Slashed Punk: “Green Room” is a Decidedly Nasty Little Thriller

Somewhere the logline “punk band must evade neo-Nazi skinheads after witnessing a murder” made sense to someone and it has manifested itself in the creepy, tight little thriller “Green Room.” I’m not quite sure how to even describe this film to someone. Is it horror? Is it a thriller? It’s a bit of both but it’s certainly a suspenseful journey that isn’t afraid to show pretty intense and graphic violence. The film is injected with so much soul and depravity I’m not even sure what to compare it to. Director Jeremey Saulnier gives the film a neo-realistic crime thriller feel with some truly grotesque makeup effects. It’s an interesting film that’s truly impossible to guess what exactly is going to happen next.

“Green Room’s” setup feels akin to something like “The Texas Chain Saw Massacre” with a bunch of grungy young people stuffed into a van in the middle of nowhere. Nowhere is in fact the Pacific Northwest and the young people are a punk rock group called “The Ain’t Rights.” They seem to be desperate for cash since they have to siphon gas just to get to where they need to go. They get pointed to a gig at a club in the middle of the woods that happens to be home to a bunch of skinheads. Next thing you know the entire group is stuck in the club’s green room after witnessing something they most definitely shouldn’t have seen. It quickly becomes band vs Nazis in a thrilling game of cat and mouse as the band attempts to survive the night.  

I’m not really sure where exactly this movie came from but I’m glad it exists. It definitely feels inspired by films about kids getting lost in the woods and happening upon psychotic killers. The direction from Saulnier is proficient and even when the screenplay threatens to lag he mostly adds something shocking to the mix whether it’s an unexpected death or some disturbing ultra-violence. The actors are pretty fabulous here including standout Anton Yelchin as the band’s leader.

Punk rockers vs. white supremacists feels like reason enough to check out this film let alone the marquee name of Patrick Stewart, playing wildly against type, as the leader of the neo-Nazi group. It at least convinced one mildly disoriented theater goer where I saw the film to watch it for his name alone. A bold move considering the film’s shocking violence and disturbing story. If you know what you’re getting into it’s worth the wild ride.  GRADE: B+

Trailer for Green Room on TrailerAddict.

Brohood: Richard Linklater’s Nostalgic “Everybody Wants Some!!” Hits a Home Run

“Boyhood” was a brilliant and simple film about the trials and tribulations and oftentimes mundanity of growing up. The 1980-set “Everybody Wants Some!!” is similar and takes it to the next step by addressing finding one’s identity when entering the crazy, fast-paced world of college. Director Richard Linklater, ever the one to capture the realities of youth by drawing from his own experiences, (he was a baseball player at his Texas college) presents us with a story about a team of college baseball players in the days leading up to the start of the school year. Linklater is also a master of the practically plotless film choosing to focus on interesting characters and witty dialogue. Here he gives us a bunch of baseball jocks and while it may be a turn off to anyone who didn’t play sports in college, Linklater manages to make typically unlikable characters into fascinating studies of human behavior. “Everybody Wants Some!!” which plays like a spiritual sequel to Linklater’s own cult comedy “Dazed & Confused,” is a delightful slice of Americana – all set to the pleasant sounds of the late 70s and early 80s.

First of all, it must be said that like a majority of his films Linklater follows a very loose narrative structure and those looking for a truly compelling storyline need look elsewhere. “Everybody Wants Some!!” is all about the nostalgic atmosphere, characters, dialogue, and rockin’ tunes. And even though the film revolves around a bunch of baseball-playing college bros, Linklater manages to make typically unlikable caricatures into really likable fully developed people (though you’ll have to look elsewhere for many well-written female characters). 

It’s Texas, circa 1980 and our surrogate is Jake (Glee’s Blake Jenner in his feature film debut) an incoming freshman. He’s moving into one of the two houses for the Texas university’s baseball team. We’re quickly introduced to some other players who initially seem rather unappealing including Tyler Hoechlin’s star hitter McReynolds, Ryan Guzman’s Roper, Glen Powell’s Finnegan, Wyatt Russell’s bearded stoner Willoughby, J. Quinton Johnson’s Dale, and other freshmen Plummer (Temple Baker), Brumley (Tanner Kalina), and redneck roommate ‘Beuter’ (Will Brittain). On the surface, these characters seem like typical dumb jocks; you instantly stereotype them as dumb idiots but Linklater slowly lets you get to know these guys. The film takes place in the days before school begins with an onscreen text doomfully counting down to the start of classes. The film’s story is basically watching Jake become accustomed to his new college life while he pursues different parties as he and his teammates ogle the coeds.

While “Dazed & Confused” followed several groups of high school personalities (i.e., jocks, stoners, losers) “Everybody Wants Some!!” follows the jocks as they attend several different party atmospheres. The first night at college Jake’s teammates throw a huge beer bash. The next night they attend a disco and then head to a country bar, and even a punk concert. After Jake begins to pursue a cute theater major and some of his friends attend an artsy theater party. Jake, like most incoming college students, attempts to find his niche amongst his fellow jocks as no one should be pigeonholed to one group. Jenner is extremely appealing here as are his other co-stars. I’d say Powell feels like the MVP here though everyone gets their moment to shine. Oh, did I mention the film’s awesome soundtrack filled with glorious 70s and 80s tracks? The film’s title is, after all, also the name of a Van Halen song (with double exclamation points sealing the deal) and the film's story easily reflects the title's proclamation.

“Everybody Wants Some!!” manages to take the  leftover brilliance of “Boyhood” and form its own fascinating fly-on-the-wall nostalgic tale of college life. And even if your personal college experience isn't reflected here it still feels rather universal. Those who are fans of Linklater’s early, influential work will no doubt be in hog heaven here. As someone who was never quite on the Linklater bandwagon until the magic of “Boyhood” it’s easy to see why this auteur is in a league of his own.  GRADE: A-

Welcome to the Jungle: Jon Favreau Creates a Dazzling CGI World in “The Jungle Book”

Is it a misnomer to call “The Jungle Book,” Disney’s latest redo of an animated classic, a live action film? After all there’s really only one human character and everything else onscreen was created in a computer. Whether you wanna call it live-action or not, this version of “The Jungle Book” has some of the most impressive computer effects I’ve ever seen in a film. The so-called “uncanny valley” is almost all but dried up here. We’re constantly looking at animals and their movements and facial expressions are so lifelike it could easily fool some less informed moviegoers who may think there’s been some kind of scientific talking animal breakthrough. Visually appealing or not a movie has to also have a good story and interesting characters otherwise it’s wizardry for naught. Since the original Disney animated version of “The Jungle Book” was never quite one of my personal favorites, I have no problem declaring this updated version the definitive version of Rudyard Kipling’s collective works (though I, like many others I assume, haven’t seen the 1994 live action version).

