Top 20 Best Films of 2015 (Better Late Than Never) · 4:29am Feb 1st, 2016
So, yes, now that we’ve gotten the absolute dreck from last year out of the way, let’s cap it all off with the best of the year (better late than never). I did try my best to bring myself to see everything that I could (every poster above was a film that I saw, and there are some that didn’t make it in my tight schedule for reasons), and this is the culmination of that.
I saw blockbusters, both good and bad, indies, the whole nine yards; I even saw a few of these movies in last year’s Chicago International Film Festival. Anyways, this is quite easily the most heavily involved I’ve been with filmgoing before, and it would certainly be swell to beat the number of films I saw for 2016, but let’s finally bring this mother to a close.
I won’t be nearly as detailed and spoilery this time around, because the following films don’t deserve me spoiling them.
Starting off...
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20. Straight Outta Compton
I honestly did not expect this one to be that great, considering its cast of mostly newcomers and its subject matter, but with the right director (who personally knew at least one of N.W.A.’s members) and an equally talented crew, this film managed to blow me away in nearly every aspect.
The film couldn’t have come at a worse time, honestly (this was not even a week after the death Michael Brown), and even with its dabbling into themes of police brutality (which were easily the film’s weakest aspect), the focus is otherwise kept on the men behind the music. The writer and the actors really do their subjects justice (especially O’Shea Jackson and Jason Mitchell as Ice Cube and Easy E.), skating the fine line between smear-campaign and hagiography, and its honestly a lot of where the tension lies. From the diss-tracks that Ice Cube performs to his former members/friends to Easy E’s descent into capitalistic greed, the lighter and darker aspects of each of the characters are all explored.
Even at a staggering 150-minutes, not a single one drags, and I even argue that the ending came all too abruptly; I could have gladly seen another ten or fifteen minutes to see other arcs start to begin or come to a close. The editing of this film is so crisp and sharp and it helps squeeze out more juicy drops of drama that even the script or the direction couldn’t do themselves.
The soundtrack is just amazing. Even with classic N.W.A. staples, several of which are performed nearly to their entirety, we also get to hear the music of both N.W.A’s influences as well as the people they collaborated with later on, including Tupac and Snoop Dogg, their cameos providing even more fun for its audience, including those who know little to nothing about hip-hop and rap like I do.
It’s a beautifully made biopic/tribute that has the added bonus of being a complete blast from start to finish.
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19. The Diary of a Teenage Girl
When I saw this, two people actually walked out on it. Not that I can blame them; it’s about an underage girl exploring her sexuality, and that concept alone is a very taboo one, but the success of its execution is one of its biggest strengths.
The film is blazingly honest about what it’s trying to say and doesn’t hold back a single punch, and we really feel Minnie’s journey because of it. Minnie herself is also a very interesting character, and the way actress Bel Powley and writer/director Marielle Heller help get this across is fantastic. Perhaps you could call this Inside Out for adults, if only for how deeply we delve into Minnie’s young and arguably disturbed psyche and see how she functions. There are several animated sequences within the film that brilliantly highlight this, whether they be mixed with the live action or told through poetic vignettes that juxtapose with the real-life action, not one feels out of place and continues drawing you in and understanding this character.
Alexander Skarsgård, the older man that takes advantage of Minnie, is an amazingly likable character given the circumstances. He knows what he’s doing is legally wrong, and questionably amoral, but he genuinely cares for her and vice-versa, and he’s not entirely to blame for Minnie’s newly insatiable sexual cravings. It’s all part of the process of growing up; living with and controlling these new feelings, and both the actors and the characters they play fully know this. While Kirsten Wiig dons a more somber performance than she had in Welcome to Me, if that was possible, she also serves as both an engrossing character and another cog driving how Minnie functions as a person.
This movie is completely centered around her, and by the film’s end, if you could make it that long, you might see yourself falling in love with her and perhaps see a bit of yourself in her as well.
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18. Clouds of Sils Maria
Perhaps one of the most grounded and least extravagant films of the year, but it’s certainly one of the most engrossing. Imagine Birdman without the razzle-dazzle filmmaking, and you’d come close to something like this.
