I was invited to participate in Fandor’s end-of-year poll about the best feature films of 2015. Here are the results. Whether or not your favorite is or is not there is irrelevant (at least in my view). I’m not a big “Lists” person anyway. The purpose of a List is to start conversation – or I like to look at it as a snapshot of what diverse people have seen over the year, and a reminder to myself to catch some of the features on the list I might have missed. (Nothing worse than a bunch of polls that look identical with the same movies on it. That’s groupthink at work.) The Roger Ebert polls will be up in a week or so.
For the record, here’s the list I submitted to Fandor (some made the cut in the poll, others did not). These are not in order, as in “best first”, etc. It’s a random list.
About Elly (made in 2009, but just getting a US release now. By the great Asghar Farhadi. Review here.)
Clouds of Sils Maria (2014; d. Olivier Assayas. Review here.)
Love & Mercy (2015; d. Bill Pohlad. Review here.)
Magic Mike XXL (2015; d. Gregory Jacobs)
Mad Max: Fury Road (2015; d. George Miller)
Phoenix (2015; d. Christian Petzold. Review here.)
Creed (2015; d. Ryan Coogler)
By the Sea (2015; d. Angelina Jolie Pitt. Review here.)
Taxi (2015; d. Jafar Panahi. Review here.)
Brooklyn (2015; d. John Crowley).
This was a tough one. It was a struggle. Other contenders:
Girlhood (review here)
The Assassin (review here)
Welcome To Me
Spotlight (review here)
A Pigeon Sat on a Branch Reflecting on Existence (saw at Ebertfest. Do yourself a favor and seek this one out.)
Crimson Peak (review here)
Mustang (review here)
Carol (review here)
It Follows
Arabian Nights
The Ocean of Helena Lee (review here)
Goodnight Mommy (interviewed the directors)
El Cinco (this might not count: I saw it at Tribeca and I don’t think it’s had a US release yet. Hence, my leaving it off. But I loved it. review here)
Meadowland (interviewed the director)
Christmas, Again (review here)
Eden (review here)
Ex Machina (review here)
Inside Out
Diary of a Teenage Girl (review here)
Straight Outta Compton (review here)
Room (review here)
The Martian (review here)
James White (review here)
I have not yet seen Hateful Eight (seeing that on Tuesday) or The Revenant. Or Son of Saul. Or 45 Years. Bah, nobody how much you see, you always miss something.
My list, Sheila, and sad to see no love for my #1 film at all:
1. Gett: The Trial of Viviane Amsalem. The final film in Ronit and Shlomi Elkabetz’s Amsalem Trilogy is the most intense and claustrophobic yet. Ronit Elkabetz continues her painfully committed 10-years-long performance as a woman trapped in a miserable marriage by Israel’s medieval divorce laws. Further, the courage to reveal this hidden scandal of domestic entrapment is a first in Israeli filmmaking and a feminist statement to rival any yet seen on the silver screen. That it is wrapped in a fascinating, well-executed story with vivid characterizations makes it the best film of 2015.
2. Spotlight (Tom McCarthy)
3. La Sapienza (Eugene Green)
4. About Elly (Asghar Farhadi)
5. Blackhat (Michael Mann)
6. 45 Years (Andrew Haigh)
7. Amour Fou (Jessica Hausner)
8. Suffragette (Sarah Gavron)
9. Room (Lenny Abrahamson)
Well, speaking for myself, I have no love for it because I haven’t seen it.
and, in general, I am shocked by the lack of love – across the critical world – and the refusal to engage with the film, the willingness to totally dismiss it – for By the Sea.
That’s been the problem with Gett – access. Matt gave it a 4-star review on rogerebert.com, and I reviewed the whole Amsalem Trilogy on my site.
As for By the Sea, I haven’t seen it yet, but it’s on the roster for this week. Even with almost nonstop viewing, it’s hard to get through everything I want to see.