The plot of “The Jungle Book” is simple enough but extremely effective and rewarding. Mowgli (Neel Sethi) is a little boy who’s abandoned as a boy and then raised by a pack of wolves. He also has a wise black panther named Bagheera (voiced by Ben Kingsley) who also watches over him. The film’s main villain is the Bengal tiger Shere Kahn (Idris Elba) who believes the boy doesn’t belong in the jungle living amongst animals and seeks to banish the boy or worse kill him. Bagheera helps guide Mowgli back to his human kind but after an ambush is quickly separated from the boy leaving Mowgli to fend for himself. Then Mowgli meets several other animals; including a scary run-in with a gigantic, hypnotizing snake named Kaa (Scarlett Johansson) and a big lovable bear named Baloo (Billy Murray), not to mention a scene-stealing Christopher Walken as King Louie. The film is very vignette-like which really works and give the film almost a “road trip” type feel where you don’t quite know what adventure Mowgli is going to get caught up in next (unless of course you’re pretty familiar with the original cartoon).

The film works on multiple levels beyond the fact that the film is a visual wonder from beginning to end. The visual effects are so photorealistic you’ll be shocked to find out the filmmakers never set foot in an actual jungle. Sometimes the film is so realistic I could picture tiny kids leaving the theater in fear despite the film’s family-friendly rating. Sethi gives a rather impressive feature film debut performance considering his co-stars weren’t even there (though he shot his scenes with puppeteers who don’t appear in the final film). The film also works in some of the songs from the original Disney film in a way that don’t feel forced or out of place. After all, how could one watch a Disney version of “The Jungle Book” without hearing “The Bear Necessities?” The script from Justin Marks is a real winner with subtle themes about not fitting in or feeling different from those around you. Director Jon Favreau who can go from creating little tiny CGI-free films like “Made” or “Chef” to big budget effects-driven films like “Iron Man” and “Cowboys & Aliens” feels very much in his element here finding the right beats of humor, emotion, and action.

“The Jungle Book” is an amazingly well-crafted, entertaining, visual wonder of a film (and even worth the extra bucks for 3D if that’s your thing). The film is thoroughly entertaining, impressive acting and voiceover work, and has a surprising amount of emotional depth and some nice comic relief. I’d be genuinely surprised if it doesn’t win an Oscar next year for its effects; they’re some of the finest ever put to film. I can’t imagine a “live-action” “Lion King” film being very far away.  GRADE: A- 

Super Bowl Trailer for The Jungle Book on TrailerAddict.

Olympus Has Fallen: “My Big Fat Greek Wedding 2” is a Missed Opa!-tunity

Ugh, more like “My Big Fat Greek Trainwreck.” Now the nostalgia reaper has come to claim the souls of middle-aged book clubbers who who could care less about brooding caped crusaders. Of course, one doesn't need to be 50-something to enjoy the irresistible charm of the cloying but lovable Portokalos family introduced fourteen years ago in the indie (but Tom Hanks-backed) big fat smash hit “My Big Fat Big Greek Wedding.” I, like many American moviegoers, fell in love with it. It certainly wasn't the most original movie to ever come along but somehow it's innocence and honesty and wittiness in portraying a woman's struggle to find herself in a sea of her gigantic clingy ethnic family was universally relateable. Even if you weren't specifically Greek you easily saw yourself surrounded by your equally gigantic clingy family whether it be Jewish, Italian or [insert other borderline stereotypical ethnicity here]. It was harmless fun.

Harmless fun is what I'm sure screenwriter/actress Nia Vardalos had in mind with the long-awaited (for some I guess?) sequel unimaginatively titled “My Big Fat Greek Wedding 2.” Fortunately, the entire cast returns. Like everyone, really. Unfortunately, Vardalos, even in fourteen years doesn't quite manage for anything all that interesting for these people to do. And even if they were sort of ethnically stereotypical the firs time, they've been upgraded to practically Looney Tunes characters. Not to mention that many of them haven't quite aged very well. I'm no fitness expert but many of them certainly have the fat part down.

The film picks up fourteen years after the last film and Toula (Vardalos) and Ian (John Corbett) are preparing for their teenage daughter Paris to select a college. Toula, even though she was the free-thinking black sheep who had her own Cinderella story the first time around has become just as clingy and annoying has her parents. Her marriage also seems to be on the rocks for reasons the script doesn't quite explain. More annoyingly is the film's central plotline which involves her parents Gus (Michael Constantine) and Maria (Lainie Kazan) not actually being married because the priest never signed their marriage certificate.

I appreciate Vardalos giving the elder actors meaty roles in a day and age when everything must be young and flashy and of a certain marketable demographic but both actors seem to have seen better days and don't quite have the same comedic timing they had the first time around. The rest of the actors you remember show up here as well with not all that much to do except mug for the camera. The first film's MVP Andrea Martin as Aunt Voula doesn't get as many funny lines even when she's discussing all her strange bodily aliments (As a side note, can we get a "My Cousin Vinny" spin-off in which Martin plays Mona Lisa Vito's mother, please?) Martin really tries to sell it. The bland sitcom-like direction from Kirk Jones certainly doesn't do her any favors. Even the film's technical merits feel lazy and uninspired.

It's obvious Vardalos really cherishes being Greek and wants to share her experiences with filmgoers. It's ripe material that was handled well the first time around. It's also abundantly clear that she favors progressiveness hence why her character arch from the first film was so memorable if predictable. She displays a little bit more of that ideology with the revelation of a certain male character who randomly comes out of the closet. It's a brief subplot (among others involving Alexander the Great and the dangers of bathtubs) but wouldn't the film be more interesting, unexpected, and fresh had the film revolved around this big fat Greek nuptial instead? The movie already relies on mildly offensive ethnic stereotypes, why not throw in some gay ones as well?

It's sort of obvious that, in the end, a sequel to “My Big Fat Greek Wedding” was not even a good idea in the first place. But geez this family is oh-so-lovable, for the most part. However, even the spin-off/sequel TV sitcom barely lasted seven episodes on CBS back in 2003. You don't remember it? Neither do I. The first film wasn't exactly a beacon of originality or quality cinema but it was magical, harmless fun. It made you feel happy. And like the greatest movie comedies, endlessly quotable. It's obvious here that you can't quite capture lightning in a bottle twice, even if it's big, fat, and Greek.  GRADE: C- 

Trailer for My Big Fat Greek Wedding 2 on TrailerAddict.

