It’s easy to get jaded when you see movies for a living. As fun as the job is, we’re forced to sift through mountains of forgettable garbage that tower in fields of mediocrity in order to find the gems that lurk beneath the surface. With so many bad films out there, sometimes it’s hard to remember that the gems do exist. While 2015 delivered more than its fair share of movies that lurked in boring, tried, and god awful territories, looking back on the year proved to be something of an eye opener. Despite all appearances, there were, in fact, plenty of movies that broke bold new ground and pushed limits where others kept the status quo. It was somewhat of a comfort to see that the good and the memorable far outweighed the terrible in the year gone by. Picking favorites ended up being a more difficult task than was originally envisioned, but oh, what a glorious predicament for the cinephile! With the new year sitting just a few hours away from us, here’s a look back at a few of our favorite and most memorable movies of 2015.
Mad Max Fury Road: No one ever accused the action genre of producing works of art before, which is why no one really expected it when it happened. Boy, did it ever happen though. Director George Miller’s first foray into the world of The Wasteland in three decades looked like it might be fun when watching the previews, but he surprised us all by delivering an artistic work of cinema that is every bit a joy to look at and behold as it is to watch. From death defying, awe-inspiring stunt work to sweepingly epic shots to a minimalist story, Mad Max Fury Road was a wakeup call for filmmakers, action hounds, and genre geeks. Why settle merely for being cool when you can aspire to the level of art?
Me and Earl and the Dying Girl: This movie was fairly divisive. You either loved it or you were wrong. It had all the trappings of being just another run-of-the-mill adolescent feels fest, but really it was so much more. This was a movie about life, about death, about friendship, about love, about obstacles, about movies, about family, about, well, everything. Far from being a film solely for the teen and tween crowd, it was difficult not to fall under the charms of this brilliant and emotionally complex film no matter your age. I’ve seen it multiple times now, and each time I try and fail to pretend that tears aren’t streaming down my face by the end because, as my beard will attest, I’m far too manly for things like crying at movies. Me and Earl and the Dying Girl is a stunning work that sticks with you long after you’ve seen it.
The Big Short: Having someone explain to you a tragic situation in which we were all fucked over by bigwigs and the powers that be probably shouldn’t be hilarious, but that’s just one of the charms of The Big Short. A latecomer this year, seeing it necessitated an entire reworking of this list because not including it felt like a crime. Equal parts hilarious, eye opening, infuriating, and delightful, The Big Short is a revelatory movie going experience and one of the most bitter satires to crop up in any medium in years. Hard to believe a movie this good came from the director of Anchorman and Stepbrothers, but his years cutting his comedic teeth with Will Ferrell and company have honed Adam McKay’s timing and sensibilities to a fine point – one that he then pokes and prods you with until it’s nigh impossible to forget.
Steve Jobs: Financially speaking, this movie was a disaster. Too bad. Its box office failure will do nothing but discourage studios from taking artistic risks and as a result we’ll probably just get more uninteresting disaster and alien invasion movies because you, as a collective audience, have proven you’ve got no interest in seeing movies of actual merit. But maybe we can change that. Maybe this movie will find its audience once it hits store shelves and streaming services. Perhaps a couple of well-deserved awards nods will pique your interest and you’ll catch it later just to see what you missed in its unjustly truncated theatrical run last fall. You goddamn better, at least. This wasn’t a biopic in the truest sense of the word. This was an intimate portrait of a tortured genius assembled by a fantastic group of dedicated artists, including director Danny Boyle and writer Aaron Sorkin. It was a masterwork on every level and you missed it because, I assume, Ashton Kutcher made a shitty movie a few years ago. That was your loss. Rectify it. You’re welcome.
Room: Poetic and heart wrenching, Room is a complete knockout from start to finish. On a level, it’s a metaphor for the way the world gets bigger as we grow older and learn more. Indeed, it’s hard not to identify with young Jack (Jacob Tremblay, who deserves an Oscar nomination despite his young age) as his entire universe opens up after spending the first five years of his life locked up with his mother (Brie Larson) who was kidnapped and imprisoned by cold blooded psychopath. It’s also a harrowing look at the process of getting over trauma, moving far beyond the supposed happy ending of finally escaping your tormentor. As I said in my original review, we tend to gloss over this whenever a case like this pops up in real life. The reality is that freedom is only the first step, which is masterfully and beautifully showcased in Room. This might be a hard movie to watch, but it’s even harder to look away from.
