Media itt: movie/film discussion - Beware Spoilers

vonFiedler

I Like Chopin
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#42: Stars Wars: The Force Awakens
Of course I was gonna see this movie whether it was on the list or not. And it's pretty surprising to me that it is. Not because it doesn't deserve to be, it actually fits in with classic Star Wars like a glove. But you'd think it'd have to be REALLY fucking good just for people not to underrate it due to expecting too much. Mind you, I don't know if the first 2/3 are really as good as the old movies, but the last 1/3 starting at Starkiller Base is some of the best shit we've ever seen in Star Wars, including the absolute best lightsaber fight. Been meaning to make a more spoilery post in the other thread for a while now.

#128: Mr. Smith Goes to Washington
I actually watched It's a Wonderful Life on Christmas. I guess that's not a surprise, but it's the other big Capra/Stewart outing. I don't think Mr. Smith is as good, but it's still pretty good. It's a little soft and naive for a film about capital corruption, and I must have fucking hallucinated it when the main character assaults about a dozen reporters with no consequences. Still, I came out of this movie thinking that we really need another non-partisan movie about political corruption. And while Stewart is very good, Jean Arthur and her character really steal the show, esp for the portrayal of a female character in the 30s. The thing that hurts this film the most was its abrupt ending. Common for the time, but really regretful here.

#129: My Neighbor Totoro
The only Miyazaki movie on the list I had yet to see (but not the last I have to see), this was pretty much exactly what I expected it to be. Well made. Ahead of its time. Probably going to be really good to watch with my kids... but not by myself. It's a bit better than Ponyo in that regard; while it's a lot simpler, the lack of excess helps it in this case. But while the subtle angst that permeates Miyazaki's films does exist, there's no real bite, or consequences, or much of a linear narrative at all. Things happen and are cute. I've seen both the English and Japanese dubs for most of Miyazaki's movies, but as per what I've done with everything else on this list I went with Japanese, and I thought the voice acting was super endearing.

#130: The Bridge on the River Kwai
Another long movie that mostly uses its time well, though it sags the most in the middle. It's certainly an interesting dramatic story with amazing acting from all sides, but for the life of me I just can't empathize with Obi-wan's character at all. Bridge is about a Japanese POW camp. Soldiers and officers alike are enslaved to build a bridge over a river. I didn't know this, but I guess the Geneva Convention states that officers can't be made to do manual labor. Far be it from me to argue with the Geneva Convention, but I don't give a shit at all about this. Why shouldn't officers work if soldiers have to? The first hour is spent grandstanding about the injustice of this, but I don't give a fuuuuuuuuuuuuuuuuuuuuuuuuuck. When Obi-wan finally gets his way and the movie treats it like a big heroic victory, he then decides to help build the bridge quickly and effectively. Now, the movie knows that he's being a questionable prick at this point, but it's supposed to be balanced out by him upholding the convention while his soldiers literally work themselves to death. It's a movie worth watching because it gives you a lot to think about, but seriously fuck this character.

#131: Ikiru
The first Akira Kurosawa movie I've seen that isn't a period piece. It's uh, it's very ponderous. It's also very boring. But I guess it's worth watching, I felt it payed off in the end. There's just a lot to get through, and slowly, before that. Ikiru means "to live", as in the main character has only half a year "to live", but "to live" is also what he's going to start doing for the first time. It's Breaking Good, and with just as many slow scenes, but without television series pacing. I could probably recommend this movie the most next to Yojimbo.

Bonus Movie: Krampus
Instant Christmas classic. Like, holy shit, in a year of 10/10 films, this is maybe the 3rd or 4th best I've seen all year (the other would be Star Wars). I mean, seriously, I'll watch this on future Christmases. It's just an entertaining movie with real holiday spirit, except everybody fucking dies horribly. Lots of families I know enjoyed this together. Go see it while you still can.


I don't know who is reading at this point, but I've been thinking lately. I tried explaining to a friend what Oscar bait was the other day, and I realized that I had NO idea what movies actually qualify as that right now. Even looking into it, I guess The Big Whatever where a bunch of actors used makeup to look ugly will probably get nominated. I have no idea what else will, because Star Wars is overshadowing everything. And frankly, I wouldn't be surprised if Star Wars and Mad Max got nominated (but they won't win). I just really don't know what they are going up against at all.
 
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brightobject

there like moonlight
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I think one thing that really helped Episode VII out was the advances in CGI and sfx in general. One problem with the older movies (especially the original trilogy) is that some scenes look a bit cheesy and unbelievable in today's day and age. Episode VII throws us back into the universe and now it's HD 1080p with better laser sounds and everything. It seems much more immersive and helps to shore up the world-building too.
 
STAR WARS

All that Star Wars VII had to do was be better than the prequels and it would be instantly loved. It is hard to deny that Episode IV feels like the original Star Wars. The prequels had a distinctly different feel to them than the originals that just made them feel off. Terrible characters, weirdly political plots, cold CGI settings. What the prequels achieved in amazing fight scenes and special effects they lost in horrible storytelling and a lack of emotional attachment. It was just a different feel to it.

Episode VII kind of returned the franchise back to Star Wars in the sense that the emotion, humor, and storytelling of the original Star Wars is back. We have begun to connect to the characters of this movie in ways that we never did with the characters of the prequels. Kylo Ren connects to us on more of an emotional level than the Emperor did. And while Fin and Rey still have two more movies of character development to go, they are already more likable and relatable than Obi Wan was.

So while Episode VII had high expectations attached to it, all it really needed to be was a movie that went back to what made the original Star Wars movies so captivating. Maybe they played it a little too safe and failed to make this movie truly original... but there are two more movies and numerous anthologies coming for that to happen. All that they needed to do was to prove that Star Wars was back and give fans the faith in the franchise that they lost after the prequels. I'm guessing the rating and praise the movie has been getting has been based on that and less on it's power as a stand alone movie. It should still be on the list, albeit outside the top 100.

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OSCARS?

I just started getting into the Oscars last winter break when I decided I should try and get more into movies. I really enjoyed the movies that were put up for nomination last year with Boyhood, Interstellar, Whiplash, and The Imitation Game. Birdman was unique as well. I really am kind of confused as what gets nominated for Oscars or what clarifies as an Oscar type movie but it usually seems that more esoteric movies get in as opposed to block busters. As I have determined that my next goal after the IMDB 250 list is to complete the Oscar Highlights lists for more meaningless badges on my profile, I have been trying to figure out what types of movies probably will be considered for this year.

Some of the more esoteric films from this year are movies such as Carol, The Room, The Big Short, and Spotlight. I haven't seen any of these yet, but I would say that they are pretty Oscar-ish movies compared to titles from years past and they seem to be pretty well received critically. Other movies like The Hateful Eight, Reverant, The Martian, Nightcrawler, and Creed I can see getting attention too.

With the amount of movies that I have to watch, I am unsure how many Oscar-potential movies I will get to before they announce the nominees. After that I think I'll try to get more into it and put the 250 list on hold for a bit.

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IMDB 250

As for a list update on where I am at, I am currently sitting on 142/250 complete, and I'm at number 110 chronologically.

I just finished Scarface and was very underwhelmed by it all. I don't get why the hell it gets a lot of praise as a movie. It's an overdone premise with a shallow story and lifeless characters. Tony Montana is not a great mob boss, but rather a brainless grunt who somehow outlives his stupidity until the end. The ending is comical at best and while it doesnt feel like it's a long movie, it really isn't worth the 3 hour investment. I'll chalk this one up along with The Usual Suspects as movies I should watch and rate again at another time because I might just not be getting the concept. But it was really lackluster.

The rest of the movies were just... alright. Definitely not amazing movies or ones that I would put in a personal 250 list. Metropolis started off strong but finished way too safe for me. All About Eve was quite boring and void of plot or meaning. The Apartment was good, but the main character was kind of awfully dualistic in that he is portrayed as both an innocent pushover and a selfish manipulator at the same time and it doesn't work. Yojimbo again was a decent movie with some large flaws, as way too much time I feel was spent on things not related to the story and as such, the plot felt pretty rushed.

The two best movies I saw since my last update probably have to be A Seperation and The Treasure of Seirra Madre. I feel that I enjoyed A Seperation more from me having a historical and cultural point of comparison from studying Middle Eastern culture in college and having some background in the legal processes. Having that point of reference I feel gave me somewhat of a perspective as to the purpose of the film I guess. The story is pretty much a conflict of two flawed characters and a quest for truth without there being a bad guy or a good guy... and while the story dragged on I liked the approach.