The Capes of Wrath: “Batman v Superman: Dawn of Justice” is Heavily Flawed but Far From Terrible

What was it that Taylor Swift once said? Haters gonna hate hate hate hate hate? One can not simply ignore how exciting the anticipation could be for a feature film to finally feature both iconic superheroes Batman and Superman. Judging from the relatively lackluster marketing campaign and the somewhat *shrug* reception of 2013's “Man of Steel” you can't really call “Batman v Superman: Dawn of Justice” a disappointment. After all the backlash after Ben Affleck was cast as Batman which got me excited because of ya know, his recent filmography hasn't been ya know terrible: "The Town," "Gone Girl," oh and Best Picture winner "Argo." So it is with mild expectations I went into this battle royale of comic book movie event films and not surprisingly I was met with mild results. The film is a far cry from the bottom-of-the-barrel comic book offerings. This isn't “Batman & Robin” of course. But it't not top tier stuff either: it's simply middle of the road entertainment, plays things safe, even if it offers some plot developments that sort of surprised me (since I haven't read these comics).

It must be noted that the film's run-time is long. Yes, too long. A lot of stuff is crammed into those 151 minutes. Too much stuff I'd say. There are lots of characters introduced, most rather well, though not much too interesting happens to them as the film progresses. I had high hopes when I heard Oscar winning “Argo” screenwriter Chris Terrio was involved (along with perennial comic book film screenwriter David S. Goyer). He injects the film with a needed boost of oomph and I enjoyed some of the twists the story took but overall this feels a little too self serious and lacks any sort of humor or comic relief. The movie doesn't really feel “fun” and lacks a rooting factor that was so present in the Christopher Nolan Batman films (and yet we all know how that trilogy was the Kocoum of superhero films).

It must be said that one of the strengths of the film is actually in its casting. Have there ever been so many Oscar nominated and winning thespians in a superhero film? (For the record, I counted seven). Say what you want about Ben Affleck. Go ahead, even call him Batfleck if you want. The guy is actually a really good Bruce Wayne/Batman. And even though we've seen Batman (and his “origin”) a million times on screen, they certainly do something different with the character. Everyone knows Wonder Woman shows up here as well and she's pretty awesome. I also think Henry Cavill, even if he's not exactly Mr. Personality makes a fine Man of Steel. Jesse Eisenberg hams it up as Lex Lurthor (whose character and motivations I never really understood).

The writers even attempt to concoct a decent reason why Batman and Superman would be fighting in the first place. You remember the end of “Man of Steel” when Superman managed to damage half of Metropolis and probably kill thousands of people while fighting Zod? That has something to do with it. I would have liked to see more of Superman actually being Superman and saving people. And what about that internal struggle for Clark Kent to constantly deal with being in two places at once? Director Zack Snyder, who sort of feels like a Michael Bay wannabe, is much more interested in the spectacle though he actually sort of tones down his questionable desaturated color palette. Yes the film is practically nonstop bombastic and unmemorable action. And that's too bad because having Batman and Superman in the same movie feels like such a big deal, but the movie doesn't quite capture awesomeness of that idea. Though it must be said that I was genuinely surprised the cajones involved with the final act development that I didn't see coming because, like I said, I have never read any Superman comics especially the one that influenced the film's ending. I kind of admired it.

If you find the advertisements for “Batman v Superman” to be mediocre at best, then you will probably have the same experience watching the film. Yes the film is long, I was never excruciatingly bored but there just seems to be so much going on (and plenty of setup for the next set of DC films) that fails to be completely compelling. The actors are good with what they're given and the film does offer a few surprising twists but the film doesn't make you feel the sense of wonder or excitement one tends to get with these big budget event movies. I cannot simply dismiss the film as terrible knowing there are truly horrific comic book movies that exists like “Batman & Robin,” “Superman IV: The Quest for Peace,” “Green Lantern,” “Catwoman,” “Fantastic Four” (any of them), “X-Men Origins: Wolverine,” “Howard the Duck.” Go ahead, tell me that “Batman v Superman” is worse than any of those.  GRADE: B-

Trailer for Batman v Superman: Dawn of Justice on TrailerAddict.

Hare Force One: “Zootopia” is a Timely & Delightful Animated Buddy Cop Comedy

You have to hand it do Disney Animation Studios as of late. Some may decry they're far from their early 90s heyday but they have been making some terrific strides when it comes to animated films and have certainly given Pixar's crop a run for their money. You also have to admire their originality, they haven't even produced a sequel in years and not content on just making singing princess movies (though they're sometimes into that too). “Zootopia” is no exception; it's an exquisitely animated and fun buddy cop comedy with a surprisingly amount of emotional depth one may not necessarily expect from it's mostly silly marketing campaign.

The film's clever concept involves a world in which animals have evolved into modern society like humans. While walking and talking animals is certainly nothing new when it comes to Disney movies, the film's plot is certainly something we haven't seen before in animated form: buddy cop comedy. We're introduced to a bunny named Judy Hopps (Ginnifer Goodwin) who has always longed to be a police officer. Of course, those around her including her family always tend to laugh it off as tiny bunnies aren't known for being cops. Not content on being a carrot farmer Judy attends the police academy and eventually becomes the first bunny to become a cop in the big city known as Zootopia, a melting pot of various animal species living in harmony. On her first day she's met with plenty of skepticism and she's assigned meter maid duties. It's not long before she reluctantly teams up with a sly con artist fox named Nick (Jason Bateman) to uncover a stream of crimes involving local missing animals. To say much more, like most films, would ruin the fun.

Long story short, “Zootopia” is one of the more interesting surprises in quite some time. The film is refreshingly funny. The film's script does rely on witty animal “stereotypes” like sloths being slow so they obviously run the DMV. What's most surprising, besides how well the film succeeds on a pure entertainment level, is how much the movie has to say about society in general. The film isn't very subtle, with it's hints at prejudice and racism, but neither was George Orwell's animal allegory “Animal Farm.”

“Zootopia's” jovial mix of state-of-the-art animation, silly comedy, and social commentary is rather impressive. The characters are interesting, the writing is crisp and funny, and the film's noir-like mystery ranks it up there with the likes of “Who Framed Roger Rabbit.” That film also starred a bunny, coincidence?  GRADE: A-  

Feature Trailer for Zootopia on TrailerAddict.