Juliette Binoche is quite lovely both as an actress and an on-screen presence and she commands an extremely complex character in the form of Maria Enders, but the real show stealer here is Kirsten Stewart. Much like Robert Pattinson had done with Cosmopolis and The Rover, Stewart’s performance alone here absolves her of all her involvement in the Twilight Saga. To the untrained eye and ear, you might just see another typically dull and lifeless performance from her, but there’s such subtle inflections of sternness and warmth to her character that makes her utterly palpable, and it also helps that she shares tremendous chemistry with Binoche.
The film deals with themes of age, fame, and the feelings of pride and privilege associated with them in very bold and interesting ways. Binoche is offered a role in a play opposite of the role that she starred in years ago that launched her to stardom, and the play itself deals in similar themes. There are several scenes in which Binoche and Stewart practice lines, and there’s such a fervor to them, that they appear to be having an actual conversation to each other, and it’s insanely engrossing; perfect examples of life imitating art. The cinematography is also beautiful, taking place primarily at the peaks of the Swiss Alps where the play is supposedly set.
Regardless, this is a film that should be seen for its acting alone, because it contains some of this year’s best in it.
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17. 99 Homes
We’ve had two really successful films detailing the defunct housing market and its collapse this year, and both of them work exceedingly well on wholly different levels. While Adam McKay’s The Big Short had a wider scope and a [morbid] sense of humor about itself, 99 Homes grabs you by the throat, digs its nails deep, and holds on until the credits role.
From just the opening shot, you’ll know exactly the kind of film you’re getting into. This is by no stretch of the definition an enjoyable film, in fact, it’s arguably one of the most emotionally draining films I’ve seen. However, there’s a subtle finesse to Ramin Bahrani’s direction and such an unflinching poignancy to his script, that it’s literally impossible to ignore. A single shot of Andrew Garfield and Laura Dern arguing with Michael Shannon and the police about the ownership of the former’s home lingers for minutes, and you have to sit and watch it all in complete discomfort.
However, this film, much like the last one above me, is completely bolstered by the performances from Garfield and Shannon, easily the best in their careers. Garfield’s Dennis Nash is an extremely tragic character that continues to get dragged through the mud for the entirety of the film’s runtime, and Shannon’s Rick Carver is quite possibly one of the most chilling characters of the decade. What could have easily been a Michael Moore straw-man for the audience to boo and hiss at, what we’re given instead is so much worse in every single aspect. The sheer desperation both (yes, I do mean both) these men clearly feel and how it drives them to thrive off the broken dreams of others only serves to push and pull the audience into a maelstrom of emotions that leaves absolutely no room for blacks or whites or even their lighter or darker shades.
Certainly not for the faint of heart, and one that, for better or for worse, will latch onto your mind for weeks.
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16. Brooklyn
Why is it that there are, like, three Nicolas Sparks “romance” films for every Brooklyn that exists? Because if it were the other way around, we’d be living in a much better place, certainly.
Saoirse Ronan has always proven herself to be a great actress, even in her worst films (lookin’ at you, The Host). Give her a script and director actually worth her salt, and there’s nothing she can’t accomplish. Ronan’s Eilis Lacey is a very empowering character to watch, and she Ronan helps display her vast array of emotions with relative ease. Her fellow co-stars are all delightful, especially her breakout co-star Emory Cohen playing Tony, her new boyfriend, his family (who provides one of many hilarious scenes), and her boarding house roommates.
Nick Hornsby’s script is nearly perfect, perfectly blending in the romance and the themes regarding homesickness and a sense of belonging, and also displays some of the best control over tone and mood of any film I’ve seen this year. Along with several side-splitting moments, there are quite a few tender, heart-wrenching scenes as well, all of which are entirely earned. The romance between Eilis and Tony works because, while certainly important, it’s only a component to the bigger picture, which is her acclimation to her new life in America. It also certainly helps that its between two interesting characters who actually share visible chemistry with one another.
Like I said, this is a perfect date night movie for anyone of any age, and could easily stand as one of the better on-screen romances audiences have seen in years.
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15. Sicario
I got introduced to Denis Villeneuve through 2014’s Enemy, a true mind bender of a film that really showcased the mind of a rather brilliant director. Sicario is a bit more standard than that, but his craftsmanship is still entirely here.