I missed a lot of screenings in October and November – and of course all of those are now showing up on Top 10s. Playing catch-up – very happy to have seen Arabian Nights – it’s amazing! I’m not sure I would have forked out 14 bucks a pop for each part of the trilogy (it’s only playing in one theatre in NYC. But VERY glad I caught that one.)
Then there are some that are getting a lot of praise that baffles me. (This happens to me every year.) Sicario? Really?? It was fine, I guess – although really heavy-handed (typical of the director, who has the political sensibility of a fired-up undergraduate who just discovered the world is unfair). Deakins’ cinematography was amazing and loved both Brolin/Benicio. It was fine, but I don’t get the Top 10 thing at all.
This happens to me every year with some film or another! I’m sure others feel the same way about some of the things I love. One of those interesting/weird things about knowing a bunch of people who are all seeing the same thing at the same time.
I feel that way about CAROL. It’s fine, Blanchett deserves a nom, maybe even a golden boy, but it breaks no new ground for Haynes or cinema. I’m sorry, but I didn’t like PIGEON SAT ON A BRANCH, pretty much for the same reason. It has been all downhill for Andersson since the first part of the trilogy, SONGS FROM THE SECOND FLOOR – all the same style and statement, diminishing returns on each iteration. I would have liked to see some respect for BLACKHAT, but it seems the early rumors about it being garbage scared a lot of people off. It’s amazingly well done and deserved a better fate. SICARIO doesn’t interest me at all, frankly.
I liked Black Hat a lot! Tons of fun and great-looking (of course). Plus Viola Davis’ plumy-thick eyelashes which I thought were fabulous. But not a Top 10-er for me. But I really did enjoy it.
I saw PIGEON at Ebertfest in a packed theatre with 1500 people or whatever – and it was an uproarious experience (except for some of the vignettes at the end). I don’t know what the film would have felt like to me if I had watched it alone in my apartment or at a quiet press screening.
The collective vibe had a lot to do with how it played, I imagine. It was so much fun.
and yeah, Sicario. I mean, “the drug war is bad and pursuing these criminals make the police into shady corrupt people too”. I mean, this is news?
And Emily Blunt is so shocked by this she nearly weeps in the middle of a drug raid? Even if you don’t work for the DEA (as she doesn’t), I think word on the general street is that the drug cartels in Mexico are bad mo-fos and the Mexican police are corrupt, and the whole situation sucks. Blunt works for the FBI and she’s tremblingly shocked that people in power are corrupt?
Dumb.
and so I’m supposed to be on her side – because that’s Villeneuve’s side – because he’s just discovered political outrage, like, 2 minutes ago.
But I found myself siding with Brolin and Benicio. Which is hilarious because they’re set up as these Bad Dudes who break all kinds of laws in order to get the bad guys.
I was like, “Emily, wipe your nose. Yes, the drug war is horrible and people are evil. Why this is news to you I have no idea, but sling on your gun holster and stop whining.”
Very strange.
Yeah, the collective experience can really help a film, though I think it might still have played the same for me because of my experience with the first two films. I’ve started to recoil from films that feature gun violence prominently. I suppose I should be a good little cinephile and appreciate the filmcraft as much or more than the story, but I don’t and probably never will. Your point about SICARIO is well taken – do we really need another film about the drug war? What will it tell us that we don’t already know? Does it matter that they fought to have a woman play the lead (no, IMHO)? I can’t just keep doing violence to my psyche with films like this that have nothing more to say than the last film that said it and probably better.
Yeah, there wasn’t too much gun violence in Sicario (comparatively) although there were some very grisly aftermath scenes of the drug war going on in Juarez. And when the two most compelling people onscreen are those who are supposed to represent dark ambiguity (as opposed to moral righteousness – like Blunt) – you’ve got a problem.