Bunker Thrill: “10 Cloverfield Lane” is a Perfectly Unnerving Thriller

You don't quite know what you're getting into when you watch “10 Cloverfield Lane.” The marketing has been almost perfect for this film. Is it really a sequel to the hand-held camera monster mash “Cloverfield?” You'll have to see it yourself to find out. The trailers are extremely vague but offer a few bits of story. It seem as though a young man and woman are being held in an underground bunker by a crazy guy who insists that there's been some kind of attack above that has rendered the air unbreathable. The film is fascinating and strange and offers top-notch suspense as you never quite know what the filmmakers are up to and what's gonna happen next.

If you've heard “10 Cloverfield Lane” is related to “Cloverfield” you'd be right and wrong. The film's couldn't be more different in style and execution, but the movies feel like they occupy the same purpose: to offer a supreme sense of dread and keep the audience in suspense. “Cloverfield” was a movie about a group of young people celebrating a friend who was going away and became a monster movie. This film feels more like “'Misery' in an underground bunker.” Mary Elizabeth Winstead plays Michelle. In the film's opening sequence she's seen packing up and hurriedly leaving her apartment while she ignores calls from her boyfriend. She's suddenly in a car accident and then wakes up with a gash on her head and an IV in her arm. Oh, and she's chained to a wall (No, Samuel L. Jackson from “Black Snake Moan” is nowhere to be seen). There's the creepy Howard (John Goodman, simply chilling), who apparently saved her life, and a younger guy named Emmett (John Gallagher Jr.) who share the underground bunker she finds herself in. To say any more would be a disservice to anyone even remotely interested in seeing the film.

The movie is directed by Dan Trachtenberg, in his feature film directorial debut, and what an incredible film debut it is. He offers the perfect mix of suspense and just plain weirdness (and some fun musical choices). It helps that the script from Josh Campbell, Matthew Stuecken, and Whiplash's Damien Chazelle oozes with twists and turns which always keep the audience on its toes (including a disturbingly intense scene involving an air vent). You never really know where this thing is going or what we're even really seeing. Things all come to a head in a slam-bang finale that pulls the rug right out from under you.

Simply put, “10 Cloverfield Lane” is an engaging, claustrophobic exercise in suspense. Goodman's work here is extremely fascinating and complex; he really lets out his inner Annie Wilkes. Winstead and Gallagher are also in fine form. The film really ratchets up the tension as it progresses and offers lots of fun surprises and plenty of dread. You shouldn't really expect a direct sequel to “Cloverfield” and that's either a good thing or a bad thing depending on your views of that film (I loved both). There certainly isn't anything else quite like “10 Cloverfield Lane.”  GRADE: A-

Trailer for 10 Cloverfield Lane on TrailerAddict.

Oscar Forecast: “The Revenant” with a Good Chance of “The Big Short”

UPDATE: Wow. To those who think the Oscars have become to predictable welcome to Oscar Night 2016. There were many surprises! Who exactly saw Spotlight winning Best Picture (and only one other Oscar)? Certainly not me. I figured if any film would take down "The Revenant" it would be "The Big Short." But you know what? It makes sense that "Spotlight" would win, further proof that figuring out the preferential ballot is the key to predicting Best Picture. (Not to mention that pesky SAG ensemble award stat that made a win for Spotlight or The Big Short pretty inevitable). It's not quite as cut and dry as "the movie with the most wins will also win Best Picture." That just doesn't happen very much any more. It's also the first time in the era of the preferential ballot that the PGA failed to predicted the eventual Oscar winner. Ex Machina pulled a shocking upset in the Visual Effects category (deservedly so) becoming the first non-best picture nominee to win against best picture nominees since 1970. And poor Sylvester Stallone, always a bridesmaid, never a bride. Maybe Mickey Rourke bought him a drink. Because of the unpredictably of the awards many folks, myself included, didn't fare too well with their predictions. I missed eight bringing my count to 16 out of 24, my worst showing since... last year. See you next year.








Oy vey. What a frustratingly difficult Best Picture race it’s been. It’s as stressful as it is exciting for someone like me who looks forward to predicting these awards year after year. Usually one film dominates in the precursor awards leading up to the Oscars. Even if it’s only a two way race one can usually figure out the most likely winner (like last year’s Boyhood vs. Birdman dog fight). Now we have three movies vying for the top spot, but in the last few weeks it’s been made pretty clear that there actually is finally sort of a frontrunner. Let’s get into it.

Best Picture

Who Will Win: “The Revenant.” I’m definitely not 100% confident in this pick but considering everything that has happened in the last couple months it feels like the most likely victor. The three way race I mentioned above basically comes down to “The Revenant” vs. “The Big Short” vs. “Spotlight.” Each film could make an argument about them being the likely winner. There are also enough arguments against each movie. “The Big Short” won the PGA award, whose voters use the same preferential ballot used by the Academy. The PGA winner has gone on to win Best Picture at the Oscars EVERY SINGLE YEAR since 2006 when “Little Miss Sunshine” lost the Oscar to “The Departed. Also, of note that since the Academy expanded Best Picture beyond five nominees the PGA has never been wrong. The closest they came to getting it wrong was that inexplicable tie between Gravity and eventual Oscar winner 12 Years a Slave. It’s hard to argue with statistics. Which is why “The Big Short” does sort of make sense as a winner. But if it wins what other categories would it win? I can’t see much else beyond Adapted Screenplay. Perhaps editing? No movie has won Best Picture and one other Oscar since “The Greatest Show on Earth” in 1952. Ditto “Spotlight” a movie poised as an early frontrunner (especially having won the SAG ensemble award) who doesn’t seem to stand a chance with winning much else. Both of these movies have a realtively small number of total nominations compared to “The Revenant’s 12. If Innaritu is gonna make history by becoming only the third director to win back to back directing Oscars why not make history by being the first person to direct back to back Best Picture winners? Also working against “The Revenant” is its lack of a screenplay nod (though Titanic and The Sound of Music had no problem with that) and its lack of a SAG Cast nomination would make it the first movie since Braveheart to win Best Picture without that significant nomination. Now that I’ve pulled all my hair out I’ve decided to not split director & picture and go with my gut: It’s saying Revenant. Case closed.

Who Should Win: “Mad Max: Fury Road.” It’s my favorite movie of the year so yeah. The only Best Picture nominee I’m not a fan of is “The Big Short” so basically I can’t complain about this year’s nominees.

Should Have Been Nominated: “Straight Outta Compton”

Best Director

Will Win: Alejandro G. Inarritu, “The Revenant.” Déjà vu. Didn’t he just win last year for “Birdman?” I didn’t really think it could happen but the DGA has spoken. I guess if someone else were to win win it’d probably be George Miller. Though, if The Big Short were to win Best Picture, wouldn’t Adam McKay make more sense?