Treasure on the other hand was a pretty solid Western and about the corruption of fast money. It had a lot of really good elements to it, and the fact that one of the main characters goes crazy towards the end makes it fairly exciting. I'm enjoying Westerns more and more now as I have been going down this list for whatever reason. The next one I have to watch is Unforgiven though, and that seems like one that slants more into the "just okay" file.

Hoping that this next series of movies will bring at least one 9 rating as I have not had one since Spotless Mind.
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I did have Some Like it Hot loading for tonight, but I saw that The Hateful Eight somehow has already made it onto Putlocker despite not yet being put on general release... So I'm going to go ahead and watch Tarantino's latest flick and call it a night.
 
I don't know who is reading at this point, but I've been thinking lately. I tried explaining to a friend what Oscar bait was the other day, and I realized that I had NO idea what movies actually qualify as that right now. Even looking into it, I guess The Big Whatever where a bunch of actors used makeup to look ugly will probably get nominated. I have no idea what else will, because Star Wars is overshadowing everything. And frankly, I wouldn't be surprised if Star Wars and Mad Max got nominated (but they won't win). I just really don't know what they are going up against at all.
Youth was probably the most Oscar bait film I've seen this year. Two old guys reminiscing, Europe, and Paul Dano all stand out as decent bait for the committee.
 
Youth was probably the most Oscar bait film I've seen this year. Two old guys reminiscing, Europe, and Paul Dano all stand out as decent bait for the committee.
+ The aging actress who has made a comeback from disappointing film choices in Jane Fonda, who was admittedly the only reason I even watched Youth. Sucks for them, though, since the Academy won't seem to take the bait! (Unless Fonda nabs a surprise, but deserved, nomination)
 
I consider oscar bait to be stuff like last year's The Theory of Everything and The Imitation Game, or this year's Suffragette and The Danish Girl - films that have a tidy script, competent cinematography/scores and wonderful, if showy performances, but are ultimately incredibly safe and often a slog to get through. Youth was at least ambitious, though a very strange film that wasn't quite cohesive. And begin again I thought Jane Fonda's performance was just ok, nothing to earn an oscar nomination; I feel like if she were to receive one, it would be based on her legacy rather than her performance.

Which leads on to my 2015 Eagle4 Oscar nominations! Unlike the Academy Awards, each category has 6 nominations rather than 5 (aside from Best Picture, which has 10). Winner is in bold. This is based on UK Release Dates.

BEST PICTURE
Beasts of No Nation
Birdman
Crimson Peak
The Duke of Burgundy
The Forbidden Room
Inherent Vice
Inside Out
Mad Max: Fury Road
Mommy
Whiplash

BEST DIRECTING
Paul T. Anderson - Inherent Vice
Roy Andersson - A Pigeon Sat on a Branch...
Xavier Dolan - Mommy
Cary Fukunaga - Beasts of No Nation
George Miller - Mad Max: Fury Road
Peter Strickland - The Duke of Burgundy

BEST ACTOR
Abraham Attah - Beasts of No Nation
Michael Keaton - Birdman
David Oyelowo - Selma
Joaquin Phoenix - Inherent Vice
Antoine Pilon - Mommy
Eddie Redmayne - The Theory of Everything

BEST ACTRESS
Emily Blunt - Sicario
Chiara D’Anna - The Duke of Burgundy
Anne Dorval - Mommy
Felicity Jones - The Theory of Everything
Sidse Babett Knudsen - The Duke of Burgundy
Rooney Mara - Carol

BEST SUPPORTING ACTOR
Josh Brolin - Inherent Vice
Idris Elba - Beasts of No Nation
Benicio del Toro - Sicario
Ed Norton - Birdman
Mark Ruffalo - Foxcatcher
J.K. Simmons - Whiplash

BEST SUPPORTING ACTRESS
Clare Burt - London Road
Jessica Chastain - Crimson Peak
Suzanne Clement - Mommy
Greta Gerwig - Mistress America
Emma Stone - Birdman
Katherine Waterston - Inherent Vice

BEST ORIGINAL SCREENPLAY
Brad Bird, Damon Lindelof and Jeff Jensen - Tomorrowland
Josh Cooley, Peter Docter and Meg LeFauve - Inside Out
Xavier Dolan - Mommy
Alejandro G.Inarritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo - Birdman
Yorgos Lanthimos - The Lobster
Peter Strickland - The Duke of Burgundy

BEST ADAPTED SCREENPLAY
Paul T. Anderson - Inherent Vice

Jesse Andrews - Me and Earl and the Dying Girl
Alecky Blythe - London Road
Damien Chazelle - Whiplash
Coen Brothers - Bridge of Spies
Aaron Sorkin - Steve Jobs

BEST ANIMATED FEATURE FILM
Big Hero 6
The Good Dinosaur
Inside Out
Minions
The Spongebob Movie: Sponge out of Water
World of Tomorrow

BEST FOREIGN LANGUAGE FILM
Les Combattants
The Tribe
Mommy
A Pigeon Sat on a Branch…
Relatos Salvajes
Tokyo Tribe

BEST ORIGINAL SCORE
Faris Badwan and Rachel Zeffira (Cat’s Eyes) - The Duke of Burgundy

Various - Tokyo Tribe
Daniel Lopatin - Partisan
Antonio Sanchez - Birdman
Rich Vreeland - It Follows
Junkie XL - Mad Max: Fury Road

BEST SOUNDTRACK
Chappie
Inherent Vice
Lost River
The Man From UNCLE
Mommy
Paper Towns

BEST ORIGINAL SONG
“And That’s When it All Started” by various artists - London Road
“Follow Me Down” by Tracey Thorn - The Falling
“The Hardest Thing to Do” by Robyn - Partisan
“Opening Credit Song” by Cat’s Eyes - The Duke of Burgundy
“Tell Me” by Johnny Jewel feat. Saoirse Ronan - Lost River
“The Final Derriere” by Sparks - The Forbidden Room

BEST VISUAL EFFECTS
Ant-Man
Chappie
The Forbidden Room
Mad Max: Fury Road
The Martian
Star Wars: The Force Awakens

BEST COSTUME DESIGN
Crimson Peak
The Duke of Burgundy
Jupiter Ascending
Mad Max: Fury Road
Star Wars: The Force Awakens
Tokyo Tribe

BEST FILM EDITING
The Duke of Burgundy

The Forbidden Room
Inherent Vice
Mad Max: Fury Road
Mommy
Whiplash

BEST MAKEUP AND HAIRSTYLING
A Most Violent Year
Carol
Crimson Peak
The Duke of Burgundy
Inherent Vice
Mad Max: Fury Road

BEST PRODUCTION DESIGN
Crimson Peak
The Duke of Burgundy
Inherent Vice
Mad Max: Fury Road
Star Wars: The Force Awakens
Tokyo Tribe

BEST SOUND EDITING
Chappie
The Duke of Burgundy
The Forbidden Room
Mad Max: Fury Road
Sicario
Whiplash

BEST SOUND MIXING
Beasts of No Nation
The Duke of Burgundy
The Forbidden Room
Mad Max: Fury Road
Sicario
Whiplash

BEST CINEMATOGRAPHY
Birdman
The Duke of Burgundy
The Forbidden Room
Inherent Vice
Mad Max: Fury Road
Mommy


I know that the winners are all very concentrated on a few select films, but the truth is, there were 3 standout films of 2015 that came out early on this year and never looked close to being surpassed in terms of quality - Inherent Vice, Mommy, and the Duke of Burgundy. Mad Max Fury Road was also up there, but just a slight league down.
 
I consider oscar bait to be stuff like last year's The Theory of Everything and The Imitation Game, or this year's Suffragette and The Danish Girl - films that have a tidy script, competent cinematography/scores and wonderful, if showy performances, but are ultimately incredibly safe and often a slog to get through. Youth was at least ambitious, though a very strange film that wasn't quite cohesive. And begin again I thought Jane Fonda's performance was just ok, nothing to earn an oscar nomination; I feel like if she were to receive one, it would be based on her legacy rather than her performance.

Which leads on to my 2015 Eagle4 Oscar nominations! Unlike the Academy Awards, each category has 6 nominations rather than 5 (aside from Best Picture, which has 10). Winner is in bold. This is based on UK Release Dates.