Emily Blunt is probably the best that she’s ever been, adopting a lot of the badassery she inherited from Edge of Tomorrow, though now its in service to one of the most turbulent and complex characters she’s ever played. There’s fantastic chemistry between Josh Brolin and Benicio del Toro, and even on their own, they’re damned amazing characters, the latter especially, who takes the film down a really dark and harrowing road.
Though, it’s Villeneuve himself that’s the star of this show. Through this direction, Joe Walker’s editing, Jóhann Jóhannsson’s atmospheric score, and Roger Deakins’ cinematography is where most of this story is told. From the fantastic and literally explosive first five minutes, the convoy through Juarez, to the conclusion that made my blood run cold, this is straight-up top notch filmmaking. Its themes about the ambiguity of moral and ethical responsibility in the face of true evil are incredibly relevant today, and this film explores them with such a powerful grasp.
Prisoners may have flown under the radar, Enemy was practically ignored, but this film is the call to action for mainstream audiences to give this man his overdue attention.
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14. Carol
Yet another shining example of romance-on-film done right, but Carol had both the visual artistry and screenplay that even Brooklyn couldn’t quite reach.
Both Rooney Mara and Cate Blanchett are at their best here, and their characters are just as richly crafted. While the shy introvert meets the lavish, exuberant extrovert is certainly no new concept, the subdued levels of these qualities displayed by Mara’s Therese and Blanchett’s Carol respectively is quite a breath of fresh air, and much of it is due to the talents and chemistry Blanchett and Mara share. Even when their relationship reaches its boiling point, the film never makes a big deal out of the homosexual overtones; it doesn’t romanticize them to the point that they become in your face or that the powers that be trying to drive them apart aren’t rendered into one-dimensional attacks on their love for each other. This film feels entirely organic and wholesome in its presentation, and it helps make the themes far more palatable.
Phyllis Nagy’s script brims with era-conscious wit that breathes even more life into the story, and the film looks absolutely ravishing. From Sandy Powell’s costumes, Judy Becker’s production design, Edward Lachman’s vibrant 16mm cinematography, I honestly haven’t felt a movie so convincingly send me back in time since A Christmas Story. Director Todd Hayes also manages to squeeze some subtlety out through his camera eye. From the soundtrack to some very moving visuals, Hayes tells much more of this story than what’s written on Nagy’s pages, and it helps spell out some interesting themes in very creative ways.
As a whole, its a very lovely film made lovingly by people who truly respect the people and characters it honors.
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13. The Big Short
From boats n’ hoes to CDOs, Adam McKay made one of this years biggest and most impressive surprises of the year, putting together a lighter rendition of 99 Homes that still managed to come out the stronger film.
While 99 Homes really pulled you in on a deep, personal level, The Big Short captures the sheer scope and widespread fallout of the 2008 financial collapse and the steps that lead to it being of one of the biggest economic disasters of all time. What this also has on 99 Homes is how brilliantly it gets across the information that got lost in translation in the former film. Thanks to a handful of sudden, but hilarious and informative cameos, you’ll understand exactly (or, at the very least, mostly) how things got to where they are and why you suddenly start getting pissed off watching it all transpire again. As things start to become easier to follow, you really start to feel the sharpness of the dialogue and the personalities of the characters.
The editing is very brisk and very frantic, perfectly contextualizing the crazy, borderline-insane workings of the men and women embroiled in this entire fiasco. Between music videos and clips and images of cartoons and TV shows, you really get a feel for the era, despite it happening a paltry decade ago. The soundtrack is also nothing short of brilliant, from Mastodon and Metallica to Gorillaz and Ludacris and nearly everything in between, along with one of the most haunting and chilling uses of Led Zeppelin’s When the Levee Breaks ever.
I feel as though McKay had been slipping since Step Brothers, but The Big Short is certainly a new direction I fully endorse him taking.
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12. Creed
Turns out that Mad Max or Star Wars didn’t turn out to be the most explosive rekindling of a film series that 2015 had to offer for me: it was this absolute monster.
Ryan Coogler’s Sundance smash Fruitvale Station was an incredible movie that was sadly overlooked by most by that year’s end. Not only is Coogler finally being seen by many as the heavyweight director that he is (no pun intended), he managed to even transcend his earlier opus. Michael B. Jordan has never been better, and to see him, a relatively rookie actor, bonding with Rocky Balboa, one of cinema’s greatest heroes, and watching take the torch is a true sight to behold.