Should Win: George Miller, “Mad Max: Fury Road.” I wouldn’t hate it if any of the nominees won. Inarritu did another fantastic job in a completely different type of directorial achievement, but he won last year. Miller, however, crafted such a dizzyingly fantastic action spectacle – at age 70 – that you have to just stand back and marvel in it all. It’s a movie that could have failed miserable but it’s weird, awesome, and breathtaking.

Should Have Been Nominated: Ridley Scott, “The Martian”

Best Actor

Will Win: Leonardo DiCaprio, “The Revenant.” I’m pretty confident the lead acting races are all sewn up. If Leo somehow manages to lose yet again, I hope he chucks bison liver at everyone.

Should Win: Leonardo DiCaprio, “The Revenant.” Sure, he should have won for “The Wolf of Wall Street,” but Matthew deserved it as well. I still don’t believe this is in any way just a “make up” Oscar. He’s fantastic in the film. If anyone else deserves it I’d probably go with Michael Fassbender.

Should Have Been Nominated: Michael B. Jordon, “Creed”

Best Actress

Will Win: Brie Larson, “Room.” “Room” is an amazing achievement and Brie Larson is amazing in it. She’ll take this one. I’d be genuinely shocked if anyone else won.

Should Win: Brie Larson, “Room.” She - and her young co-star - give riveting performances.

Should Have Been Nominated: Charlize Theron, “Mad Max: Fury Road”

Best Supporting Actor

Will Win: Sylvester Stallone, “Creed.” This category usually acts as a “veteran’s achievement award” (just ask Michael Caine, Christopher Plummer, Alan Arkin, George Clooney, etc) which is why I think the Oscar-less Stallone will get the sentimental vote. And maybe the Academy will feel less racist voting for the movie Creed, even if a white guy will be the only benefactor. This will also be an interesting category to watch because a win for Mark Ruffalo or Christian Bale would show tremendous support for their respective Best Picture frontrunners and could signal where the night is headed in terms of the big prize. Heck, Hardy could shock everyone since he hasn’t had a chance to compete with these other actors since his nomination was a relative surprise.

Should Win: Sylvester Stallone, “Creed.” It helps that Stallone is actually very good and affecting in “Creed.” To take this character that he’s lived with for decades and still make him, interesting, fresh, and relevant is certainly an achievement and is certainly the heart of the film. I also wouldn’t hate it if Tom Hardy won.

Should Have Been Nominated: Jacob Tremblay, “Room”

Best Supporting Actress

Will Win: Alicia Vikander, “The Danish Girl.” This is sort of a tough one since the supporting races are not nearly the lock they were last year, but I’m feeling pretty confident about this one. Vikander has previously won for “The Danish Girl” every time she’s been nominated in this category, Winslet has won every time Vikander has been nominated for “Ex Machina.” I think the fact she gave two great performances this year and Kate won before that Vikander is the odds on favorite here.

Should Win: Jennifer Jason Leigh, “The Hateful Eight.” I’d love to hear Kate Winslet’s name called if only so that a) Leo and Kate could win on the same night and b) to hear just a brief bit of the amazing “Steve Jobs” score. The one who really deserves it is Leigh who stole the entire movie away from the entire male cast.

Should Have Been Nominated: Alicia Vikander, “Ex Machina”

Best Adapted Screenplay 
Will Win: “The Big Short.” Since “Steve Jobs” isn’t here, “The Big Short” just has to win. If it can’t even win this there’s no way it can take the top prize.  I feel like “Room” or “The Martian” could be the only potential spoilers, but barely.

Best Original Screenplay
Will Win: “Spotlight.” If it can’t even win here there’s no way it can take the top prize.  I wonder if “Straight Outta Compton” could get some #OscarsSoWhite sympathy votes (even though all of the writers are white people)?

Best Animated Feature Film
Will Win: “Inside Out.” Is there a bigger lock of the night? Especially with other not-nominated Pixar film “The Good Dinosaur” unable to take away potential votes.  

Best Cinematography
Will Win: “The Revenant.” Just last year I was talking about how an amazing achievement it would be for Lubeski to win back-to-back Cinematography Oscars… make that back-to-back-to-back Oscars. And poor Roger Deakins still doesn’t have any.  

Best Costume Design
Will Win: “Cinderella.” This category is gonna give me angina. Historically speaking, “Cinderella” is the most obvious and likely winner. But most people are predicting “Mad Max’s” post-apocalyptic threads to prevail. That just doesn’t seem right with me. None of this year’s nominees are overly flashy which is why a win for “Cinderella” just makes sense to me, so I’m sticking with it (This category also has a strong connection with Production Design – formerly Art Direction – so a win for Mad Max would make sense since it’s the PD frontrunner).

Best Documentary - Feature
Will Win: “Amy.” The Academy loves awarding music-related documentaries, i.e. “Searching for Sugar Man” and “20 Feet From Stardom.” “Amy” should easily walk away with this, especially since it’s the one most people have heard of and seen, though watch out for “Cartel Land.”

Best Documentary - Short Subject
Will Win: “A Girl in the River.” “Body Team 12” has been the frontrunner for a while but since the film is only 12 minutes or so, I’m wondering if they’ll want a little more substance. You’d be wise to select the Claude Lanzmann film because it is related to the Holocaust but I’m going with “The Girl in the River.”

Best Film Editing
Will Win: “Mad Max: Fury Road.” Oh editing. The category that can tell us so much and yet not much at all. I firmly insist that if “The Big Short” is going to go all the way it has to with at least one other award besides Screenplay. This is it’s really only other shot for another win. When Whiplash won last year, it basically cemented the fact that Boyhood wasn’t winning Best Picture. Since I’m predicting a Best Picture win for “The Revenant” I’m gonna go with the “most edited” action film to win: “Mad Max.”

Best Foreign Language Film
Will Win: “Son of Saul.” It has to do with the Holocaust. Next?

Best Makeup & Hairstyling
Will Win: “Mad Max: Fury Road.” I’m pretty confident this movie has it in the bag.

Best Original Score
Will Win: “The Hateful Eight.” The Academy loves awarding people who have never won this before (unless your name is Thomas Newman, apparently) so I think the Academy will award composing legend Ennio Morricone with his first competitive Oscar win for his haunting score.

Best Original Song
Will Win: Til it Happens to You from “The Hunting Ground.” Will Lady Gaga actually win an Academy Award? It’s certainly possible. I also can’t help but think that the song from “Spectre” could win simply because it’s the only one of the nominees that they’ve heard of that isn’t “Fifty Shades of Grey.”