BEST PICTURE
Beasts of No Nation
Birdman
Crimson Peak
The Duke of Burgundy
The Forbidden Room
Inherent Vice
Inside Out
Mad Max: Fury Road
Mommy
Whiplash

BEST DIRECTING
Paul T. Anderson - Inherent Vice
Roy Andersson - A Pigeon Sat on a Branch...
Xavier Dolan - Mommy
Cary Fukunaga - Beasts of No Nation
George Miller - Mad Max: Fury Road
Peter Strickland - The Duke of Burgundy

BEST ACTOR
Abraham Attah - Beasts of No Nation
Michael Keaton - Birdman
David Oyelowo - Selma
Joaquin Phoenix - Inherent Vice
Antoine Pilon - Mommy
Eddie Redmayne - The Theory of Everything

BEST ACTRESS
Emily Blunt - Sicario
Chiara D’Anna - The Duke of Burgundy
Anne Dorval - Mommy
Felicity Jones - The Theory of Everything
Sidse Babett Knudsen - The Duke of Burgundy
Rooney Mara - Carol

BEST SUPPORTING ACTOR
Josh Brolin - Inherent Vice
Idris Elba - Beasts of No Nation
Benicio del Toro - Sicario
Ed Norton - Birdman
Mark Ruffalo - Foxcatcher
J.K. Simmons - Whiplash

BEST SUPPORTING ACTRESS
Clare Burt - London Road
Jessica Chastain - Crimson Peak
Suzanne Clement - Mommy
Greta Gerwig - Mistress America
Emma Stone - Birdman
Katherine Waterston - Inherent Vice

BEST ORIGINAL SCREENPLAY
Brad Bird, Damon Lindelof and Jeff Jensen - Tomorrowland
Josh Cooley, Peter Docter and Meg LeFauve - Inside Out
Xavier Dolan - Mommy
Alejandro G.Inarritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo - Birdman
Yorgos Lanthimos - The Lobster
Peter Strickland - The Duke of Burgundy

BEST ADAPTED SCREENPLAY
Paul T. Anderson - Inherent Vice

Jesse Andrews - Me and Earl and the Dying Girl
Alecky Blythe - London Road
Damien Chazelle - Whiplash
Coen Brothers - Bridge of Spies
Aaron Sorkin - Steve Jobs

BEST ANIMATED FEATURE FILM
Big Hero 6
The Good Dinosaur
Inside Out
Minions
The Spongebob Movie: Sponge out of Water
World of Tomorrow

BEST FOREIGN LANGUAGE FILM
Les Combattants
The Tribe
Mommy
A Pigeon Sat on a Branch…
Relatos Salvajes
Tokyo Tribe

BEST ORIGINAL SCORE
Faris Badwan and Rachel Zeffira (Cat’s Eyes) - The Duke of Burgundy

Various - Tokyo Tribe
Daniel Lopatin - Partisan
Antonio Sanchez - Birdman
Rich Vreeland - It Follows
Junkie XL - Mad Max: Fury Road

BEST SOUNDTRACK
Chappie
Inherent Vice
Lost River
The Man From UNCLE
Mommy
Paper Towns

BEST ORIGINAL SONG
“And That’s When it All Started” by various artists - London Road
“Follow Me Down” by Tracey Thorn - The Falling
“The Hardest Thing to Do” by Robyn - Partisan
“Opening Credit Song” by Cat’s Eyes - The Duke of Burgundy
“Tell Me” by Johnny Jewel feat. Saoirse Ronan - Lost River
“The Final Derriere” by Sparks - The Forbidden Room

BEST VISUAL EFFECTS
Ant-Man
Chappie
The Forbidden Room
Mad Max: Fury Road
The Martian
Star Wars: The Force Awakens

BEST COSTUME DESIGN
Crimson Peak
The Duke of Burgundy
Jupiter Ascending
Mad Max: Fury Road
Star Wars: The Force Awakens
Tokyo Tribe

BEST FILM EDITING
The Duke of Burgundy

The Forbidden Room
Inherent Vice
Mad Max: Fury Road
Mommy
Whiplash

BEST MAKEUP AND HAIRSTYLING
A Most Violent Year
Carol
Crimson Peak
The Duke of Burgundy
Inherent Vice
Mad Max: Fury Road

BEST PRODUCTION DESIGN
Crimson Peak
The Duke of Burgundy
Inherent Vice
Mad Max: Fury Road
Star Wars: The Force Awakens
Tokyo Tribe

BEST SOUND EDITING
Chappie
The Duke of Burgundy
The Forbidden Room
Mad Max: Fury Road
Sicario
Whiplash

BEST SOUND MIXING
Beasts of No Nation
The Duke of Burgundy
The Forbidden Room
Mad Max: Fury Road
Sicario
Whiplash

BEST CINEMATOGRAPHY
Birdman
The Duke of Burgundy
The Forbidden Room
Inherent Vice
Mad Max: Fury Road
Mommy


I know that the winners are all very concentrated on a few select films, but the truth is, there were 3 standout films of 2015 that came out early on this year and never looked close to being surpassed in terms of quality - Inherent Vice, Mommy, and the Duke of Burgundy. Mad Max Fury Road was also up there, but just a slight league down.
It's probably just the fan speaking in me. Otherwise, I loved her campy turn in that otherwise mediocre film (imo, of course!) And love the Mommy praise in your post. I literally just found out today that it had it's ~official~ release in the US this year, so it's definitely in my top three films of 2015 (alongside Tangerine and Carol).

Speaking of Oscars, I'm kind of hyped to see awards season this year. There's not a lot of obvious frontrunners at the moment and it'll be interesting to see how the whole category fraud controversy plays out.
 
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The Revenant

So I just finished watching The Revenant as a result of it being just added to my IMDB 250 list as well as being a recent Oscar contender and a potential Oscar winning movie. I feel more compelled to give this one an honest review and critic than a lot of the other movies I have watched of late for whatever reason and my insomnia is keeping me awake tonight.

Let me start by saying that I have never been a fan of Leobarfdo DeCantAct and the majority of his performances. I think that he is, like Johnny Depp, an extremely overrated actor who gets thrown into movies and roles he has no business playing, such as in J. Edgar and Django Unchained. So when I heard that he was geared up to play a hardened, bear fighting, wilderness man in The Revenant, I figured that he would fuck it up and the movie would be a disaster. This was my intentions going into this movie and possibly shaped my opinion of the movie. However...

I was surprised by how the movie went but not for the reasons you expect. It is a quite flawed movie that I ended up giving a generous 7/10 to. Without going into details, the general plot is that Leo's character is very unnaturally mauled by a bear, is left for dead, and is left to go on this survival quest to exact revenge on those who left him. At 2 hours and 40ish minutes, the intro and the bear mauling takes up about 20 minutes, the final scene lasts about 20 minutes, the the remaining 2 hours or so is spent alone with Leo's character running abound the woods in piss poor shape.

Needless to say, the best part of this movie is watching our moon-faced lead getting fucked up by a huge ass bear. There is no getting around that. Up until the bear attack, there is so much going on that it is hard to really get to know Leo's character and following the bear attack, Leo's throat and just body in general is so fucked up that he spends the rest of the movie pretty much just grunting, moaning part nonsense, and limping around soullessly. Or pretty much what he does in most every other movie he is in.

Following this bear attack and leading up until the end, very little really goes on to move the story on besides watching our main character flash back to memories of his family and trying to desperately survive in the harsh, wintry, Indian infested woods. In these 2 hours following the mauling, Leo probably has a total of 2 pages of dialogue with a page and a half of that being in subtitled Pawnee. I would have fallen asleep for it not the stunning scenery, the uniqueness of the survival techniques, and the slight possibility of me seeing Mr. Moon-face be brutally mauled by a second bear. The ending, while decently exciting, had me wondering why in the heck this entire journey back to civilization was necessary to go through and left me wanting a bit more... Tarantino-ness for lack of a better word.

For all the hype that this movie has been receiving it fell awfully short of being a good movie. With the amazing decision to reduce Leo into a soulless zombie for much of the movie, the beautiful scenery of the wintry riverbed and forest was able to push this movie along and make it worth continuing and what untimely made me give it a 7/10. However, movie wise, the atheistic are just not enough to make up for the flaws of the repetitive, drawn out, shallow, and at times comically ridiculous plot line.

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The Hateful Eight

I'd also like to say that The Hateful Eight was a pretty damned good movie and while it is not one of QT's best movies it is still a pretty damned entertaining movie and doesnt deserve the flack it has been getting. Like a lot of QT's movies, the story is told in a way that is kind of like a mystery in that you're shown a small picture of events and then are gradually exposed to the larger and more complicated plot. While the acting/dialogue does feel a little like a high school play at times and that there is kind of a bit of lack of motivation/creativity compared to his other films (stemming from script being leaked pre-production and QT for a time giving up on making the movie no doubt), it's a damned good movie and I recommend seeing it if you go in without the expectations of Pulp Fiction or Inglorious Bastards.