Ludwig Goransson’s score is as loud and bombastic as it is utterly triumphant, perfectly recapturing the glory days of the Italian Stallion in his prime as well as raising Jordan’s Adonis Johnson as a new on-screen legend. The speedy cinematography juxtaposed with the quick, unpredictable editing is easily among the strongest of the entire year. You feel every punch, huff with laughter every time Jordan lands a hit of his own, cheering him to get up; the movie reignites the same spirit in its audience that the first Rocky film did 40 years ago, something that, personally, Mad Max, or not even Star Wars could accomplish this year.
The film is nothing short of incredible, and easily one of the best in-theater experiences I’ve had this year.
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11. Macbeth
Is the Assassin’s Creed movie going to be the best (and possibly the first best) video-game-t0-film adaptation of all time? I don’t know, but considering the people behind this astonishing retelling of Macbeth are behind it, signs are pointing to abso-goddamn-lutely.
Many people will probably remember Michael Fassbender this year for Steve Jobs, but its here that he shines the brightest in 2015. Both he and Marion Cottilard are astounding in the lead roles as Macbeth and his conniving wife. While the classic words of Shakespeare are hissed out from their mouths, you can practically read every line and word on their faces alone; they’re just amazing to watch. This also goes for Sean Harris and Paddy Constantine, who engage in verbal, and in the case of the former, physical blows that are raw with emotion.
Justin Kurzel’s direction is amazing, both respecting the practicality of the play’s theatrical origins while blowing the scale to a near-overwhelming proportion that the big screen deserves. The cinematography is utterly astounding, easily some of the best of the year, though I would expect nothing less from Adam Arkapaw, the man who shot the entirety of the marvelous first season of True Detective. The bleak and bloody opening battle and the blistering and bright clash between Macbeth and Macduff are some of the most cathartically explosive scenes of the year.
I can safely say that this is a must-watch for both fans and non-fans of William Shakespeare. An absolute crushing example of the power of cinema.
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10. Ex Machina
I don’t think any film can have a near-instant seal of approval from me unless it comes from A24. While We’re Young, The End of the Tour, Room, Amy; all astounding films. Ex Machina, in my opinion, came out as the strongest film that this studio had to offer.
Alicia Vikander’s Eva is one of the most transfixing characters I’ve seen in years. From the excellent effects that allow her to appear as she does, to the insanely nuanced and mysterious performance Vikander gives, all eyes are on her whenever she appears. Oscar Isaac is proving himself to be one of the most invaluable actors working today. When I thought nothing could top his performance in Inside Llewyn Davis, he delivers A Most Violent Year (another A24 gem), and after I thought he couldn’t top that, along comes this crazy mofo just a few months later. From his alluring buddy-buddy attitude to his sudden bursts of callousness, it’s nothing short of miraculous. Domnhall Gleeson has very odd, but magnetic chemistry with Vikander (maybe leftover from Anna Karenina) and a lot of the thoughts and ideas they both put into each others heads is the drama that all but drives this movie.
The film’s production and design is such that they each become their own characters as well. Isaac’s estate manages to constantly tread the line of comforting and claustrophobic, the lighting is constantly changing, and the score is both innocently mysterious and at times, frigid and haunting. The themes regarding humanity vs. technology and the blurred lines between them are handled most deftly, and the nuances surrounding it only add an extra tier of intrigue to the characters.
Easily the best sci-fi film of the year, or even the past several years.
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9. Beasts of No Nation
Speaking of True Detective, Cary Fukunaga managed to not only one-up the masterpiece he began on HBO, but he brought what I can only call the Full Metal Jacket of the 21st century to Netflix.
Abraham Atta puts forth an incredible debut performance, and his character Agu is brilliantly written to express the disturbing and violent transition of a happy-go-lucky youth to a hardened, brainwashed killer. Every step of his journey is shown in great detail, and it only makes his transformation that much more harrowing. Idris Elba’s Commander is powerful reminder of what feelings of desperation and blind nationalism can do to people, including himself (not to mention just how incredible of an actor Elba is). Much like Michael Shannon in 99 Homes, he easily draws empathy out of an instantly-detestable character that makes for an even more frightening character.