Best Production Design
Will Win: “Mad Max: Fury Road.” I’d genuinely be surprised if anything else won.

Best Short Film – Animated
Will Win: “World of Tomorrow.” This is such a weird, bizarre and purposely crudely animated film that part of me thinks the Academy won’t go for it. You could go with the popular vote and put down the Pixar film but that haven’t won in a while and Sanjay isn’t nearly as good as some of their previous efforts. “Bear Story” has lots of buzz but I’m going with the more “out there” choice (besides, it’s been on Netflix for a while so I assume it must be one of the more widely seen films).

Best Short Film – Live Action
Will Win: “Shok.” This short categories are always a nightmare to predict. I’ve heard “Ave Maria” and “Stutterer” may be too “light” and I’ve heard “Shok” is extremely powerful if a tad dark. Who knows!

Best Sound Editing
Will Win: “Mad Max: Fury Road.” I’m always hesitant to just go down the sheet and put one film winning all these tech awards. Sure Gravity pulled off seven wins a couple years ago but that was also a front runner for Best Picture. Does the Academy really love “Mad Max” as much as everyone assumes they do? You can’t help but agree the cool sound effects in “Mad Max” –which is essentially a long car chase – would make sense winning this category but then there’s….

Best Sound Mixing
Will Win: “The Revenant.” I think because of the unique way “The Revenant” was filmed will do wonders for some of these tech categories and I wouldn’t be surprised to it take both Sound categories. These two categories rarely split and predicting those splits can be tricky. Hopefully I don’t have this backwards. If one film wins both awards at least I'll be half right. I also at least understand what these categories mean more than most of the actual Academy members.

Best Visual Effects

Will Win: “Mad Max: Fury Road.” This award has gone to a Best Picture nominee (when there is one) since 1970. That’s how I got screwed predicting “Rise of the Planet of the Apes” over “Hugo” back in the day. So you can eliminate Star Wars and Ex Machina right away. I refuse to believe the Academy will think of “The Revenant” as a visual effects extravaganza.  A win for “The Martian” would feel way too “been there done that” since both “Interstellar” and “Gravity” were the last two winners. The Academy’s alleged love for “Mad Max” should help it prevail here but unlike some years, this is a particularly tricky category to predict this year. 

My final tally would be The Revenant and Mad Max: Fury Road both with five wins. Makes sense to me. We'll see what happens. 

Gimme Some Coven: Indie Horror Flick “The Witch” is Creepy and Disturbing but Unsatisfying

It seems a lot of general moviegoers were disappointed in “The Witch” because it wasn’t what they were expecting. I’m disappointed in “The Witch” because it was exactly what I expected: a slow-moving folktale of paranoia with plenty of disturbing imagery but with a story set in a time period I couldn’t get personally invested in or care much about. I don’t necessarily mind if the latest horror film isn’t particularly “scary” but I want to at least feel somewhat devoted to the characters. How could I relate to this family as they spouted out dialogue I could barely understand? It’s certainly a movie I appreciate much more than I actually like and fits in nicely with other – and more successful – recent indie horror hits “It Follows” and “The Babadook.”

Looking at the film, you’d think director Robert Eggers transported actual Puritans from 17^th century New England to act in the film. While most of the actors are unknowns, savvy viewers will recognize Kate Dickie (playing matriarch Katherine) and her flailing nostrils from “Game of Thrones” (as is Ralph Ineson). Dickie and Ineson are a mother and father of five children who move their family from a village because of their differing religious beliefs. Soon Samuel the family infant is abducted. The family is devastated. They however, don’t see what we see: a witch living in the woods doing something completely despicable with Samuel. It’s a disturbing moment that completely sets the tone for the rest of the film. Though Eggers takes plenty of time creating atmosphere and tension before much else happens.

Even for those who don’t necessarily find the film completely terrifying, which I imagine will be many people expecting something less cerebral, the film is a showcase for outstanding production design, standout acting, a creepy score, and moody cinematography. If Terrence Malick made a horror film I imagine it would look something like “The Witch.” That’s probably why the film feels a tad slow and uneventful until the film’s breakneck finale. The film never relies on gore or blood, though there’s plenty of it, so perhaps who were disappointed with another overhyped witch film “The Blair Witch Project” will get more from “The Witch.” The latter film, however, works better on a sheer visceral level of shock and terror that isn’t quite achieved here. Like other recent modern horror offerings it’s a film that’s more fun to admire and talk about then to actually watch but will most likely become better on repeat viewings.

It’s certainly an audacious achievement for first time director Eggers who won the directing prize at last year’s Sundance Film Festival. You never know quite where the film is going or what hat trick he’s going to pull on you which helps with the film’s otherwise languid pacing. Period detail is spot on and the performances are pretty impressive especially from its young cast including Anya Taylor-Joy and Harvey Scrimshaw whose characters both fall victim to the witch in completely different ways. Ultimately, the film feels like it was adapted from a book you would have probably been forced to read in high school. Take that as praise or criticism. Like the film itself, it’s open to interpretation.  GRADE: B-

Trailer for The Witch on TrailerAddict.

Inside the Actor’s Studio: The Coen Brothers’ “Hail, Caesar!” is Ultimately Disappointing

With the Coen Brothers’ films you either love them or you hate them. “Hail, Caesar!” unfortunately falls into the latter category. I, like many others, fell victim to some irresistibly charming marketing. Who could resist the delightful “Hail, Caesar!” trailer which promised silly antics by an all-star cast having a screwball comedy ball set in a fictional 1950s movie studio? See Channing Tatum dance! See Scarlet Johansson swim! See Jonah Hill do nothing for 23 seconds! It was a dream cast that practically had me foaming at the mouth, but the end result had me practically falling asleep in my seat. The problem was mostly the long, drawn out scenes that never really seemed to connect which made the film feel a tad disjointed. The performances were spot on of course and the period detail was there in glorious Technicolor, but it was all for a story that never quite congealed. 

The film first and foremost wastes its splendid cast. Sure it’s sad that they all don’t really get much to do (some only appear in one scene) but it feels just like stunt casting to get people in the theater. The only one who gets to do much with her role is Tilda Swinton who plays rival twin sister gossip writers. The film focuses on studio head Eddie Mannix (Josh Brolin) who’s job is also to “fix” thins when actors and others get into trouble. For instance, Scarlet Johansson gets knocked up and he makes arrangements for her baby to be adopted. The film’s main story involves George Clooney’s Baird Whitlock, the star of a new Roman epic, being drugged on set, kidnapped, and held for ransom. In true Coen brothers form the thing the story that drives the main plot sort of gets tossed aside in favor or quirky scenes that feel either drawn out or just altogether unnecessary.