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The Big Short

So definitely not getting sleep tonight and as such I just watched The The Big Short. And holy moly...

I can really just sum up my thoughts by saying wow. A very strong 10/10 from me and out of the 361 films I have rated, this is only the 5th perfect score I have given out. I save these for movies that are both good and that relates to me or challenges my convictions in a way that changes my understanding of the world.

I am a 21 year old history education major who is entering my student teaching in January. Part of my major includes finance and economics because my teaching license will allow me to teach economics and financial literacy courses. I have followed the news and have listened to local political talk radio since 2006 when I was in the 5th grade on my own power and not because my parents or friends were at all interested in politics and influenced me. I won accounting student of the year in high school, have taken AP Economics, and will graduate college in May debt free with approximately $30,000 in the green with parents whose only contribution to my education was offering me a place to live rent free and allowing me and my sister to share a car. My father, as much of a fuck as he is, worked in a high position for a board of realtors and who got out in 2006.

I say these things not to brag, but to outline that I am not a dummy when it comes to personal finance, wise spending, and financial planning. That I am interested in topics such as history, economics, politics, and have some type of understanding of the concepts being talked about here.

At the same time though, I have somehow went up to this point in my life with a very bare bones understanding of the 2007 recession. I understood that there was a housing bubble caused by banks giving out high risk mortgages and that the governmental organizations who were in charge of regulating the banks were captured by the banks, and as a result people who had money placed into the system through numerous investing methods lost a whole lot of money. This was the extent to my knowledge and I believed that anything else would be way too technical for me.

The Big Short has changed that idea in my mind. I went into watching this movie thinking that this was either going to be a dumbed down version of what I already know or it was going to pander to the wide sect of people out there who pretty much devote their lives to warning others about problems with our financial system. Trust me, I have ran into so many people like that it blows my mind. This movie is neither of these things. It is humorous. It is educational. And it is most of all insightful as it goes into depth into the absolute absurdity of the 2007 recession.

This movie is presented in a way that is very biographical yet at the same time very witty. Take The Wolf of Wall Street and merge it with a NOVA special on PBS dealing with the housing bubble. Yes, this movie is about a group of people who made a fortune through betting against the United States economy and the information about them I have not researched or fact checked… but through their eyes and through the narrator/guest narrators explaining key economic concepts in technical and easy to explain ways (again, think NOVA) that you come out of this with actual high level understanding of the intricacies of the financial system. They even make it a point in the movie to say that Wall Street tries to make these concepts seem unobtainable and technical to make people think they can’t understand it without majoring in finance so that people feel more inclined to trust their money to investors and other people.

I can’t really get over this fact of how accessible the information was in this movie and in the clever ways that information was described. When it comes to narration and historical information, characters often break the 4th wall and talk straight to us. At one point, when they wanted to create more of a Hollywood-esque telling to the story, the character broke through the 4th wall and informed the audience on how it really went… which was fucking amazing to me that they’d do it that way.

But I mean holy moly this is such a thought provoking movie and makes me want to do far more research into this myself. I have also been looking into mortgages and investments and what to do with my saved up money after I graduate from college in May… and this really changes my thoughts on that and makes me want to bone up on investment knowledge myself and maybe take a few free internet classes on investments this summer.

But holy smokes guys, this is not the boring highbrow movie about investors portrayed dryly as I thought it would be. This is a very funny and extremely informative movie that no doubt deserves everything it is getting and then some. Highly recommended.
 
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My top 20 films of 2015 (20-11):

(This list is based on UK release dates.)

2015 is almost at an end, and what a year it’s been for films; perhaps no film arrives as daring and magnificent as last year’s Boyhood, but the year has been both consistent and generous in its steady thrum of excellent films. My top 20 of 2015 only scratches the surface of what this year has had to offer – it contains octane-fueled action flicks, melancholic romances and moody period pieces, but I can’t begin without mentioning a few films that barely missed out on a place in this list:

The Lobster, Yorgos Lanthimos’ dark comedy, boasted a hilarious script and some wonderful, quirky ideas, while Star Wars: The Force Awakens was a heavily energetic if somewhat familiar return to the beloved franchise. Another film high on energy was Chappie, unfairly criticised by many critics; I thought it was a wonderful return to form from Neill Blomkamp, depicting the birth of AI in a captivating and touching way.

Avengers: Age of Ultron was a well-handled, extremely entertaining superhero caper with some fantastic humor integrated in seamlessly. A more serious film came in the form of Ex Machina, a more cold and calculated look at AI that was shot and performed deftly, its themes mature and wonderfully explored. And the last of my honourable mentions goes to London Road, a mundane musical that was both poignant and hopeful.

And now, the Top 20.

20. TOKYO TRIBE

An exhilarating offering from Sion Sono, Tokyo Tribe is quite possibly the greatest battle-rap martial arts musical I’ve ever seen. It’s as all-over-the-place as it sounds, but I’d be lying if I said it isn’t extremely entertaining. This is partly due to the cinematography, production design and soundtrack that Tokyo Tribe uses – flourishing camera movements and unbridled neon add to Sono’s incredible knack for world-building, giving the film’s portrayal of an alternate Tokyo a dusky, neo-noir feel. The heavy drum beats and how the raps are structured into the film are all masterful in their execution, serving to maintain its adrenaline-fueled plotting that surprisingly never becomes tiresome. The ideas, too, are fresh and startling – from pale naked bodies used as furniture to a giant rotating vacuum-blade in the middle of a fight sequence, Tokyo Tribe feels new and exciting, a film that breaks conventional genre boundaries. And amid the stark emphasis on tone and atmosphere in comparison to plot, you genuinely care for Tokyo Tribe’s central protagonist – an accomplished feat when considering the flick’s stylised B-movie grandeur.

19. IT FOLLOWS

I admit I’m not one of the horror genre’s most adoring fans, but that fact only serves as testament to It Follows and its place on this list; as a horror flick, it may not be as intensely haunting as several critics have purported, but it’s most certainly thrilling and exceptionally well-crafted. Taking place during a non-era that’s fantastically retro, the film centers on a teenage girl (Maika Monroe, fast-becoming one of my favourite actresses) and the nameless creature that follows her relentlessly after she has unprotected sex. An unsubtle STD metaphor, sure, but the actions thereafter and the mechanics surrounding the creature all serve to heighten the suspense and overbearing sense of dread that’s created. And I can’t talk about It Follows without mentioning the John Carpenter-esque score that’s frightening and involving in equal measure, allowing the the palpable tension to be maintained throughout the film’s running time, only diminishing during a bombastic climax that’s hugely enjoyable and edge-of-the-seat jittery, but contradictory to the flick’s previously secretive content. Still, It Follows is a film that will linger in your mind for days on end.

18. SICARIO

If there ever was a film that was hopelessness in cinematic form, Sicario may very well be it. Dark and intensely disturbing, Denis Villenueve’s latest has won universal acclaim among a wide range of critics, and justifiably so. Centering on drug cartels across the Mexican border, the tense subject matter isn’t shied from; it’s allowed to flourish with a fantastically bleak score, Deakins’ polished cinematography and an array of hard-hitting performances – Emily Blunt as a helpless FBI agent and Benicio del Toro as a Mexican mission leader with dubious morals especially excel. The plodding script is overcome with terrific direction, a real sense of atmospheric urgency maintained throughout. This isn’t even mentioning one of 2015’s finest scenes in the form of a high-tension border crossing in Juarez, the intensity palpable; I don’t think I’ve recovered from it yet. It’s a simple story expertly portrayed, and deserves all the plaudits its currently receiving.

Read EdgarReviews’ Sicario review here.

17. FOXCATCHER

When I first saw Bennett Miller’s Foxcatcher, I passed it off as a competent if underwhelming insight into dark subject matter surrounding wrestling, and its theme of masculinity. Since then, the film has stuck with me, and after dwelling on it, Foxcatcher is truly a great film. Each film I’ve mentioned beforehand in this list has generated mood and atmosphere with fantastic technical skills, and this film is no different; the ambience is less showy and more sombre, conveying a despairing tone with a droning, melancholic score and visually discoloured cinematography. It’s brooding, calculated, and perfectly matches the film’s content, at the expense of appearing distant. That could not be further from the truth, however; Tatum’s determined, sympathetic performance as wrestler in question creates the right amount of empathy towards the character that counteracts this coldness. Ruffalo, too, gives the stand-out performance as Tatum’s brother, his unease with Carell’s also-terrific wrestling team leader John du Pont intense, the chemistry building in an expertly-paced manner and climaxing in a perfectly disturbing, sorrowful way. It’s a powerful film that has remained vividly memorable since January.