I suppose Villeneuve fans would tell me “But that’s the point!” My response would be: “Then he needs to do better. It’s not a good enough film to make the point that you all think he’s making.” Like you say, there are far better films about this topic than this one. I don’t like DV in general – thought Prisoners was terrible. The only movie of his liked was one he apparently shot on the fly – in between other shoots – one that had nothing to do with politics – “Enemy”. Really enjoyed it. It was super-weird and un-cliched and I loved it. But his high-horse politics feel so juvenile to me. Clearly, they work for some people. I’m way too jaded for that, although I prefer the term realistic.
Hey – did you see “Bravetown”? I seem to recall you mentioning on your site once that you like dance movies? I might have made that up. Like the Step Up movies, etc. If I made it up, I’m sorry – but I reviewed Bravetown for The Dissolve and I went into it thinking it would be dumb – but I found it really moving. Good dance scenes, too, but it’s really ABOUT something and I found it sweet and actually kind of powerful. Cliched structure, but who cares – it had a big heart. Anyway, check it out if you haven’t seen it!
Maybe filmmakers think they have to beat us over the head with their messages, given how paralyzed most people have become about the mayhem awash in our society these days. You and I have lived too long to need those lessons, and that’s my point about avoiding these films.
I haven’t seen Bravetown, but I love dance feature films (though I could do with a few less dance docs, personally). I’ll put it on the list. Save the Last Dance is probably my favorite of that genre, and I quite liked Honey, too.
The best movies make their messages clear without trying. The project isn’t ABOUT “putting across a message” (because: yawn, how school-marm-y can you get) – but about the characters/circumstances/atmosphere. I’ve always been annoyed by people who try me how to feel, what to think – especially (as in the case with DV) I think that HE is the one who needs to do more critical thinking.
But anyway, point made.
I love Save the Last Dance. Bravetown actually does have a pretty strong message – but ultimately it’s about what dance provides the kids in the town (and it’s pretty powerful), and how important self-expression is, especially in an atmosphere where the adults are so messed up.
If you see it would love to hear your thoughts!
Ooh. I’ve added all yours to my to-watch list. Getting some of the smaller ones is such a uphill battle in South Africa. But I prefer looking at lists of people whose taste I like that top 10 lists that tend to be a rehash the same few films, just in a different order.
And I love that you have CLOUDS OF SILS MARIA on your list. I may be super-biased because I’m a big Kristen Stewart fan, but I loved the movie. Found myself thinking about it constantly after I saw it.
AND LOVE & MERCY AND MAD MAX! Where’s that little hearts in my eyes emoji?
I was under the impression that CLOUDS OF SILS MARIA came out last year – it was on the festival circuit for a full year before it was released here, early in 2015 … so I was glad to include it. That movie haunts me. Stewart is great. I love the theatre aspect of it – it reminded me of Opening Night a lot.
Love & Mercy is so amazing – it takes a lot of risks – it’s BOLD. Bold risky film-making … we need more of it – and there’s actually been a lot of it in the last year.
BY THE SEA is another bold risky film.
It is fun to look at Lists and get ideas about films you haven’t seen – it’s also a good way to “take the temperature” of what’s going on. Oh, so everyone liked THIS. Hm, why? And how do I feel about it?
My expectations were so high going into MAD MAX that I almost had to gear up to resist the movie – just so I could maintain some of my critical faculties!! The same with CREED. Both films far surpassed my expectations and swept away resistance.
When interesting writers bring attention to their favorites, then I like the lists for that purpose. They have to be note-perfect and/or what I would pick. If I had any clout, I think I’d like to recognize a short list of whatever distinct achievements impressed me the most, like a performance or a costume-design. I mean I enjoyed Wild Tales as a whole, but the pre-credit sequence deserves some special recognition.
In the last three consecutive days, I watched Fury Road, Clouds of Sils Maria, and Brooklyn. I don’t know what to do tomorrow – catch up with Magic Mike XXL?
I’ve seen Magic Mike XXL 5 times so far, so of course I support you in that choice.