Deathgasm: This might be a movie that’s more fun than it is good, but, at the end of the day, fun is an important and oft overlooked aspect of the cinematic experience that, as much as any other, is difficult to pull off. With that in mind, Deathgasm was one of the most fun experiences in a theater that I’ve ever had. On top of that, it also felt remarkably like a statement of intent from writer/director Jason Lei Howden. Horror has gotten stale over the last 10-15 years, and Howden takes us back to basics with plenty of fright and gore to satisfy the inner 16 year old of even the most jaded of horror snobs. Deathgasm isn’t a movie for everyone, but never does it try to be. It knows its audience and it aims not only to please them but to subvert their expectations. Heavy metal, chain saws, demons…this movie has all of that, capturing the spirit of Evil Dead without being a mere retread. Find it if you can. It’s bloody amazing. DEATH TO FALSE METAL!
Crimson Peak: If this movie failed in any way it was in its marketing. That’s okay. Marketing guys are never really expected to understand the nuances of storytelling and technique. It’s not their job, frankly. So if you felt somewhat misled by the advertising, if you were expecting a thrill a minute ride through haunted castles filled with terrifying monstrosities, it’s not really your fault. This wasn’t that movie. Crimson Peak wasn’t a ghost story; it was a story that, incidentally, had ghosts. Many might have been turned off by the Victorian narrative after anticipating pure horror, but it’s hard to deny the technical delight of this Guillermo del Toro passion project. It was a return to form for the director and a not-so-subtle reminder of just what he can accomplish when left to his own devices—fine storytelling, incredible direction, and moody atmospherics. An absolute masterwork.
Spotlight: It’s impossible to watch Spotlight without being affected. Tom McCarthy’s exhaustive recounting of the Boston Globe reporters who uncovered a vast Catholic conspiracy that allowed countless priests continue sexually abusing children without punishment for years, sometimes decades, is an absolute gut punch that also serves as an important reminder of the role journalism is supposed to play in our free society. It’s a riveting journo-noir that, frankly, needs to be seen by everybody. (I dare you not to feel nauseated as the minutes-long list of cities around the world in which Catholic corruption was found rolls on screen after the movie is over.) On top of that, it proves that Michael Keaton’s return to form in last year’s Birdman was no fluke; his performance as Globe editor Walter Robinson is the stuff of which gold statuettes are made. With a taut script that plays out like any modern thriller, Spotlight is an intense journey that gets right to the heart of what it means to be a reporter and the ways that powerful organizations can, will, and do obscure the truth.
Mistress America: Director Noah Baumbach has made quirky his wheelhouse. Lucky for him, his real life girlfriend Greta Gerwig happens to also be a master of quirk. Their latest collaboration, Mistress America, is the very definition of charming and delightful that finds them both at the top of their respective games. The script, which they co-wrote, is a pitch perfect display of dry wit that feels like the kind of movie that Woody Allen has been trying to write for the last four decades. Gerwig also gives a star-making performance as Brooke, a flighty dreamer tasked with showing her soon-to-be step-sister Tracy (Lola Kirke) around New York City. Hilariously adorable, Mistress America is mature comedy at its finest, blessedly rising above the rest of the comedic pack by never playing to the lowest common denominator.
The End of the Tour: It was hard to anticipate that two hours of Jesse Eisenberg and Jason Segel going head to head in a movie about an interview would be as enjoyable to watch as it was, but The End of the Tour delivered on every level. Segel plays the late, great David Foster Wallace being interviewed by Rolling Stone journalist David Lipsky (Eisenberg). Over the course of several days, the two go in depth about life, art, literature, cinema while the audience sits rapt as the rapid fire repartee flies off the screen. There’s a lovely tension as Lipsky tries to crack the toughest defenses of his subject—a man whose demons were belied by the staggering nature of his brilliance. It’s one part loving reminder of Wallace and his legacy, one part homage to the art of the interview, and one part meditation on the reality of genius.