16. SELMA

Yet another early-2015 release, Selma, as opposed to the previously mentioned films on this list, focuses on its thematic content and politically-hefty plot instead of placing prominence on stylistic vigour. It’s fixating, highly-relevant subject matter that manages to feel crucial rather than preachy, a success managed due to director Ava DuVernay’s mature handling of the storytelling; the film surrounding MLK’s actions in Mississippi. The 2015 Oscars were swamped with controversy after Selma was snubbed, the attention directed at DuVernay’s non-presence in the Best Director category. Yet it’s David Oyelowo’s performance as the Civil Rights leader that features as Selma’s main attraction – he’s an empowering, flawed figure that stirs a sense of wonderful urgency; the tragedy and hopefulness surrounding the events he leads would not be evoked as strongly without Oyelowo’s performance, and Selma would be all the worse without it. The film, aside from expertly acted, is incredibly moving, emotionally involving and quietly inspiring. And best of all, it’s a biopic that shies away from melodramatic tendencies and pretentious directing.

15. LOST RIVER

Ryan Gosling’s directorial debut is an entrancing, invigorating delve into a Grimms fairytale-like world, where buildings are either in ruins or being used as perverse gore-fetish facilities. Lost River is luridly beautiful and extravagantly arthouse, a film that neglects plot for a haunting, dreamlike mood – a choice that has proved to have many detractors, though I’m not one of them. This is exactly my type of film: vividly nonsensical, brilliantly imaginative and wonderfully rewatchable. Its sociopolitical parallels to the run-down Detroit is lost among Gosling’s fancy for visual storytelling, but my, it looks great and sounds great. Gosling has clearly taken inspiration from many of the directors he’s worked with (and, in turn, many of my favourite directors), where elements of Cianfrance and Winding-Refn’s styles are clearly visible. Lynch and Malick feature too, the concoction conveyed intensely gripping and surprisingly balanced. As a result, Lost River serves as Gosling’s homage to these directors, and a showcase of his potential as one himself. I gladly await his next film.

14. A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE

The third installment from the trilogy “about the human condition”, following on from Songs from the Second Floor and the superb You, the Living, Roy Andersson’s A Pigeon Sat on a Branch… is surreal black comedy at its finest, an exploration of loneliness, of guilt, of mourning and of greed. Its scenes are essentially disconnected, aside from the underlying theme of what makes humans human, and Roy Andersson depicts this theme in such a humorous way that it’s easy to forget how poignant the subject matter is – though a few juxtaposing scenes, such as a rotating torture chamber reminiscent of Auschwitz serves to jolt attention back to this deep sadness. In another scene, the 1800s’ King Karl XIII and his men roam through the modern streets of Sweden, stopping at a bar to demand a drink. It’s baffling and beguiling stuff, and creates a sense of generational interlinking that conveys the universality of such human emotion as entitlement. It’s shot uniquely and imaginatively, too: the camera remains at a fixed point until the scene ends, allowing the action to unfold from a position of helplessness; the human condition has never looked this beautiful.

13. THE MAN FROM U.N.C.L.E

In a year saturated with spy capers, (Spy, Kingsmen, The Bridge of Spies, MI5, Spectre), Guy Ritchie’s latest ascends to my definitive favourite over the course of its runtime. Like a few of the aforementioned spy flicks, it’s a hugely enjoyable romp, but unlike the rest, it maintains this bombastic sense of fun throughout, helped by a charming soundtrack, moments of hilarity and Ritchie’s signature showy style. Following Henry Cavill’s CIA agent Napoleon Solo through a significant era during the Cold War, we are thrust into the world of espionage as Solo smuggles Alicia Vikander’s Gaby Teller, daughter of an important missile-creator, out of Berlin with Arnie Hammer’s trained member of KGB Ilya Kuryakin in pursuit. The sequence is dizzyingly fun, and leads to the reveal that Solo and Kuryakin must work together to recapture Teller’s father and prevent the Cold War transitioning from mere threats to action. It’s a fantastic premise with potential easily fulfilled, Hammer and Cavill’s chemistry a large reason behind this success. It may not have stunned other critics or set the box office alight, but it’s a highly rewatchable flick with an excellent 60s atmosphere and a terrific sense of fun. The torture scene alone is worth checking this film out.

12. ME AND EARL AND THE DYING GIRL

Free from the shackles of cynicism, Me and Earl and the Dying Girl is a mature and film-loving portrayal of the repercussions of being diagnosed with cancer at a young age. It breaks conventional stereotypes with every scene – for one, the film follows Thomas Mann’s Greg rather than the titular dying girl, and how her illness affects his life. The film’s plotting is formulaic and predictable, but director Alfonso Gomez-Rejon takes its familiar story and crafts it in a wholly unique and fulfilling way. Flashy camera movements and scenes of witty dialogue add a quirky, Sundance-esque tone to the proceedings; so much so it’s almost as if it won Sundance. The involving camerawork makes each character more accessible, but the bulk of the legwork for that feat is managed by Thomas Mann and Olivia Cooke’s performances, their little facial movements and delivery of weighty lines of dialogue – a long take depicting an argument between the two a fine example of this – allowing key character development and an insight towards their self-loathing and despair in turn. It’s deeply funny, too, visual gags where classic films are riffed upon acting as a love letter to all things film, and giving Gregg and Earl’s characters substantial background. Me and Earl and the Dying Girl deals with its subject matter in an eccentric, endearing manner, without ever hindering the content’s potency.

11. TOMORROWLAND

If there was a film on this list to spark a flurry of controversy and debate, then this is probably it. The marketing campaign may have been misleading – the titular world of invention and wonder barely features in the film – but that doesn’t prevent Tomorrowland from being another superb accolade in Brad Bird’s filmography. Tomorrowland brought me back to my young childhood, to the days of Spy Kids or Indiana Jones, in a way no film has achieved this year. The reason for this isn’t the performances – though Clooney is reliably-charming, and Raffey Cassidy a rising star, but largely due to the imagination and hopeful yearning for a bright future on display. It’s a film that’s wholly optimistic and managed to put a smile on my face at the start that never dropped throughout its runtime. It’s a film with an overbearing moral message that has clearly put many viewers off, but which I commend; Hugh Laurie’s monologue putting into perspective how warped our views have become on the world we live in, how devoid of motivation we are to make a difference. Critics are forgetting that this is a story aimed at children, and a story that successfully inspires these children. If we can’t admire Tomorrowland for that, then we’re no better than the cynical, miserable figures that Laurie’s almost-villain depicts us as.
 

vonFiedler

I Like Chopin
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#130: The Gold Rush
I try to watch as original a version of each movie as possible. The version of Gold Rush that I watched had music and narration (by Chaplin) added to it. I figured that having music would benefit the film more than having narration would hurt it. I think I was wrong though, the narration does nothing but get in the way. Having seen (I think) every Chaplin movie on the list now, it seems like years ago that I gave City Lights a 10/10. Like, what made it so much better? I've seen a variety of silent films now, and all but City Lights are pretty damn flawed. Gold Rush for instance is by far Chaplin's simplest movie, and strangely his most capitalist movie. Guy gets rich, which makes girl love him. The end. Meh.

#132: Ran
Ran is the first non-black and white Kurosawa movie I've seen. And it's pretty interesting when you think about it, as there weren't many b&w era filmmakers who had successful careers all the way into the 80s. While Kurosawa's greatest trait is his ability to tell a variety of unique stories, Ran is another epic like Seven Samurai. But the use of color alone seems to help a great deal. The makeup and costumes are fantastic. The characters are diverse and compelling. I don't think it's a masterpiece or anything, but it's still very worth watching an 80s Kurosawa film.


I too will be making a top-10 list for 2015, but I'm binge watching films I missed at the moment.
 
Will post my top 10 of 2015 either today or tomorrow

for now, all the films I've seen since my latest one:

Carol - ★★★
21 Jump Street - ★★★★ (REWATCH)
The Princess Diaries 2: Royal Engagement - ★★ (DON'T ASK)
Star Wars: The Force Awakens - ★★★★
Tokyo Tribe - ★★★★
The Tribe - ★★★
Mistress America - ★★★
The Good Dinosaur - ★★★★
Daddy's Home - ★★
Steve Jobs - ★★★
The Raid 2 - ★★★★
Joy - ★★★
The Big Short - ★★★★
Chi-Raq - ★★★
The Lego Movie - ★★★★★ (REWATCH)
The Hateful Eight - ★★★★★
 

TheValkyries

proudly reppin' 2 superbowl wins since DEFLATEGATE
I have heard literally nothing about chi-raq outside of it being disgusting bilious filth.
 