Sheila
I rented Brooklyn while visiting my family in L.A. So there was talking through a lot of it. Mostly, “Mom’s crying again!” The lead actress, wow. Her transformation so gradual and real, just right. Also, the sister, in a tiny role with that expressive face just knocked me out. (“Mom’s crying again!”) I love how some actors with just a small part makes a big impact. Everyone was good. I liked the old biddy who ran that shop, she was a bitch you love to hate.
It was funny all of us seeing the film with different reactions. We argued over which guy we liked better, and who she loved more, the Italian or the Irish one.
I thought it was interesting that when she realized that small town in Ireland would always be the same, sent her back to American. My daughter disagreed, “No she loved Tony!” But it was complex. I felt the girl was maybe a little ahead of her time. Maybe the next generation she would have a few lovers and not have to choose.
A minor thing. The Italian family seemed a little white bread to me. I went with it though, thinking okay, maybe they are already second or third generation with more money. But on the Italian side of my family, my grandparents never spoke much English living into the 1970’s. My mother had to learn it in school, and didn’t speak it at home with them at all. But whatever, it was a lovely film. I loved it.
// The lead actress, wow. //
Isn’t she just wonderful? And yes, the sister, her mother, the gossipy malevolent shopkeeper – and then the American department store employees – PLUS the boarding house, which I just thought was so wonderful – all of these great characters.
//Maybe the next generation she would have a few lovers and not have to choose. //
I definitely think that’s true!
In 1946 or whatever, you really had to choose well, right? Especially with two Catholics, no divorce and all that.
I liked that the Irish boyfriend was sweet, and would have made a good husband – you could see the appeal, plus the fact that he was Irish and therefore familiar. They didn’t make the mistake of making him “off” or making her choice an easy one.
And Tony … that young actor (frankly) blew me away and I think he’s as good as she is. He literally seemed to have stepped out of an old photograph. Like, I don’t believe he owns a computer. (So many actors in “period” movies … you just know they’re checking their text messages in between takes … But him!!)
Interesting point about the Italians, I hadn’t thought of that! My landlords when I first moved to New York were actually old-school enough that the wife spoke not a word of English. Their kids were totally Americanized – and, I’m sure, bilingual, but she was an old-fashioned Italian lady who left us tupperware bowls of meatballs outside our door. That’s a different case though – the woman had been here for probably 25 years or something like that, and still no English. I’m not sure how one actually accomplishes that.
I can’t remember if the Italian family’s backstory was filled in a bit more in the book – but I don’t think so.
Very glad you saw it – I thought it was beautiful!
Sheila I also didn’t realize the actor playing the Irish guy was the young guy in Ex-Machina. In Ex-Machina he actually annoyed me, I thought I didn’t like him. (and that was part of who is was playing anyway) Here, not only did I not put it together this was the same actor, I thought he was wonderful. Shows you can’t judge an actor on just one role!
Yeah, I don’t know how my grandparents bought land, sold it, etc…and did okay for themselves without speaking the language. I could barely visit a week in another country and get along okay. I guess that side of my family also was so unruly and wild and I have clear memories because my grandparents lived till I was a teenager. But on that side the wildness was passed on down to my cousins. I mean, all kinds of things happened at dinners, fistfights, crazy things. So the Italian family dinner in this film looked like a respectful tea-party to me. But that was the only part I picked apart! And I still went with it anyway.
The film caused a lot of emotions in me with superb acting by everyone!
// Here, not only did I not put it together this was the same actor, I thought he was wonderful. //
AND, he was super-scary-Aryan-ish-fascist in Star Wars: The Force Awakens. He has had a hell of a year!!
Maybe the Italian family was putting on a big lace-curtain type of “show” for the Irish girl, assuming that their rambunctiousness would not be understood (as it would be for fellow Italians). But that’s just a guess!
I’ve got some Italian friends and having dinner at their house is a riot because everyone yells – at the same time – to be heard. It’s hilarious. All good-natured too.
