The worst film I saw this year is The Cobbler, for the record.
dir. by Asif Kapadia
Chronicling the rise and (especially) the fall of the late Amy Winehouse, Amy is an evocative, powerful documentary which pieces together audio interviews and extensive footage of Winehouse herself to forge the tale of an artist who was consumed by the pressures of fame. It's powerful and haunting, noting Winehouse's personal issues and her fundamental discomfort with fame while still laying much blame on those who exploited her, pressured her, and led her down the path of addiction. Each interview soundbite and footage selection is revealing, and the ultimate portrait of Winehouse's demise is equally sad and infuriating.
dir. by Cary Fukunaga
Despite its perhaps excessive length, Beasts of No Nation is a winning entry by Netflix into the realm of major feature films. Pulsing with life even in the face of the horrors of war, Fukanaga's direction creates a flowing energy which drives the film through even its darkest moments. It's more interested in the indoctrination of child soldiers than in the aforementioned horrors, but when it hits that brutality, it does so brilliantly, against a painted backdrop of fire and death, stylized but no less horrific. Also of note are exquisite performances by Abraham Attah and Idris Elba.
dir. by John Crowley
Poised at the end of youth, Brooklyn presents a moving portrait of moving from one life from another, drenched in homesickness and conflict but also in the determination to move forward. It's irresistible in its charms and powerful in its big-hearted emotions, anchored by Saoirse Ronan's wonderful performance but also in its fuzzily nostalgic visual style. Its deceptive depth may be buried under this warm tone, but the film contains some superb drama, wonderful character work, and potent themes about making a new home. And seriously, Ronan is magnificent in this.
dir. by Todd Haynes
In an age where adaptations are often built from recent, relevant works, Carol mines from the more distant past, and yet it feels more modern than its status as a period piece would suggest. Its fascinating characters are played brilliantly by the film's perfectly matched leads, and its portrait of both the exhilaration and the uncertainty of love is as universal as it is emotionally evocative. And yet, its time period is wholly relevant to the nature of its relationship, as it conveys the imprisonment felt by LGBT people at the time, and yet it does this without betraying the inherent beauty of its romance.
dir. by Ryan Coogler
Much like the story at its centre, Creed learns from the successes and failures of its predecessors while claiming its own identity. Energetic in its direction and boasting powerful performances from its stars, this narrative of ambition overcoming adversity often approaches the heights of the seminal Rocky, and mines new drama out of the older boxer's saga while passing on his fire to the new generation. The well-worn sports underdog story feels fresh and modern here, and Adonis Creed abandoning his safe life in order to pursue his passion makes for a great base on which the character can bloom. And bloom he does.
dir. by Peter Strickland
The other critically acclaimed lesbian drama of the year, although The Duke of Burgundy is far more peculiar than Carol. That the relationship at the film's core is between two women isn't the film's main interest, and it instead uses the unconventional mold of a BDSM relationship to examine themes about love and relationships which are far more universal than the BDSM trappings let on. Visually both dreamy and sexy, this film is stylized not unlike a 1970s porno, but its take on such a relationship is something far more realistic and empathetic than such a throwaway piece of smut, and the whole is something which is, in its own way, far more beautiful.
dir. by Pete Docter
Although Pixar returns to form in Inside Out, they do this not by eschewing formula but by utilizing it to create a beautifully inventive exploration of growing up. Containing memorable, charming characters and great humour but also deceptive metaphorical depth, its ideas are intricate yet communicated in an effortlessly child-friendly manner without compromising its message. It explores new feelings that children may experience as they grow up, and even touches on some things which adults may often not fully understand. And yes, I will admit that it made me choke up a little at points.
dir. by David Robert Mitchell
It Follows understands that a true terror comes not from the big scares but from the tension built between them. The film is so effective not despite its scarcity of conventional scares but becasue of it, causing a constant feeling of sustained dread as the constantly moving monster could appear at any moment, and could take any form. Any random extra approaching the protagonists' locations could be the creature, and that makes every panning shot utterly terrifying. It builds its fear upon deeper anxieties, the nature of which is open to interpretation but the presence of which is undeniable. It knows that the best horror films are those with a brain.
dir. by Bill Pohlad
While many biopics express reverence through a full-life summary, Love & Mercy takes smaller pieces of its subject's life and views them through a much more powerful lens: Empathy. The film explores Brian Wilson's brilliance but also his troubles, soulfully crafting drama from the dual scenarios of the recording process of his masterpieces and his struggles with his abusive therapist. This dual structure is refreshingly unconventional for a music biopic, taking what might have been smaller pieces of a more linear film and focusing on them to create a portrait every bit as illuminating as the more conventional film may have created, while feeling far more singular.
dir. by George Miller
Perhaps the most obvious pick is this, arguably the most essential film of the year. Indeed, few critics will express anything less than adoration for Mad Max: Fury Road, and for good reason: it's a supremely well-crafted work of unparalleled exhilaration, providing an adrenaline spike accompanied by unexpected narrative heft without compromising the film's essential madcap nature. Trimmed of fat and undoubtedly original, it's a sleek, exceptional action film, and yet it contains perhaps the franchise's best character work and unexpected dramatic weight for a film this propulsive. There may be no perfect movies, but this comes pretty close.
