10. Star Wars: Episode VII - The Force Awakens, 135 min. PG-13
I had a somewhat reserved reaction to J.J. Abrams' revival of the this franchise. The epic space opera that pits ultimate good against ultimate evil was thought to be all but dead, but then Disney went and bought the rights and now we're getting a new movie every year. At first, I had the same criticisms of this one that everyone else did: it's essentially the first movie all over again, down to an ultimate planet-sized weapon that needs to be destroyed, a villain with daddy issues, and a mentor that dies. But, upon a second viewing, I threw those criticisms aside and enjoyed what is overall a very solid, entertaining entry in the Star Wars saga. It nicely sets up what I am confident will be a stellar eighth entry, with a likable new cast of characters mixed in with our old favorites. Basically, it gets everything right that George Lucas didn't with the prequels.
9. Amy, 128 min. R
Asif Kapadia's heart-wrenching account of Amy Winehouse's life is a fantastic and fascinating look at celebrity and tabloid life. The film incorporates almost no talking-head interviews, instead rolling endless B-Roll of Amy's life, collected from personal recordings and paparazzi footage, with various accounts of Winehouse underneath. It's a fascinating style that creates a compelling narrative that could have so easily been a by-the-numbers Behind the Music doc. Instead, it paints an intimate portrait of a tortured soul, and makes us feel as if we knew Amy.
8. Room, 118 min. R
I went into this film knowing absolutely nothing, and I advise you do the same. So if you haven't seen this film and know nothing, don't read on. Lenny Abrahamson's dour, depressing film details one woman's (Brie Larson) imprisonment by a crazy man. Her son (Jacob Tremblay), born in this prison, is taught that the only world is the room they live in. So when he is told the truth of their situation, and escapes, his integration into society becomes a fascinating case study of Plato's Allegory of the Cave. It's a gripping film that goes farther than you might expect (other directors may have ended this film at the halfway point), and pays off in extraordinary performances, especially from newcomer Tremblay.
7. Brooklyn, 111 min. R
This is overall a simple film that defies a quick plot summary, but here it goes: Eilis (Saoirse Ronan), a young Irish girl, immigrates to New York in 1950s America. She quickly adapts to life there, gets an Italian boyfriend, and then has to go back to Ireland for unforeseen circumstances, where she realizes she may want to stay. By all accounts its a small story, and the outcome really means nothing except to one person, but the film, directed by John Crowley from a Nick Hornby screenplay, is very compelling and draws you in. I was surprised how much I cared, and the film, though simple, is very well done. There's nothing wrong with that.
6. It Follows, 100 min. R
David Robert Mitchell's cool, suspenseful horror film is a nice wake-up call to how most horror films should be done. The film relies less on jump scares and more on a pervading sense of dread that permeates the entire film. The film's monster, the It of the title, is a ghoul that follows you if you have sex with the wrong person (a fairly obvious STD metaphor). Set in a weird, 1980s-like world with clamshell kindles, the movie evokes horror films of that decade and before. You continually scan the horizon for It in every scene, as It can take any shape or form. Remarkably well done and chilling.
5. The Hateful Eight, 187 min. R
Tarantino's eighth film (cheekily titled as such) is basically the director at his most indulgent. Over 3 hours if you saw the roadshow version, this film has accurately been described as the bar scene from Inglourious Basterds drawn out to epic lengths:; a dialogue-drive first half, and rather bloody second. The plot brings eight rather different characters together in a remote cabin during a blizzard, circa late 1800s. Tarantino's entertaining dialogue is on full display, as well as his penchant for very entertaining characters. The ending is a little predictable, but the ride is enjoyable as hell, especially for Tarantino fans. Shot in glorious Super Panavision, it was definitely one of my favorite experiences of 2015.
4. Mad Max: Fury Road, 120 min. R
Mad Max is the shot in the arm action films have been needing for a long time. There is barely any narrative to speak of; yet the movie's plot is one of the most engaging of the year. It speaks volumes with visuals and little dialogue. Many have drooled over this movie, and I join them in the revelry; its an endlessly inventive, exhilarating thrill ride. What else can I say? If you haven't seen it yet, you owe it to yourself to check out one of the best action movies every made.
3. Gett: The Trial of Viviane Amsalem, 115 min. NR
This Israeli film struck a chord with me back in March and has stuck with me ever since. It details the years long struggle of one woman, Viviane (Ronit Elkabetz, also the co-writer and co-director), in her quest to divorce her husband, Elisha (Simon Abkarian). But in Israel, where the film takes place, only rabbis can end a marriage, and for that to happen either someone must have violated the marriage, or both parties must agree. Viviane's husband refuses to end the marriage, and has done nothing wrong, so her trial persists for months and years on end. It's a gripping film, although its only location is the court rooms where the rabbis hear testimony. But it's a great one that deserves to be seen by a wider audience.
2. Spotlight, 128 min. R
A modern-day All the President's Men that follows the intrepid reporters of the Boston Globe as they uncover the clergy sex-abuse scandal within the Catholic church, unveiling decades of corruption and cover-up for pedophilic priests. Michael Keaton, Rachel McAdams, and Mark Ruffalo lead a great cast through a rather dry-sounding story. The plot involves watching people investigate and uncover things, and makes it damn interesting. Its an infuriating film, and everyone I know who has seen it agrees it is excellent. One of those rare films that lives up to the hype.
1. Inside Out, 95 min. PG
Where to even begin with this one. Pixar has always been good at tugging at our emotions, and now they deal directly with them. A modern Herman's Head, the movie follows Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Mindy Kaling), and Fear (Bill Hader), anthropomorphized emotions of 11-year-old Riley. Riley's life is happy until her family up and moves from Minnesota to San Francisco, and her emotions struggle to deal with the new change. When Joy and Sadness are sucked out of the control center, Riley is left being a moody preteen. Beyond that, this is an incredibly mature family film whose central conflict is accepting sadness as an emotion that is ok. The character Joy fails to recognize Sadness' place until she realizes that she generates empathy, that people come to your aide when you ask. This all culminates in a climax so emotionally wrenching that I haven't been able to get through the scene in four viewings without at least tears welling up in my eyes. It's a movie that at one point will have you laughing, and at another will have you in tears. Its hands-down one of Pixar's best, and the best film of the year.
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