One of the issues Eddie must deal with is the young Western actor Hobie Doyle’s (Alden Ehrenreich) terrible acting in his new romantic drama helmed by Laurence Laurentz (Ralph Fiennes) and the stress it causes the director. The Coens force us to watch Hobie’s terrible acting take after take that goes on forever and we wonder if they’re actually punishing us for paying money to see their movie. Their mantra seems to be the longer it goes on the funnier it must get. Nope. Hands down the best sequence involves Tatum’s intentionally homoerotic sailor dance number. It’s worth the price of admission alone and single handedly saves the film.

Even for a silly comedy I see plenty of links to other dark dramas of Coens’ past like “No Country for Old Men” and even “Fargo” where briefcases full of money also played key roles. When the film’s not-quite-interesting-enough mysteries are revealed nothing feels satisfactory. Unfortunately “Hail Caesar” just isn’t funny enough to be a great comedy and it’s not dramatic enough to be a suspense thriller. At least the music and cinematographer give the film way more oomph than the film really deserves. Definitely file this one under “huge disappointment.”  GRADE: C+

Trailer for Hail, Caesar! on TrailerAddict.

Vex-Man: “Deadpool” is a Delightfully Irreverent Superhero Film

The comic character Deadpool has an interesting cinematic history. Cinematically speaking, first appearing, in some form or another, in the critically maligned “X-Men: Origins” Wade Wilson aka Deadpool was a beloved comic character known for his irreverent humor, breaking the fourth wall, and other depraved acts. To get it “right” it was assumed this material would have to be brought to the screen in an “R-rated” world where the character could be free to swear, commit violent acts, and partake in varying degrees of sexual deeds. The entire concept was built around a character who knows he’s in a comic. But doesn’t this sound rather familiar? Didn’t “Kick-Ass” and its sequel sort of do the same thing? Yes, in a way, but Deadpool is a character that’s part of the Marvel universe (most aligned with the “X-Men”) and this is a much more traditional, at least plot wise, take on a depraved but lovable character doing crazy things and swearing up a storm. And by golly it’s even got a bit of a heart; in fact, it’s simply irresistible.

Ryan Reynolds was practically born to play Deadpool and the entire nerdy comic book reading world knows it. Reynolds is Wade Wilson a former military operative working as mercenary in modern day New York. He’s a cocky, smart-ass type of guy. And he wears shirts with Bea Arthur on it and gets away with it because well, he looks just like Ryan Reynolds. He even meets the woman of his dreams Vanessa Carlysle (Morena Baccarin) and even proposes to her. But then life throws him a curve ball when he’s diagnosed with terminal cancer. Fearful for his life he reluctantly turns to a secretive program that supposedly has the ability to completely cure him. Of course, nothing is that simple in life and he’s left permanently scared over his entire body: but somewhat cured because he now has the ability to heal (and regrow organs and limbs). So what is a man in this situation left to do? Dress up in a super hero costume and get revenge on the guy who did it, obviously.

Wade Wilson is now Deadpool a wise-cracking, vulgar masked vigilante seeking revenge. The man he’s after goes by the name Ajax (Ed Skrein) who, like Deadpool, is also an “artificial” mutant and has the inability to feel pain and enhanced strength. Like many comic book adaptations the plot here isn’t anything particularly groundbreaking: but that’s exactly the point. Nothing in the film is exactly standard except the basic plot elements and the film know it. Just take a look at the opening credits which forgoes the actor’s names in favor of their clichéd characters such as “The funny sidekick”, “The hot chick,” and “The British villain.” The film’s script by Rhett Reese and Paul Wernick is also feverishly funny. There are so many great references. Like when Deadpool is handcuffed to Colossus (yeah that Colossus from “X-Men”) he asks the audience if they remember what happened in “127 Hours.” You can guess what he does next. The film certainly earns its R-rating offering enough blood, violence and equal opportunity nudity to satisfy the horniest teenager (male or female).

Of course, beyond all the depravity the film offers on the surface there’s actually a really good simple story here. The characters are generally well-drawn and Reynolds is literally perfect for the role. Nothing here feels forced or too over-the-top. And even if the film’s story is pretty straightforward, director Tim Miller (in his directorial debut) has fun with the plot. The action sequences are great and the film deftly balances humor and drama. The filmmakers certainly know their audience but they also don’t alienate those who may not be too familiar with the comic book formula. In fact, I really feel despite its R-rating and more cult-like following “Deadpool” is one of the more mass appealing super hero films. It's certainly a refreshing take in an overly saturated market. I enjoyed every cheeky minute of it.  GRADE: A-

Theatrical Trailer for Deadpool on TrailerAddict.

Martians, Rappers, and War Boys, Oh My! The Best Films of 2015

 I didn’t find the year 2015 quite as successful as last year. There certainly were some standouts this year to be sure, but not many truly “amazing” movies. And where were all the good horror films? This is the first time a horror film hasn’t made my list in years. “It Follows,” which deserves at least a mention, was perfectly fine, but I liked other films more. I’m also surprised, and delighted, at the diversity in this year’s offerings. No two films on here are even remotely similar.

1) Mad Max: Fury Road (dir. George Miller)

I’ve literally watched this movie like 20 times so far, if that’s not criteria for your favorite movie of the year I don’t know what it. The kinetic fourth entry in the long running post-apocalyptic “Mad Max” franchise is arguably the best one yet. This is of course coming from someone who never liked the others to begin with. “Fury Road” is an action-packed car chase movie with amazing stunts, jaw-dropping camerawork, and a pulse-pounding music score. Best of all you can easily enjoy it without having seen the other, mostly silly and dated, previous entries. While 2015 offered plenty of spectacle, i.e. “The Martian,” “The Walk,” “Spectre,” none compared to the overabundance of visual thrills “Mad Max” offered. It deserves, and heartily earned, every single one of those Oscar nominations. And the fact that the film’s visionary director, George Miller, is 70-years-old boggles the mind.

2) Room (dir. Lenny Abrahamson)

Is there any film this year more different from “Mad Max Fury Road” than “Room?” An intimate and emotionally wrenching drama, “Room” is a splendid little masterpiece. A woman (Brie Larson) is forced to live in a small room where she’s raising her son (Jacob Tremblay, in an amazing performance). She sort of makes a fantasy world of it; the kid has no real idea of the outside world. It’s a premise that can seem “icky” but the film is anything but; it’s impeccably conceived and imaginatively directed and features magnificent performances. You won’t see better onscreen chemistry than between the two leads here. “Room” is an Oscar-worthy must- see.