I have heard literally nothing about chi-raq outside of it being disgusting bilious filth.
That couldn't be further from the truth - it's a film that addresses Chicago's race and thug culture and the need for change - albeit it achieves this in a very weird way. I have no idea how it could be considered filth; if you're talking about its plot of women abstaining from sex so that men are forced to end their gang violence, then people are misinterpreting it: the film mirrors the story of Aristophane's Lysistrata, so there's some Greek Mythology the whole film is based on.

It's such an odd film though, and that works to both its advantage and disadvantage. It's tonally incohesive and wholly unsubtle but conveys great urgency, and the performances are outstanding.
 

Stellar

of the Distant Past
is a Site Content Manager Alumnusis a Battle Simulator Admin Alumnusis a Top Social Media Contributor Alumnusis a Community Contributor Alumnusis a Smogon Discord Contributor Alumnusis a Researcher Alumnusis a CAP Contributor Alumnusis a Top Contributor Alumnusis an Administrator Alumnusis a Past SPL Champion
12. ME AND EARL AND THE DYING GIRL

Free from the shackles of cynicism, Me and Earl and the Dying Girl is a mature and film-loving portrayal of the repercussions of being diagnosed with cancer at a young age. It breaks conventional stereotypes with every scene – for one, the film follows Thomas Mann’s Greg rather than the titular dying girl, and how her illness affects his life. The film’s plotting is formulaic and predictable, but director Alfonso Gomez-Rejon takes its familiar story and crafts it in a wholly unique and fulfilling way. Flashy camera movements and scenes of witty dialogue add a quirky, Sundance-esque tone to the proceedings; so much so it’s almost as if it won Sundance. The involving camerawork makes each character more accessible, but the bulk of the legwork for that feat is managed by Thomas Mann and Olivia Cooke’s performances, their little facial movements and delivery of weighty lines of dialogue – a long take depicting an argument between the two a fine example of this – allowing key character development and an insight towards their self-loathing and despair in turn. It’s deeply funny, too, visual gags where classic films are riffed upon acting as a love letter to all things film, and giving Gregg and Earl’s characters substantial background. Me and Earl and the Dying Girl deals with its subject matter in an eccentric, endearing manner, without ever hindering the content’s potency.
Quick question I am curious to know the answer to: When conceptualizing reviews of film adaptations of books (like Me, Earl, and the Dying Girl), how much credit do you attribute to the source material for things like narrative structure, dialogue, etc.? Obviously the director and film crew decide which bits of the original source material to keep and have some artistic license, but it isn't as if production of these films is an entirely novel (hah) or inventive endeavor.
 

RODAN

Banned deucer.
i just watched kumiko the treasure hunter, one of the most deeply saddening movies ive ever seen. like fuck man
 
TOP 20 FILMS OF 2015 (10-1)

10. CRIMSON PEAK

Beware of Crimson Peak…“. Guillermo Del Toro’s follow-up to his explosive, terrible Pacific Rim is a more grounded, luscious tragic-romance disguised as a dramatic gothic horror. There may be brilliantly-designed ghouls terrorising the mansion in which the bulk of Crimson Peak is set, but the film’s priorities rest within the doomed romance between Mia Wasikowska’s Edith (fast making a name for herself) and the dubious baronet of whom she’s captivated by, Tom Hiddlestone’s Sir Thomas Sharpe. Whisked away to England after their marriage, she endures a torrid time at the hands of Jessica Chastain’s Lady Lucille, sister of Sharpe. The film’s suspense is sustained by the mystery involved within the manor Edith resides, and the film plays out in gloriously gory, melodramatic fashion, where sweeping thrums of piano-heavy scores and impeccable production design fuel the sombre, sinister atmosphere. The film’s pacing is effortless, culminating in a jealousy-fuelled showdown that’s incredibly involving. Critics have criticised Crimson Peak‘s sparse plot, but I couldn’t disagree more; it’s an intentional choice to allow the beauty of the film – and it really is beautiful – to flourish.

9. THE FORBIDDEN ROOM

Guy Maddin’s The Forbidden Room is a cinephile’s ecstasy, a delirious traversal through everything that niche-cinema has to offer. It’s visually incredible and persistent in pummeling your senses with startling imagery and thundering sound design; it’s not so much style over substance, but the film’s plot is deliberately incohesive and dreamlike, an underlying theme that proudly ignores formulative storytelling. It begins with a man giving a lecture on how to take a bath, quickly transitions to men trapped in a submarine who use the air pockets in potato-cakes to conserve oxygen, and follows unrelentingly in a similarly bizarre, engrossing fashion. We watch a song about a man’s addiction to bottoms unfold (entitled ‘The Final Derriere‘), the memories of a moustache in its dying moments, and a parable regarding the god Janus, told through the vivid dreams of a volcano. It’s all nonsensical, unintelligible stuff, but it works, and importantly, it’s extremely funny. With moments of wit and slapstick spread throughout, it rises from excellent to euphoric, the film containing incessant imagination and beauty – often profundity – that will either astound, like it did for me, or tire; as some critics purport, The Forbidden Room is ‘too much of a good thing’. Regardless, any film as daring and wild as Maddin’s latest is surely deserving of a watch – perhaps for the ‘Book of Climaxes’ scene alone.

8. BIRDMAN

My most anticipated film of 2015, last year’s Best Picture winner is an eccentric meta-film that was a refreshing champion amid the abundance of precious biopics. Functioning as both a criticism of Hollywood cinema and critics, and a weighty odyssey of one man’s decision to risk everything for success, Birdman has a sharp script and some excellent performances to emphasise the themes of the film. It helps, too, that the film’s characters mirror their real-life counterparts – Keaton and his involvement with Batman, Norton and the tales of the notorious difficulty to work with him – affordingBirdman some much-needed realism to contrast with the glorious segments of surrealist fantasy that are interspersed in the narrative. The film’s editing is admirable, where long-takes are spliced together to form a film that appears to be shot continuously without any cuts, accentuating the film’s structural spiral out of control. Keaton is fantastic as Birdman’s Riggan Thompson, the character uncertain and unhinged, hell-bent on proving his self-worth, surrounded by the doubt of Ed Norton and Emma Stone’s lively characters, each giving a performance deserving of their respective Best Supporting Actor and Best Supporting Actress nominations. As a criticism of modern blockbusters, it stumbles slightly due to the fact that its reasoning isn’t fully fleshed out, but as a portrayal of a desperate man on the brink of success and on the cusp of defeat, Birdman soars.

7. INSIDE OUT

Pixar’s recent slump in form (for their standards, at least) led many to view Inside Out with a sense of apprehension. Following Cars 2,Brave, and Monsters University, had we finally witnessed Pixar’s recession to mediocrity? As Inside Out demonstrates, the answer is: no. Following on from the animation studio’s fascination with ‘what if ___ had feelings?’, their 15th story elaborates on the concept, ‘what if feelings had feelings?’. And it achieves this with hilarious, inspiring, heartbreaking success. It’s one of Pixar’s saddest films to date – which is no small feat when you consider Up‘s 10-minute opener – but the poignancy doesn’t feel abrupt; instead earned. The plot’s structure allows for tragic reminiscing and -potential spoilers- a lack of a defined antagonist, while the plot’s concept allows for a devilish inventiveness that’s been sorely missing from Pixar’s recent films. And in the wake of this inventiveness arises the eloquent, powerful emotion that forces through a refreshingly non-padded moral message at the film’s core. Inside Out deals with depression and its effects in a unique, accurate manner, ridding the harmful myth that sadness is synonymous with the illness. To expand on this theme any further would be heavily implying the crux of this film, and diminishing Inside Out‘s thoughtful potency. The animation is incredible (but that’s to be expected from Pixar), and the score is mesmerising and melodic, perfectly capturing the sense of wonder and creativity – and the idea of letting go of certain memories – that the film evokes. Inside Out manages to get inside your head as much as its central protagonist.