I only say that this film is this generation’s Full Metal Jacket because from its themes to the way it’s shot and composed, this film has all the feel of a Kubrick classic. From its bleak, and at times, lush cinematography, to Fukunaga’s mastery with tracking shots, you will see the hints of a master filmmaker running on all cylinders. Most of this film is told through the camera, and Fukunaga has 100% control over all of it.
Minus the slew of Happy Madison’s abortions coming soon to Netflix, this one more than makes up for them as well as justifies a reason to subscribe.
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8. Infinitely Polar Bear
If it weren’t for I’ll See You in My Dreams, I would have never even thought to look at this one. I’m glad I did, for I would have missed a career-best performance by one of Hollywood’s most talented actors.
Absolutely, Mark Ruffalo carries this entire film squarely on his shoulders. Having an uncle who has bipolar disorder, I knew that he was nailing every second he was on screen. From his hobbies, passions, and behaviors, I literally felt like I was watching Ruffalo playing my uncle. At times, I could rarely tell the difference. The two little girls here are amazing as well. They manage to appear realistically cutesy while still handling some of the film’s bursts of darker moments. They really come off well with Ruffalo as a genuine familial bond.
What’s also great about the film (though, ironically, it’s also probably the film’s only flaw) is how light and upbeat it is. Minus the opening ten or fifteen minutes when Ruffalo’s character has a breakdown, the rest of the film has a very goofball charm to it. It’s clear that writer/director Maya Forbes remembered her own father quite fondly (the film was based on her relationship with him, who also suffered from bipolar), because the vast majority of the film from that point is nostalgic, warm, and fun.
We’ll have to see where the future takes Forbes should she make something a little less personal, but her human touch is one that cinema desperately needs today.
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7. Love and Mercy
Similar to the last film, I went into this one with very few expectations. I didn’t bother to read about it on Rotten Tomatoes or anything; I just kind of got a first impression from the trailer. As it would turn out, it was an incredible experience.
The two actors portraying Brian Wilson are both great, especially Paul Dano. Perhaps its just witnessing the creation of one of the greatest albums ever made just struck a chord with me, but seeing both the genius and the madness of one of the most brilliant musical minds alive today was very invigorating. On the opposite spectrum, John Cusack’s portrayal provides a much darker and serious period, which is nearly as good. He and Elizabeth Banks have a lot of chemistry together, and the latter puts forth her best performance that she’s delivered thus far, and Paul Giamatti is absolutely terrifying, managing to nearly reach the levels of intense fury that J.K. Simmons put forth in Whiplash.
The Imitation Game-style editing works surprisingly well, and the transfer of tone between own period and another is marvelous to see. Especially near the end when we see how Dano’s Wilson came to become Cusack’s Wilson while also closing the latter’s arc was one of the best bits of editing you’ll see all year. Atticus Ross’s score is also ingenious, combining samples of both Beach Boys hits with solo Wilson songs to create something fresh and original.
This is a great film for non-fans of Wilson or his works, and is necessary viewing for everyone else.
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6. Steve Jobs
It should come as no surprise that anything written by Aaron Sorkin is going to insanely smart, and that his dialogue will have near-impossible levels of wit. He struck gold writing a film about a troubled-tech genius, and who said lightning doesn’t strike in the same place twice.
While I would have preferred to see Michael Fassbender’s performance in Macbeth get nominated for an Oscar, this performance as the titular Jobs is just as worthy of an award. Sorkin wrote this man as someone who constantly has at least three-dozen things going on in his head, and Fassbender absolutely kills it in this regard; from his fits of anger and threats, you can clearly see the battles that he both waged in his mind and with the others around him. Kate Winslet also gives a performance that blows nearly everything she did over the last two decades out of the water. Seeing both her and Fassbender go at it provides some of the juiciest drama that any film had to offer this year.
Danny Boyle helps crafts the story and aesthetic with implacable detail, partly thanks to cinematographer Alwin H. Küchler. Elliot Graham’s editing is so on-point and crisp, there's not a second that goes by where you feel the least bit tired. The scene between Fassbender and Daniels halfway in is the stuff legends are made of. The incorporation of Bob Dylan lyrics, the Skylab launch, and the pop-culture montages transitioning us between periods, this is one of the most stylish films of the year.
It's honest, beautiful, and serves as a perfect tribute to a horrifically flawed but exceptional human being.