dir. by Ridley Scott
Contrary to expectations, The Martian is a space film which doesn't emphasize effects, leaning far more towards its great performances and thoroughly entertaining script. A thoroughly inspiring rescue story built around many leaps of faith, its subject matter may be dark but it succeeds perhaps most of all on the bouncy lightness of its script. Filled with exciting techno-babble and maintaining a potent balance of humour and tension, it's a superb crowd-pleaser which, if not life-changing, is at least life-affirming. It's a work of supreme optimism made with such enthusiasm that it's downright irresistible.
dir. by Roy Andersson
A pitch-black comedy with perfect comedic timing, A Pigeon Sat on a Branch Reflecting on Existence is a series of loosely-connected skits centred around the question of what it means to be alive. Every scene is a grey photograph of a dull, miserable life, and each might be interrupted by something entirely absurd, or it might not. The film possesses a sharp wit which renders it often hilarious, even at its most cruel, and yet at other times it's deeply poignant, looking deep into increasing depths of human misery and containing sincerely sad moments which manage to be affecting even when based in absurdity. It's an original work of a singular vision, masterfully crafted.
dir. by Christian Petzold
Digging into the wounded psyche of a nation after its darkest hour, Phoenix provides an affecting parable which works just as well on its surface level as it does in its subtext. Entrancing and beautiful, the narrative of a woman attempting to reclaim herself after facial reconstruction surgery is phenomenal on its own, but the echoes of the Third Reich and World War II transform the film into something thematically much greater. Spellbinding performances and gorgeous cinematography combine in a carefully paced, masterfully crafted film which rises above the cliches of its setting.
dir. by Lenny Abrahamson
Half brutal portrait of abuse, captivity, and escape, and half examination of a child discovering the world for the first time, Room is a powerful viewing experience that earns its moments of sentimentality through intense drama and thoughtful exploration of its intriguing premise. Brie Larson is incredible in the lead role, but every actor puts in superb work and the set direction is impeccable. Indeed, the lead performances from Larson and Jacob Tremblay truly bring out the film's power, melding into the potent, intelligent script to transcend the film's technical faults and create something genuinely spectacular.
dir. by Denis Villeneuve
As gorgeous as it is stiflingly intense, Sicario mines the brutality of the Mexican drug war to create an amoral landscape where ideals go to die. Danger is constantly lurking around every corner, and while the American force we follow is alleged to be the "good guys," their techniques are hardly any better than those of the cartels. The film views the extremity of these techniques impartially, its moral canvas comprised of murky greys, and leaves the questions of what is right in this conflict floating long after the credits roll. This amorality is the perfect setting for the harsh intensity of Villeneuve's direction, and the consequence is perhaps the most brutal film of the year.
dir. by Tom McCarthy
For all the esteem and importance piled upon the news story at its centre, Spotlight treats its central characters as people who are just doing their job. The story starts as something to sell papers, but it snowballs, and the titular Spotlight team is unprepared for the horror that slowly dawns on them as they reveal more and more. The visuals are bare-bones and the score creates a modest procedural feel, but the narrative is one of great horror, and of great journalism. The film champions the free press, its stripped-down style contributing to making the Spotlight team, undeniably great journalists, into something which feels ordinary and yet essential.
dir. by J.J. Abrams
A thoroughly entertaining celebration of one of our greatest pillars of pop culture, permeated by its own myths while setting the stage for new ones, The Force Awakens revives the Star Wars franchise in the best way possible. Containing state-of-the-art effects and an engrossing narrative, this new entry provides characters every bit as memorable and potentially iconic as its predecessors, wholly deserving the colossal profits and immediate pop culture omnipresence. New angles of the mythology are approached, and even the efforts to rhyme with the originals prove thematically appropriate. Fuck the haters.
dir. by Sean Baker
The year's best comedy that nobody has ever heard of, Tangerine is an abrasive work of low-budget filmmaking filled with great moments. The performances are energetic and the pace is frentic; there's never a dull moment. It's progressive without calling attention to itself, starring trans women of colour and being about sex work without calling attention to these facts. Instead, it's a wickedly entertaining tale of a woman scorned seeking her vengeance, filmed on an iPhone and scored by trap music found online. It's explosive and invigorating, an assault on the senses in the best way.
dir. by Abderrahmane Sissako
A powerful portrait of resistance in the face of oppression, Timbuktu takes the ISIL occupation of the titular city and examines the subtle manners in which the people refuse to be oppressed. Its image of the oppressors is harsh but humanizing, avoiding demonization of the occupiers while condmening their actions. The Islamophobia which has crept into discussions of ISIL is wholly absent here, and multiple times it is made clear that the terrorist organization isn't necessarily following the core of Islam. The desert is made starkly beautiful, and there are scenes of incredible visual power. There's little connecting narrative, but when it emerges, it becomes devastating.
dir. by Don Hertzfeldt
It may seem unlikely for a 16-minute short film to stand alongside these ostensibly longer works, but World of Tomorrow is bursting with every bit as much creativity and depth as any two-hour feature. Reflecting on the incomprehensible horror of eternity, the film spins a sci-fi yarn bursting with fascinating concepts which reflect back on humanity, communicating incredible scale in its brief running-time. It's a dense package of emotions, surreal and humorous and tragic all at once. And yet, despite the regretful tone of its narrator, the short's final note is optimistic. The communicated future is not set in stone.
P.S.: World of Tomorrow is available to rent on Vimeo, as it is a short film.
Support me on Patreon!
P.S.: World of Tomorrow is available to rent on Vimeo, as it is a short film.
Support me on Patreon!
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