Our Favorite Movies of 2015: ‘Mad Max’, ‘Room’, ‘Spotlight’, and More
It’s easy to get jaded when you see movies for a living. As fun as the job is, we’re forced to sift through mountains of forgettable garbage that tower in fields of mediocrity in order to find the gems that lurk beneath the surface. With so many bad films out there, sometimes it’s hard to remember that the gems do exist. While 2015 delivered more than its fair share of movies that lurked in boring, tried, and god awful territories, looking back on the year proved to be something of an eye opener. Despite all appearances, there were, in fact, plenty of movies that broke bold new ground and pushed limits where others kept the status quo. It was somewhat of a comfort to see that the good and the memorable far outweighed the terrible in the year gone by. Picking favorites ended up being a more difficult task than was originally envisioned, but oh, what a glorious predicament for the cinephile! With the new year sitting just a few hours away from us, here’s a look back at a few of our favorite and most memorable movies of 2015.
Mad Max Fury Road: No one ever accused the action genre of producing works of art before, which is why no one really expected it when it happened. Boy, did it ever happen though. Director George Miller’s first foray into the world of The Wasteland in three decades looked like it might be fun when watching the previews, but he surprised us all by delivering an artistic work of cinema that is every bit a joy to look at and behold as it is to watch. From death defying, awe-inspiring stunt work to sweepingly epic shots to a minimalist story, Mad Max Fury Road was a wakeup call for filmmakers, action hounds, and genre geeks. Why settle merely for being cool when you can aspire to the level of art?
Read our original review here!
Me and Earl and the Dying Girl: This movie was fairly divisive. You either loved it or you were wrong. It had all the trappings of being just another run-of-the-mill adolescent feels fest, but really it was so much more. This was a movie about life, about death, about friendship, about love, about obstacles, about movies, about family, about, well, everything. Far from being a film solely for the teen and tween crowd, it was difficult not to fall under the charms of this brilliant and emotionally complex film no matter your age. I’ve seen it multiple times now, and each time I try and fail to pretend that tears aren’t streaming down my face by the end because, as my beard will attest, I’m far too manly for things like crying at movies. Me and Earl and the Dying Girl is a stunning work that sticks with you long after you’ve seen it.
Read our original review here!
The Big Short: Having someone explain to you a tragic situation in which we were all fucked over by bigwigs and the powers that be probably shouldn’t be hilarious, but that’s just one of the charms of The Big Short. A latecomer this year, seeing it necessitated an entire reworking of this list because not including it felt like a crime. Equal parts hilarious, eye opening, infuriating, and delightful, The Big Short is a revelatory movie going experience and one of the most bitter satires to crop up in any medium in years. Hard to believe a movie this good came from the director of Anchorman and Stepbrothers, but his years cutting his comedic teeth with Will Ferrell and company have honed Adam McKay’s timing and sensibilities to a fine point – one that he then pokes and prods you with until it’s nigh impossible to forget.
Read our original review here!
Steve Jobs: Financially speaking, this movie was a disaster. Too bad. Its box office failure will do nothing but discourage studios from taking artistic risks and as a result we’ll probably just get more uninteresting disaster and alien invasion movies because you, as a collective audience, have proven you’ve got no interest in seeing movies of actual merit. But maybe we can change that. Maybe this movie will find its audience once it hits store shelves and streaming services. Perhaps a couple of well-deserved awards nods will pique your interest and you’ll catch it later just to see what you missed in its unjustly truncated theatrical run last fall. You goddamn better, at least. This wasn’t a biopic in the truest sense of the word. This was an intimate portrait of a tortured genius assembled by a fantastic group of dedicated artists, including director Danny Boyle and writer Aaron Sorkin. It was a masterwork on every level and you missed it because, I assume, Ashton Kutcher made a shitty movie a few years ago. That was your loss. Rectify it. You’re welcome.
Read our original review here!
Room: Poetic and heart wrenching, Room is a complete knockout from start to finish. On a level, it’s a metaphor for the way the world gets bigger as we grow older and learn more. Indeed, it’s hard not to identify with young Jack (Jacob Tremblay, who deserves an Oscar nomination despite his young age) as his entire universe opens up after spending the first five years of his life locked up with his mother (Brie Larson) who was kidnapped and imprisoned by cold blooded psychopath. It’s also a harrowing look at the process of getting over trauma, moving far beyond the supposed happy ending of finally escaping your tormentor. As I said in my original review, we tend to gloss over this whenever a case like this pops up in real life. The reality is that freedom is only the first step, which is masterfully and beautifully showcased in Room. This might be a hard movie to watch, but it’s even harder to look away from.