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5. Anomalisa
This was the last film I saw before bowing out my 2015 season, and I was strangely kind of hoping that this film wouldn’t rank so high as to not look like one of those kids on YouTube comment sections who decry the last film they saw was, “like, the best movie ever.” And yet, here we are.
Even with the daunting levels of thought-provoking themes and their deliveries that Charlie Kaufman-written films have, Anomalisa, while being the most accessible, is no less brilliant. The writing and direction behind Michael, our mentally-addled protagonist, is some of the smartest I’ve ever seen in a film. As we learn about who he is and what he suffers from, you gradually connect to him more and more as time goes on, and even when his world gets to its weirdest points, you strangely find yourself understanding exactly how he feels, even up to its odd, sudden, and heartbreaking end.
The animation is also among the best I’ve ever seen. From the stark and beautiful lighting, the smooth camera movements, and the immaculately detailed sets and the character models, there are more than enough times in which you could just swear you were watching a live-action film. The animation allows the viewer to suspend enough of their disbelief to absorb themselves into Kaufman’s quirky world while the characters and their struggles ground them back to reality once again. It’s nothing short of brilliant.
It would please me to know end to see this film usher in a new era of animation, one that I don’t think should be strictly limited to preteens.
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4. The Hateful Eight
Now frankly, I don't give a rat's ass about what you feel about Quentin Tarantino following recent events. The fact of the matter is that there's a good reason why he's won 2 Oscars and a Palm d'Or and is considered a filmmaking master among his peers, and films like The Hateful Eight continue to provide reasons why.
As per the usual, Tarantino is a god-tier storyteller with a camera, and this film contains some of his best characters yet, including what may end up being Mr. Sam L. Jackson's best character since Jules Winfield, Marquis Warren, and a morbid delight in the form of Jennifer Jason Leigh's Daisy Domergue, who REALLY shines by the second act. The character interactions are beyond astounding, including, but certainly not limited to, an impossibly tense bout between Jackson and Bruce Dern (which served as the perfect place for the film’s intermission during its roadshow screening). and the final standoff of wits in the film's final twenty minutes.
Having been blessed to see it in 70mm film, even those not fortunate enough to be made to see it digitally will be astounded by Robert Richardson's cinematography. Even with the film's tight setting, he manages to bring such life to the place that it becomes an expansive world in its own right. Even its nearly 3-hour runtime feels exceptionally brisker than many other films I've seen that didn't even come close to scratching the 2-hour mark, but with expertly-written characters and incredible set pieces, it's hard to not stay entertained.
I know that many people will still find the film hard to sit through, either for reasons of taste or political stances, but just know that they'd be missing one of this year's best and an absolute can't-miss.
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3. Inside Out
While Kaufman tried his damndest to portray the inner workings of someone’s mind this year (though, of course, he mostly succeeded), he didn’t quite do it as cleverly as Inside Out could.
Amy Poehler, Phyllis Smith, and Lewis Black were born to play Joy, Sadness, and Anger respectively, while Mindy Kaling and Bill Hader fit Disgust and Fear like a glove. They also feel like real characters with their own virtues and vices rather than appear as one-dimensional archetypes, and while I wouldn’t expect that level of incompetence from Pixar, I certainly wasn’t expecting them to take each of the emotions personalities and make them feel as three-dimensional as they came out. The chemistry they all share is extremely strong, as emotions in a healthy mind should.
This film also is the best written of the year. The juxtaposition of the conflicts both in Riley’s head and the one she faces in the real world are both incredibly woven and stand out on their own. And the film refuses to stop there. From jokes explaining certain mental tics (like a commercial jingle popping up randomly in your head) and the transition from adolescence into adulthood being played out through very easy circumstances (both in and out of Riley’s head) are textbook genius. The ending was quite possibly the best thing that Pixar has ever made, both on a cathartic and artistic level.
I would gladly sit through a thousand more Cars’ and Cars 2’s if I could just have one more Inside Out in my lifetime.
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2. Spotlight
You could make the solid argument that I’m just falling for obvious Oscar fodder here, but to be fair, this is really good Oscar fodder. I mean, REALLY good Oscar fodder.
