s a surprisingly tense and gripping (not to mention eye-opening) film.
Inside Out
As the mother of a precocious three-year-old, I find it almost comforting that one of the most profound and insightful films of the year was made for kids. Like some of Pixar’s other films, Inside Out doesn’t talk down to kids; it tells it like it is: sometimes life sucks, and it’s okay to feel sad. But while some Pixar movies get a little too deep and heavy, this one is surprisingly vibrant and fun, too. I loved it even more the second (and third) time around.
Honorable Mentions:
Though they didn’t reach my top-ten list, I also have to give a shout-out to a couple of other movies for achieving their own kind of excellence.
First, the Biggest Surprise Award goes to Spy, an entertaining action-comedy that transformed Melissa McCarthy from the usual loud, sloppy misfit into a lovable crime fighter. In recent years, my highest praise for a Melissa McCarthy movie has been, “at least it’s not as terrible as the others.” But Spy is easily McCarthy’s best—and the year’s most pleasant surprise.
And the Most Entertaining Screening Award goes to Magic Mike XXL. It was the wildest, craziest, noisiest screening I’ve been to in years—and that only added to the wild and crazy male stripper entertainment of the film.
And, Finally, the Bad News…
Of course, not every film this year was smart or thought-provoking or funny or entertaining or even pleasantly surprising. Some were downright painful. Fortunately, thanks to the studios’ refusal to screen some of their greatest failures, I managed to avoid some of the most painful movies of the year (I’m still grateful to Fox for not screening Fantastic Four). But I still had to sit through these (listed in order of increasing agony):
The Overnight
When you’re married with kids, it can be hard to make new friends. But if you ever meet a couple like the ones in The Overnight, please run the other way. You’d be better off spending the rest of your life eating pizza rolls and watching episode after episode of Peppa Pig than spending a single uncomfortable evening like this one. Admittedly, the beginning of the film has so much promise—but perhaps that’s what makes the second half of the film so disappointing.
Serena
Jennifer Lawrence and Bradley Cooper have made some great movies together—but this isn’t one of them. Though I don’t like to put people through unnecessary pain, film students should probably be forced to watch this movie, since it’s a prime example of what a huge difference a filmmaking team can make. If you’re not a film student, however, watch any David O. Russell movie instead.
Hot Pursuit
Since Melissa McCarthy actually managed to pull off a smart, funny action-comedy this year, someone else had to step up and make the year’s painful, un-funny comedy in her place. So kudos to Reese Witherspoon and Sofía Vergara for stepping up. The saddest thing about this embarrassing, stereotypical chick flick: it was directed by a woman who could have (and should have) done much better.
Love the Coopers
On the night that Love the Coopers screened for critics, I had two options: this holiday comedy or a heavy (and already poorly reviewed) drama. I chose what turned out to be one of the most miserable Christmas comedies ever made, filled with horrible, selfish characters on a mission to make everyone else (including the audience) every bit as miserable as they are. Merry Christmas, everyone!
In Stereo
This attempt at a smarter, more honest kind of romantic comedy resulted in an annoying and exhausting drama, thanks to the unlikable main characters. They’re aimless and self-absorbed and thoughtless, but I suppose that’s exactly why audiences should root for them to end up together: to save everyone else from the agony.
The D Train
What starts out as one man’s quest for popularity in time for his 20th class reunion quickly turns into a tragic mess in Jack Black’s latest film. It’s so messy and unfocused and painfully awkward that I’m still not really sure what it wants to be when it grows up. What it will be, however: forgotten.
Jupiter Ascending
Once upon a time, the Wachowskis made The Matrix. In 2015, they made Jupiter Ascending. Oh, how far the great have fallen. The sibling duo’s latest sci-fi adventure is definitely gorgeous, but it’s also one big, ridiculous disaster. It’s also pretty funny—but for all the wrong reasons.
Strange Magic
Somewhere out there, there are Star Wars purists who are heartbroken that George Lucas has been removed from the franchise that he created. To those people, I offer his bizarre animated musical fantasy, Strange Magic, a movie so strange and unfocused that it will make even the biggest George Lucas fan thankful that he had no part in The Force Awakens.
Da Sweet Blood of Jesus
I could say that I’m still trying to figure out Spike Lee’s perplexing Kickstarter-funded vampire movie, but that would be a lie. The truth is that I gave up long ago—because I’d rather just forget about it and move on.
Fifty Shades of Grey
When grading films, I rarely hand out F’s. I figure that a movie has to be pretty bad to be a total failure. But this questionable Valentine’s Day release was truly deserving. Not only was it poorly written and awkwardly acted, but it was also just plain boring. Though it promised to be stimulating and steamy, it’s creepy and dull. And perhaps the worst thing about it: Fifty Shades of Grey was just the first book in a horribly-written trilogy—which means that there will be more.
And, with that, we’ve come to the end of another year of movies. Thanks again for joining me on yet another cinematic adventure. I’m already looking forward to the movies of 2016—to more smart animated movies, more thoughtful dramas, and even more bad comedies. So, until next year’s final report, if you need me, you know where to find me…