Read our original review here!
Deathgasm: This might be a movie that’s more fun than it is good, but, at the end of the day, fun is an important and oft overlooked aspect of the cinematic experience that, as much as any other, is difficult to pull off. With that in mind, Deathgasm was one of the most fun experiences in a theater that I’ve ever had. On top of that, it also felt remarkably like a statement of intent from writer/director Jason Lei Howden. Horror has gotten stale over the last 10-15 years, and Howden takes us back to basics with plenty of fright and gore to satisfy the inner 16 year old of even the most jaded of horror snobs. Deathgasm isn’t a movie for everyone, but never does it try to be. It knows its audience and it aims not only to please them but to subvert their expectations. Heavy metal, chain saws, demons…this movie has all of that, capturing the spirit of Evil Dead without being a mere retread. Find it if you can. It’s bloody amazing. DEATH TO FALSE METAL!
Read our original review here!
Crimson Peak: If this movie failed in any way it was in its marketing. That’s okay. Marketing guys are never really expected to understand the nuances of storytelling and technique. It’s not their job, frankly. So if you felt somewhat misled by the advertising, if you were expecting a thrill a minute ride through haunted castles filled with terrifying monstrosities, it’s not really your fault. This wasn’t that movie. Crimson Peak wasn’t a ghost story; it was a story that, incidentally, had ghosts. Many might have been turned off by the Victorian narrative after anticipating pure horror, but it’s hard to deny the technical delight of this Guillermo del Toro passion project. It was a return to form for the director and a not-so-subtle reminder of just what he can accomplish when left to his own devices—fine storytelling, incredible direction, and moody atmospherics. An absolute masterwork.
Read our original review here!
Spotlight: It’s impossible to watch Spotlight without being affected. Tom McCarthy’s exhaustive recounting of the Boston Globe reporters who uncovered a vast Catholic conspiracy that allowed countless priests continue sexually abusing children without punishment for years, sometimes decades, is an absolute gut punch that also serves as an important reminder of the role journalism is supposed to play in our free society. It’s a riveting journo-noir that, frankly, needs to be seen by everybody. (I dare you not to feel nauseated as the minutes-long list of cities around the world in which Catholic corruption was found rolls on screen after the movie is over.) On top of that, it proves that Michael Keaton’s return to form in last year’s Birdman was no fluke; his performance as Globe editor Walter Robinson is the stuff of which gold statuettes are made. With a taut script that plays out like any modern thriller, Spotlight is an intense journey that gets right to the heart of what it means to be a reporter and the ways that powerful organizations can, will, and do obscure the truth.
Read our original review here!
Mistress America: Director Noah Baumbach has made quirky his wheelhouse. Lucky for him, his real life girlfriend Greta Gerwig happens to also be a master of quirk. Their latest collaboration, Mistress America, is the very definition of charming and delightful that finds them both at the top of their respective games. The script, which they co-wrote, is a pitch perfect display of dry wit that feels like the kind of movie that Woody Allen has been trying to write for the last four decades. Gerwig also gives a star-making performance as Brooke, a flighty dreamer tasked with showing her soon-to-be step-sister Tracy (Lola Kirke) around New York City. Hilariously adorable, Mistress America is mature comedy at its finest, blessedly rising above the rest of the comedic pack by never playing to the lowest common denominator.
Read our original review here!
The End of the Tour: It was hard to anticipate that two hours of Jesse Eisenberg and Jason Segel going head to head in a movie about an interview would be as enjoyable to watch as it was, but The End of the Tour delivered on every level. Segel plays the late, great David Foster Wallace being interviewed by Rolling Stone journalist David Lipsky (Eisenberg). Over the course of several days, the two go in depth about life, art, literature, cinema while the audience sits rapt as the rapid fire repartee flies off the screen. There’s a lovely tension as Lipsky tries to crack the toughest defenses of his subject—a man whose demons were belied by the staggering nature of his brilliance. It’s one part loving reminder of Wallace and his legacy, one part homage to the art of the interview, and one part meditation on the reality of genius.
Read our original review here!
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