This film has quite possibly the best ensemble cast of any film this year. Michael Keaton, who’s been wholly reinvigorated after Birdman, carries a vast amount of momentum in each of his scenes. Mark Ruffalo and Stanley Tucci are the two strongest performers here, and since they share the vast majority of their scenes together, they make for the best bits of the film. Rachel McAdams also gives a career-best here, showing a more gentle and human side to the investigation that earns some genuine somber moments as the subjects she interviews spill out all their dirty and still-ailing secrets.
This script also comes a close second with Inside Out as the best of the year. Along with having dialogue sharp enough to cut diamond with, the film also extracts more out of its timely story than just the sex crimes the Church committed; in fact, it’s more about how dangerous and elusive a group like that can be when given that scale of overreach and control. It also makes a wonderful case for journalistic integrity that makes the end of the whole investigation feel that much sweeter while still acknowledging the work that still needs to be done.
Tom McCarthy has had a very turbulent career as an actor, writer, and director, and he not only struck gold with this, he may as well have discovered El Dorado.
And and before I reveal #1, here are a few honorable mentions:
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Room
Certainly shows very strong direction and a pair of masterful performances by Brie Larson and Jacob Tremblay, I felt that the two halves of the film felt a bit too disjointed to be given a higher spot on the list.
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Testament of Youth
Beautifully made and beautifully shot, which also features the best of Alicia Vikander’s four performances this year, there’s a predictability to the story that leaves chips in its charm and genuineness.
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The Martian
Extremely fun and energetic, with an extremely diverse and well-managed cast. Though I feel that films like The Hateful Eight and Straight Outta Compton made a lot more out of their 140+ minute runtimes.
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Kingsman: The Secret Service
Really likable characters and a silly fast-and-loose story that also features some powerful dramatic clout. If Matthew Vaughn could have only worked the tone out as well as he did in Kick-Ass, this might have made my top 10.
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Mad Max: Fury Road
For the record, I looked forward to this film more than ANY other in 2015, and for the most part, the balls-to-the-wall thrills and design was a winner for me. I just wish that Max Rockatansky wasn’t treated as much like an accessory to the story rather than the main attraction as he’s supposed to.
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And the best film of 2015 was...
1. Me and Earl and the Dying Girl
Oh look, another Sundance Festival Best Picture winner taking the #1 spot. Aren’t I so predictable? Though in all honesty, I wasn’t nearly expecting as many great things from this as I did Whiplash last year. How I love to just get my expectations shattered like this.
It takes a lot for a film to make characters that transcend likable and right into lovable, and this one succeeded with all three of their mains. Despite Greg’s self-loathing, you can completely admire his quirky attitude and worldview. Earl is the hysterically blunt and level-headed counterpart to Greg that make the two just perfect together. The relationship that forms between Greg and Rachel is very sweet and natural, and despite them not actually being in love with each other, they make the best romantic couple of the year. Even the commonplace traits within their relationship are handled with grace and reason, which only makes their stakes that much higher.
The film has a very Wes Andersony flair to it that really compliments Greg and Earl’s passion for film, even if the ones they make are terrible. Even then, there’s so much craftsmanship that goes into them that it’s oddly impressive. The direction is by every stretch of the definition perfect. From the camera blocking to the style of the aesthetics, there isn’t a single thing I can find wrong with it. It’s also written in a way that, even as unreliable as it is told, you end up swept up in all the emotion, laughter, and heartbreak that comes with it.
The film reached out to too few people, and it’s a shame because it’s a masterpiece that needs to be found and viewed by anyone and everyone, because it is, without a doubt, the best film I’ve seen in 2015.
Few, for a second I feared that you would include EQG 3 in this list.
3726486 Nope.
I ranked the films as I saw them this year, and Friendship Games was only at the back of the honorable mentions when I saw it in September. It would have literally been impossible for it to remain on the list once Oscar season came about.
3726530 Good to know, because that movie is overrated IMO.
3728631 Not really, though.
3729404 Yes it is.
3730508 Not really, though, but I'm 100% certain that your opinion is coming from a place with NO bias whatsoever.
3730515 Sure. While I utterly hate everything EQG related I know that the third movie is not as bad as the first one and I can understand why people like it. Though, surprisingly enough, even people who liked Rainbow Rocks think Friendship Games is inferior.
God I love your reviews so much.
No Jurassic World what the heck
4007102 You can read more here.
4007102 Not to mention, literally every poster in that grid is a film I saw that year, a total of 116 films. There was no chance in hell for Jurassic World.