3) The Revenant (dir. Alejando G. Inarritu)

Last year’s Oscar-winning director of “Birdman” does it again, in a completely different way, with “The Revenant” a brilliantly filmed revenge thriller. Set in the frontier of the early 1800s, Leonardo DiCaprio a huntsman who’s mauled by a bear, in one of the year’s most shocking, crazy, and disturbing sequences, and eventually left for dead by members of his hunting team. You’ve heard the stories about the hellish film shoot but it makes for an astonishingly thrilling and swiftly paced epic of man vs nature. It’s certainly one of the more intense film going experiences of the year but worth every minute.

4) Inside Out (dir. Pete Docter, Ronnie Del Carmen)

Another year, another standout Pixar film (actually make that two; “The Good Dinosaur” wasn’t half bad either). This charming, highly originally, and emotionally satisfying animated tale is about a little girl and the personified emotions living inside her head: there’s Joy, Sadness, Disgust, Anger, and Fear. They’re all instant classic animated characters. Glorious animation and an equally funny and moving script make this gem another modern classic.

5) Trainwreck (dir. Judd Apatow)

I knew very little of Amy Schumer’s work before seeing “Trainwreck.” This is a really smart, funny, and engaging comedy directed by Judd Apatow. This irreverent take on modern relationships almost feels like a contemporary “Annie Hall.” But with more dick jokes. Schumer plays a woman who’s not quite into monogamy but gets thrown for a loop when she begins dating a sports medicine doctor (Bill Hader) whom she’s writing an article about. Schumer is a comedic genius, offering a witty script and just as many laughs as truthful insights about relationships. Easily the funniest film of the year. 

6) Creed (dir. Ryan Coogler)

If you told me that a Rocky spin-off would be one of the best films of the year I’d have laughed in your face. “Creed” is a far cry from the corny sequels that were churned out in the 80s. Young director Ryan Coogler (Fruitvale Station) has crafted an outstanding and surprisingly emotional underdog sports drama. The film focuses on Adonis Johnson (Michael B. Jordan) who is the son of Rocky’s nemesis-turned-friend Apollo Creed. The once troubled kid wants to make it as a boxer and learns of his father’s friendship with the one-and-only Rocky Balboa (Sylvester Stallone, who rightfully steals every scene). This is just one of those movies that make you feel good after is over and it’s impeccably directed which includes a  pretty astonishing single take boxing match that is as thrilling as it is impressive.

7) The Martian (dir. Ridley Scott)

Matt Damon headlines this spectacular sci-fi romp about a resourceful American astronaut accidentally left behind on the planet Mars. Sci-fi genius Ridley Scott directs this solid and surprisingly funny 3D flick that’s sort of “Apollo 13” meets “Cast Away.” Damon has never been more likable and it’s refreshing to see a sci-fi film that isn’t about a bleak, dystopian future. The entire cast is fantastic including Jessica Chastain, Jeff Daniels, Sean Been, and even Kristin Wiig. No wonder the Globes thought it was a comedy.

8) Bridge of Spies (dir. Steven Spielberg)

Steven Spielberg is at the helm once again of another historical drama. I was worried originally, but this is a million times more entertaining than both “Lincoln” and “War Horse.” This one is about a family man lawyer (Tom Hanks) tasked with defending an accused Russian spy, at the height of the Cold War. The spy is played subtly but brilliantly by theater veteran Mark Rylance. This resonant thriller is emotionally satisfying with surprising bits of humor, fantastic performances, and amazing technical merits from Spielberg’s usuals. Newbie Thomas Newman offers a strong score and proves a Spielberg move can be good even without John Williams. It’s easily Spielberg’s best film since “Munich.”

9) The Hateful Eight (dir. Quentin Tarantino)

Quentin Tarantino’s thrilling take on a play-like “Ten Little Indians” is a lot of fun. It’s sort of a western, sort of a revisionist history lesson, and sort of a commentary on the country’s relationship with racism, “The Hateful Eight” stars a glorious ensemble of fine actors. There’s Kurt Russell as a bounty hunter with prisoner Jennifer Jason Leigh in tow. The pair, along with a bunch other suspicious characters, are holed up in a haberdashery during a wicked snow storm. Tensions flair and uncertainties rise and violence erupts in the best possible way. Impeccably shot, and featuring a Tarantino first: an original score by none other than legendary composer Ennio Morricone. Like any other Tarantino film it’s talky and long but oh so worth the journey.

10) Straight Outta Compton (dir. F. Gary Gray)

I’m surprised as you are to see this film on here. This music biopic about pioneering rap group N.W.A. is a truly fascinating and rewarding look at some of the most controversial artists of the last few decades. “Straight Outta Compton” has great performances (including Ice Cube’s lookalike real life son O’Shea Jackson Jr.) and a star-making turn by Jason Mitchell as Eazy-E. Paul Giamatti is strong as the unlikely white guy who believes in and manages the young musicians who are ready to break out from their troubled upbringings, set for stardom, and want to be taken seriously as artists. The film is disturbingly relevant to today and is not afraid to tell it like it is or was. Best of all, you don’t even need to know much about rap music or be much of a fan of it to enjoy the film.

Honorable Mentions:

Ex Machina – A standout slow-burn sci-fi thriller that has as much brains as it does amazing CGI work. A truly weird and original film.

Carol – A moving romance with great performances practically set in another world: 1950s New York. It isn’t preachy, it’s impeccably crafted, and most surprisingly of all: not even boring.

Spy – One of the funniest movies of the year. Another winning comedic vehicle for Melissa McCarthy; she and Rose Byrne play off each other beautifully.

Steve Jobs – A very fascinatingly conceived film, much like a three act play, shot on three different film stocks with enthralling performances and riveting direction from Danny Boyle.

Spotlight – This true story about Boston journalists is dynamite docudrama filmmaking. An all-star cast highlights this fascinating story about the scandal that rocked the Catholic Church. It rightfully feels like a modern day “All the President’s Men.”

The Walk - The movie directed by tech-wiz director Robert Zemeckis that no one saw and made about fifty bucks at the box-office is a visual feast and loving tribute to the Twin Towers and the man who walked between them back in the '70s. The 3D was amazing even if JGL's French accent wasn't quite so.

Star Wars The Force Awakens - What can be said about Star Wars that hasn't already been said? It's a fun movie that captures the spirit of the original trilogy with more modern aesthetics. One of the most fun, cinematic movies of the year.