6. BEASTS OF NO NATION

The first film I saw at 2015’s London Film Festival was also my favourite; Carey Fukunaga’s feature film directorial debut is an insight into West-African child soldiers and an urgent criticism of our reluctance to prevent the cause. Idris Elba is receiving all the Oscar buzz for his brutal, manipulative – yet fragile – portrayal of the group’s ‘Commandant’, but Abraham Attah is the star of Beasts of No Nation, conveying that otherworldly tragedy of war and the harrowing, weary effect it enforces on him. The film is shot beautifully, by Fukunaga himself, using similar techniques to his acclaimed True Detective camerawork, and flawlessly captures the bleak, sprawling chaos of war in Africa. Beasts of No Nation deals with sombre themes in a brave, sensitive manner, where Fukunaga is unafraid to highlight the bloodshed and horrific nature of it all when showing the film’s more upsetting scenes. It’s 2015’s feel-bad movie of the year, a film that’s even more disconcerting when you acknowledge that the events on screen are taking place abundantly in real life.

Read EdgarReviews’ Beasts of No Nation review here.

5. WHIPLASH

Another feature film directorial debut, Damien Chazelle’s Whiplash is exhilarating, adrenaline-fueled, and will keep you captivated from its opening scene to its final, bombastic moments. The film follows Miles Tellers’ Andrew Neiman, an aspring drummer who eventually feels the brunt of his drum instructor’s wrath, played in scintillating fashion by J.K. Simmons. The two actors’ chemistry is wonderful, where Teller’s tenacity and arrogance is combatted by Simmons’ bullish intensity, helped by a smart, punishing and often hilarious script. Even if you’re not a fan of jazz (but really, who isn’t a fan), the essence of this flick lies not on what’s being played, but how it’s being played. The film’s iconic scene, where Simmons rages at Teller in harsh spittle over whether he’s rushing or dragging, is exceptionally executed, in no small part due to Whiplash’s terrific editing. This editing allows the film to seamlessly build up tension and structure the struggle between Simmons and Teller, where weighty themes of how a student should be taught to reach their full potential are explored. Chazelle shows a real craftsmanship and love for his subject matter in Whiplash, and you only have to look to the flick’s incredibly exciting, powerful ending to realise the extent that the director will go to create one of the best films that focuses on music in cinematic history.

4. MAD MAX: FURY ROAD

From the year’s best thriller to the year’s best action, the hotly anticipated Mad Max: Fury Road exceeds all expectations, and has become a surprise Oscar contender, juxtaposing a flurry of hefty dramas. You can see why it’s received critical acclaim, too: the action is monumental, the choreography is stunning, the acting is impressive, the score is vigorous, the cinematography is gorgeous, and the world-building is Miller at his very best. The film takes place in a dystopian future, where water is scarce and the tyrannical Immortan Joe rules over the Citadel, the hub of the area’s prized commodities. Imperator Furiosa, played by Charlize Theron in a role of real venom and desperation, disagrees with Joe’s method of ruling and sparks a chain of events leading to a near-2-hour car chase akin to Road Warrior that’s thrilling throughout. The plot is kept refreshingly simple (though not non-existent or thin, as some people foolishly state), where universal themes of survival and dictatorship are brought to the forefront, and allusions to the ‘Four Horsemen’ parable are integrated. Director George Miller’s decision to prioritise practical effects over digital (though digital cannot be avoided, and is embraced in a magnificent sandstorm scene) adds a strong physicality to the fights and chases that has been sorely missing in recent action flicks; watching Mad Max: Fury Road in IMAX was my best cinematic experience of the year, and a film that I look forward to watching time and time again.

3. THE DUKE OF BURGUNDY

2015 may have given us 50 Shades of Grey, but The Duke of Burgundy reigns supreme as the BDSM flick to watch. Peter Strickland’s previous feature, Berberian Sound Studio, was an odd, atmospheric, quietly ingenious thriller, and Strickland builds on his acclaim with a lesbian romance that’s extremely touching, extensively daring and fantastically entrancing. The film, despite the functionalities of the romance, is an exploration of the dynamics of any relationship, of the lust for control, of each partner’s individual content. In The Duke of Burgundy, there’s no antagonist – the film’s conflict arises from unhappiness within the two character’s own relationship, and the effects it has on them. The characters, by the way, are played brilliantly by Sidse Babett Knudsen and Chiara D’Anna, where Knudsen especially gives a frailty to her performance that she hides until the film’s final act, in a terrifically stirring manner. Yet it’s the film’s technical aspects that place it as my 3rd favourite film of 2015: the score, by band Cat’s Eyes’ is grand and minimal at the same time, its throes of vibraphone evoking a nostalgic, European atmosphere that alludes to Strickland’s intense love of pastiche 70s cinema. The film is continuously beautiful, the camera sprawling among the motif of moths (don’t ask) and focusing on the character’s aching faces, its use of angles literally portraying two sides to the character’s relationship: who’s truly in control? The film also flourishes when hiding the character’s interactions during their more sexual exploits; to delve more into that topic would be spoilers. From sitting on each other’s faces to constraining themselves in tight boxes, who says romance is dead? With The Duke of Burgundy, Strickland makes a good case that it’s more alive than ever.

2. MOMMY

Midway through French-Canadian drama Mommy, the previous 1:1 aspect ratio opens up slowly, portraying the full width of the screen for the first time in the film. It’s a euphoric moment, perfectly capturing the relief and jovial freedom felt by the film’s characters after a prior hour of claustrophobia and entrapment. The genius behind Mommy, and behind this scene? 26 year-old Xavier Dolan, achieving more at his age than most directors can in their entire career. The film focuses on a teenager inflicted with ADHD, and his mother’s struggles to deal with the intensity of this character. Antoine Pilon as the teenager Steve is exceptional, his goofy mannerisms and melodramatic, exaggerated anger heightening the tragedy of the story. He’s a character that does a lot of wrong, but you can’t help but love him. The mother, Diane (or ‘Die’ for short), performed with extreme talent by Anne Dorval, is a character that attempts to do a lot of right on the other hand, her endeavours engrossing and doomed. Their relationship forms the centerpoint of Mommy, and over the course of the run time it evolves from discontentment and admiration to hatred and love, the film increasingly evocative. Utilising that 1:1 aspect ratio, where the picture is box-shaped, the audience immediately knows where to follow, increasing the attachment to each character tenfold. It’s once again another fascinating film to look at, the beauty contrasting with the potent ugliness of the film’s content. Dealing with themes of maternal love and what the extent of that love is capable of, you’ll be sobbing uncontrollably by the time the end credits roll.

1. INHERENT VICE

My favourite film of 2015 goes to Inherent Vice, acclaimed director Paul Thomas Anderson’s latest. Detailing the turn of the 70s and the end of hippie culture, the film follows – though perhaps ‘follows’ is too strong a word – Doc Sportello, played in a reliably humorous and confused fashion by Joaquin Phoenix, and his misguided attempts to traverse the murky criminal underworld and uncover the secrets regarding the enigmatic ‘Golden Fang’. The plot hardly matters, however – Inherent Vice is more intent on focusing on its moody, mesmerising atmosphere. It’s everything: a neo-noir, a 149-minute drug trip, a ballsy comedy, a misty romance, a sociopoltical statement on capitalism. It’s deeply funny, but also deeply sad, the sense of melancholy a prolific undercurrent that only rises to the forefront at the very end. And so with this conglomeration of themes and tones, it’s the best kind of film: a film that sets out to give the audience a rapturous, rhapsodic experience and achieves that aim impeccably. The acting is uniformly excellent, the soundtrack evokes that 70s atmosphere in faultless style, the grainy texture of the film used is palpable, and the journey is a superb microcosm for the yearning of the past. Inherent Vice may be impenetrable, but that’s not by coincidence: you’re experiencing the film from Doc Sportello’s point of view, and that experience is ecstatic, hilarious and bittersweet.

Read EdgarReviews’ Inherent Vice review here.
 

vonFiedler

I Like Chopin
is a Forum Moderator Alumnusis a Community Contributor Alumnus
#134: The Seventh Seal
The premise of this movie is that a crusader knight challenges the grim reaper to a game of chess with his life on the line, all during the black plague. Nothing on the top 250 could have possibly dissapointed me more than if this movie wasn't good. Thankfully, that didn't happen. Get this, this motherfucker, dying on a beach, gets out and sets up the chessboard in advance. What a fucking badass, right? Really, you just gotta see this movie. I don't know what to really say about it. For better or worse, it's message is nebulous enough that I still have to think it over, but it's either way it's worth watching. At this position on the top 250, I've started and finished directorial runs: Chaplin, Kurosawa, Wilder, and others that I had largely seen the works of before like Miyazaki, Nolan, and Hitchcock. This is the start of a few Ingmar Bergman movies on the list, and now I'm super excited.