Irish people yell, too – my family is so loud that when I’ve brought WASP-y boyfriends home they sometimes cringe in the corner, terrified. Ha!
Sheila
I definitely get the Irish! I find the Irish to be wittier and more clever however in their put downs. The Italians also seem more revengeful to me. I worked recently with a young Irish bartender and after a while we really got into trading insults that got nastier and nastier, it was so much fun! The other waitress didn’t get it at all. “Oh I’m so sorry you have to work with Brian!” “I love Brian, he’s so hilarious!” She was really confused.
He also got fired for not sucking up to the boss. He was doing it in such an elegant way though! I saw it happening and tried to tell him. Like he was going to listen.
I also almost got fired because I told the boss to go fuck himself and his sister, but it was in Italian so he didn’t know, but he got the emotion. So I have to watch myself now. Also, things are a little dull now at work.
Regina – hahahaha Oh my gosh, the cross-cultural restaurant wars!!
Sometimes the shit my Italian friends say to each other I think, “Oh my God, how will that relationship recover??” And of course they’re fine.
The Irish are more involved in taking things down a peg. You get high on your horse? They will rip you down. You act snooty? They will tear you APART. I think it’s hilarious that the Irish have a reputation for being sentimental. The Irish are deeply feeling but far from sentimental. Try to get sentimental at a table full of Irishmen and see what happens!!
//
// I also almost got fired because I told the boss to go fuck himself and his sister, but it was in Italian so he didn’t know, but he got the emotion. //
Oh man this is so so funny. You threw the sister in, too!
I also loved how the boarding house filled with women was not the catty-town cliche. There was some cattiness but in general … it was pretty good-humored, the landlady was fabulous – AND the only REAL “catty” moment was when Eilis ditched that poor Irish girl at the dance.
But I loved that – it made Eilis human and also showed that that Irish girl was still too close to the homeland for Eilis, who couldn’t afford to “identify” with that anymore because she was trying to move forward.
It was great, though, that there wasn’t a lot of “drama” between those girls. There isn’t in the book either.
Sheila The sister is the best part because it’s really graphic. It’s actually detailed saying go fuck your sister up her ass. Sometimes you can substitute Mother. Depending on how it’s used it can be affectionate and funny or you are starting a war in which there is no coming back.
So funny about the Irish not being sentimental, I totally agree!
// Depending on how it’s used it can be affectionate and funny or you are starting a war in which there is no coming back. //
Seriously, you had better hold that one back until you really need it.
Sheila Yes! I loved those girls too. And the landlady. And the girl she ditched was that type you sadly have to admit you don’t want to hang around with.
P.S. I started this great bio of Eugene O’Neill, O’Neill Life with Monte Cristo. by Arthur and Barbara Gelb. It’s massive and I thought, oh I’ll probably give up, but it’s a real easy, great read. They are into the potato famine right now. And I’m remembering you writing about your Dad hating all the talk of that and you family jokes. I’m thinking, “How can the O’Malley family joke about this?! Hence, the lack of sentimentality among the Irish.
I still get enraged emails about that post!! Honestly, I don’t blame people for that, but I had to be honest. I mean, all of my ancestors flooded over here because of that famine – but I guess my dad just hated the sentimentalization about it, especially a statue in Boston with these super-thin sculpture figures staggering around in a park. He thought it was self-dramatizing and gross.
I think his point was, “Bad shit happens to everyone. Stop making a spectacle of yourself.”
Ah, Dad. Way to make friends.
I’ve been meaning to read that O’Neill bio. I know the bare bones of his life, and of course the plays … but it would be great to learn more. Glad to hear it’s good!
Sheila The description of those statues “Staggering around in a park” and what your Dad thought I find so hilarious! I do get why probably people were upset. But I think it’s a way to be tough and just get on with life that’s going to hand you a lot of bad shit at times.
Humor is a great way to deal with it too!
Yeah, he was like, I get it, my entire ancestry was practically wiped out, too, but knock it off, people.
Oh, man.