#136: The Secret in their Eyes
Remade poorly this year, this was an Argentinian police story with no mystery and few thrills. Rather, it was a very introspective look back onto the lives of law enforcement officials fearing that they wasted their lives away. The feeling of ennui is practically opaque, but offset by incredibly colorful set design. The portrayal of characters as both young and old works very well. Worth a watch.


I've been binging all week to make my own Top 10 of 2015. I've still yet to see It Follows, sadly, and I'd like to see any Oscar movies I missed when they get announced tomorrow. But I feel the list is pretty solid right now. I'm not a fucking time traveler, so my selection of movies draws from the date of cinema release in any country (sorry, White God).

It was hard to narrow it down to a top 10, but a good list needs sacrifices. The Big Short is the best after-school special I've ever seen. If I ranked my list by "needs to be free on the front page of youtube and aired on all tv channels at once", then this would be my #1. But I don't, and its attempts to be stylish "I'm not your dad's Oscar bait" rarely felt earnest. Creed is a movie that many I know would put on their top 10, and it was really damn good. It's use of music earned it a lot of points in my book. Still, I never thought Rocky was a perfect movie, so maybe it's appropriate that the best movie since Rocky is still only so good to me. And while I'm some people expect me to list Jupiter Ascending, I get it, it's just not good enough this year. Wouldn't even have made a top 15. But dammit if I don't have a special affection for both the Wachowskis and underdog films.

#10 (And #127 on IMDB) The Revenant
If you can feel what a character goes through, this movie is a bit of suffering. The bear attack is one of the most brutal things I've ever seen put on film. It's a more long-winded movie than I generally like, but it has an intensity that goes a long way to make up for it. I don't know if Leo ever deserved an Oscar before, but just for the lengths he's willing to go to for one I say give it to him.

#9 Straight Outta Compton
This was a big surprise to me as a guy who knew nothing about the NWA. But right when it begins it clicks that, oh yeah, I fucking love GTA San Andreas. Obv this isn't a gangster cartoon, but a long told story about the music group that gets together, screws people out of money, and then falls apart. But it's the personalities that make it so fucking amazing. I can't believe that I walked out of a film with mad respect for Ice Cube. Dre, while not deserving of the same respect, still came across as a consummate artist. Eazy-E, a guy I knew nothing about, and apparently a sleazy hack, still was a very compelling character. You really felt for these people and their struggles, plus the style man.

#8 Room
I knew nothing about this movie when I walked in, and I think that was a pretty appropriate mindset. Room follows a young boy who grows up kidnapped with his mother in a tiny shed. This movie is like a rainbow of gripping. It's super tense at parts, depressing, but also uplifting. Definitely got a single tear from me at the end. Bye, Room.

#7 Star Wars VII: The Force Awakens
I mean, just, fuck you if you didn't like it. That lightsaber scene? Shit man. I need to see that again in theaters. I got no money though :(

#6 Chappie
Blomkamp always had something going for him as a sci-fi director, and it wasn't plot. But he found a suitable replacement for that in Die Antwerd. Trying to tell a serious story about the nature of consciousness while these clowns run around the set, acting like shits even while the camera wasn't rolling (from what I've heard), I love every single thing about. Lots of people aren't going to get what Die Antwerd are on about. That's their fucking loss. This movie is a gem.

#5 The Martian
The kind of movie that gives you hope for humanity as an intelligent species. It cannot be said enough that this movie succeeds at what every other space movie fails to do, and I genuinely believe that it's the best in its genre. Matt Damon is amazing, and the real scientific ingenuity is as compelling as the fictional struggle to survive. It's a great movie to have the general public excited about.

#4 Krampus
Instant Christmas classic. It will join the rotation with the likes of Its a Wonderful Life, A Christmas Story, Gremlins, Home Alone, Die Hard. It's not a big list, but I think that means something, and aside from my friends who agree with me on this, I think in the long run Krampus won't be forgotten. It has a genuine holiday spirit, it also just happens to involve everyone dying brutally. It's fucking great.

#3 Kingsman: The Secret Service
Somehow this, ostensibly a comedy movie, is one of the best spy films of all time. Seeing a trend for this year? Easily better than anything in the Bond or MI series. Matthew Vaughn, already the director of my favorite superhero movie (X-Men First Class), is quickly becoming a director to look for.

#2 Mad Max: Fury Road
Best action movie ever? Okay, that's too broad to say. But it definitely fulfilled an itch for high-octane, colorful, story-driven action that I've been missing since 2008's Speed Racer. And as a work of craft it speaks for itself. Really, this one was just too fucking obvious. Of course it's high on my list. It's relatively high on Eagle4's list, and he hates nice things.

#1 Inside Out
It's my favorite movie. No joke. Watched it three times to be sure. Last time nearly killed me. It's unfair how good this movie is. You have this problem with movies where we can't really explore what's going on in a character's head all that well, and so Inside Out just cheats. We can't make every movie in the future with little people inside the main character's heads, so it's such an unfair advantage. And those things that adults will see coming that are handled with such subtlety, yet seem like slow-moving wrecking balls... hnnngh
 

vonFiedler

I Like Chopin
is a Forum Moderator Alumnusis a Community Contributor Alumnus
does anyone know some good samurai movies I could watch :o
To elaborate on the above, I would actually suggest you try Yojimbo first, then Ran. If you love those, you should move on to Seven Samurai. I know it's supposed to be the ultimate Samurai movie from a scope and craft point-of-view, but I don't think it's for everyone, and you'll have a good idea if it's for you if you see those other two in order.

Lone Wolf and Cub: Sword of Vengeance is another great one to track down.
 

TheValkyries

proudly reppin' 2 superbowl wins since DEFLATEGATE
There's a couple on US Netflix that I enjoyed quite a lot. The Blind Swordsman: Zatoichi was really fantastic and has a unique directing style. And then 12 Assassins is unbelievable. One of the best third act action sequences I have ever seen. Gives me chills thinking about it.


This reminds me I still have to like sit down and figure out all the Asian action cinema I've watched in the last 5 months because I've practically temporarily dropped off the face of the earth to watch just a complete fuck ton.
 
I really enjoyed The Force Awakens!!

I kinda wished they'd just stuck with the theme of kind of having an Episode IV-style reboot; all the interactions with the original trilogy characters were kind of jarring for me, but it was super good fun either way.
 

vonFiedler

I Like Chopin
is a Forum Moderator Alumnusis a Community Contributor Alumnus
#137: Lock, Stock, and Two Smoking Barrels
I've actually seen almost all of Guy Ritchie's movies at this point, and I'm only missing ones that most insist I don't need to see. So I think I can say pretty confidently that this is the middle of the road for him. It's certainly no Snatch, but it's also not as good as some of his underrated movies like Rock'N'Rolla or Man from UNCLE. It's his first feature length movie, and it really feels like it. Also yellow ss fuck fsr Anyway, good, but not quite worthy of this list.

#138: Wild Strawberries
I told you that last week was just the start of Ingmar Bergman. Once again he fails to disappoint. While it's superficially similar to the Seventh Seal (and even Ikiru), it's the frequent use of Christmas Carol-esque flashbacks and bold dream imagery that keep this introspective (and lacking answers) movie from being dull.
 

vonFiedler

I Like Chopin
is a Forum Moderator Alumnusis a Community Contributor Alumnus
Will probably post more about the oscars later, as I'm actually trying to see a good number of the nominated films (2 to go for best picture, will see about actor/actress categories).

But I think there shouldn't be any discent where the nominations dropped the ball, and that's with snubbing Creed for Best Original Soundtrack and Lord Knows ~ Fighting Stronger for Best Original Song (esp when the latter category is so fucking weak this year).

Supporting material


 

FatCorgi

Banned deucer.
Saw " The Boy " Today. This is movie is going to be talked about for two reasons.

1 ) It's a January "horror movie"
2 ) It's a January Horror movie that had so much potential to break the January Horror movie stereotype.

To my understanding, there was a lot of writer/director conflict which resulted in the subtle changes to the ending. The ending of the film was a bit hard to predict, which actually had me surprised quite a bit. I enjoyed it, to be honest. I want to hate it because it's still a bad movie, but I really see the potential that the writer behind the film has. I do hope to see more work from them.

vonFiedler , Creed was one of the BEST movies of the year, probably one of the top movies of the current decade. However, I Do think there were movies this year that just set the bar a BIT higher. As someone who lives in Philly and As someone who's not only frequently goes to The Electric Factory and Johnny Brenda's, I Was blown away with how much the movie captured my city. That's honestly all I needed Creed to do, was to recapture the brotherhood and reality of Philadelphia.
 

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