In the past month, I have had two reviews – both of Oscar-nominated foreign-language films – published in Bmoreart, an award-winning Baltimore-based online journal: Son of Saul (the eventual Oscar winner) and A War. Enjoy!
This coming week – on Thursday, January 14, in fact – the Academy of Motion Picture Arts and Sciences will announce its 2016 Oscar nominations. Before that happens, I would like to finish with my annual “best of” lists: I already posted my “best film” and “best acting” lists, so today’s post – about the (often) unsung artists and craftspeople who are essential to the filmmaking process – completes the triptych. As always, each movie title’s hyperlink will take you to my review, when I have one (if not, I have a note explaining where the hyperlink takes you). I also hyperlink the artists’ names, as well (mostly to IMDb, but sometimes to their own personal websites), so you can see what other work they have produced over their careers. In the case of best score, I link to the movies’ soundtracks on iTunes, as well. Occasionally, I add a note after the entries, to briefly explain my choices.
For each category, I stick to 5 candidates, in alphabetical order. These are the films where I thought that the work in that particular area truly enhanced the quality of the movie. Enjoy, and feel free to leave comments after you look it over!
- The Diary of a Teenage Girl (Marielle Heller) – such a smart distillation of a complex hybrid graphic/text novel, which Heller first adapted into a stage play before making this, her debut feature.
- Dope (Rick Famuyiwa)
- 45 Years* (Andrew Haigh) [*the title is linked to my “best of” movie list, where there is a brief capsule review of the film]
- Me and Earl and the Dying Girl (Jesse Andrews) – I prefer the movie to the book, which Andrews also wrote, and am very impressed with the way he adapted (and improved) his own novel.
- Room (Emma Donoghue) – same note as for Me and Earl, above: Donoghue adapted her own novel, and, in my opinion, improved it for the screen.
- Brooklyn (Yves Bélanger)
- Carol (Edward Lachman)
- Ex Machina (Rob Hardy)
- Mad Max: Fury Road (John Seale)
- Son of Saul* (Mátyás Erdély) [*the title is linked to my “best of” movie list, where there is a brief capsule review of the film] – this is such tour-de-force filmmaking, and mostly because the camera work is such an integral part of the storytelling.
- Amy (Chris King)
- Dope (Lee Haugen)
- Mad Max: Fury Road (Margaret Sixel)
- Red Army (Eli B. Despres & Kurt Engfehr)
- Twinsters (Jeff Consiglio)
[*3 of these are documentaries, which are among the hardest kinds of films to edit, given the huge amount of material to work with, from which one must, somehow, extract a coherent story.]
Best Production Design*:
- Carol (Judy Becker, Jesse Rosenthal, Heather Loeffler, Sandy Powell)
- Ex Machina (Mark Digby, Katrina Mackay & Denis Schnegg, Michelle Day, Sammy Sheldon)
- Mad Max: Fury Road (Colin Gibson, Shira Hockman & Jacinta Leong, Nicki Gardiner & Katie Sharrock & Lisa Thompson & Gena Vazquez, Jenny Beavan)
- Me and Earl and the Dying Girl (Gerald Sullivan, Sarah M. Pott, Diana Stoughton, Jennifer Eve)
- Room (Ethan Tobman, Michelle Lannon, Mary Kirkland, Lea Carlson) – so impressed with the design of the “room,” in which the first part of the movie takes place.
[*I include the Production Designer, Art Director(s), Set Director and Costume Designer, in that order, for each film]
Best Special/Visual Effects*:
- Ant-Man (Damian Fisher & Daniel Sudick & Tony Baldridge & Daniele Bigi & Lersak Bunupuradah & Eamonn Butler & Jon Capleton & Vincent Cirelli & Trent Claus & Adrian Corsei & Jonathan Davies & Russell Earl & Stephen Enticott & Neil Glasbey & Jamie Hallett & Tim Harrington & Dinesh K. Bishnoi & Simone Kraus & Mohen Leo & Jake Morrison & Simon Stanley-Clamp & Greg Steele & Florian Witzel & Alex Wuttke & Dominik Zimmerle & Loic Zimmermann)
- Ex Machina (Richard Conway & Sara Bennett & Stuart Farley & Nicolas Hernandez & John Lockwood & Andrew Whitehurst)
- Mad Max: Fury Road (Rob Gillies & Rob Heggie & Dan Oliver & Arthur Spink Jr. & Thomas Van Koeverden & Andy Williams & Aaron Auty & Dan Bethell & Glenn Burton & Albert Cheng & Anthony Chiarantano & Julian Dimsey & Laurent Hugueniot & Andrew Jackson & David Nelson & Marco Raposo de Barbosa & Katherine Rodtsbrooks & Tom Wood)
- The Martian (Neil Corbould & Steven Warner & Vincent Aupetit & Sara Bennett & Albert Cheng & Justin Cornish & James D. Fleming & Nicolas Hernandez & Anders Langlands & Chris Lawrence & Tim Ledbury & Mohen Leo & Brooke Lyndon-Stanford & Jason McDonald & Adam McInnes & Dale Newton & Louis Paré & Richard Stammers & Martin Waters)
- The Walk (Kevin Baillie & Sébastien Moreau & Viktor Muller & Isaac Partouche & Ronen Tanchum)
[*Too many people to mention all, so I include just the supervisor from the various teams, though the credits are complicated enough that I may be missing folks – or including too many – and for that I apologize]
Best Original Score*:
- Carol (Carter Burwell) – listen on iTunes
- Ex Machina (Ben Salisbury & Geoff Barrow) – listen on iTunes
- Inside Out (Michael Giacchino) – listen on iTunes
- Red Army (Christophe Beck & Leo Birenberg) – listen on iTunes
- Room (Stephen Rennicks) – listen on iTunes
[*These scores all worked beautifully with their movies, adding much to the storytelling without overwhelming it.]
What follows is a list of what I consider the best acting in films released in 2015. Four days ago, I published my list of best (and worst) films of the year, and most actors in most of those films turned in admirable performances. The same goes with directors. I see no need to publish a separate “best directors” list, since if the film is good, then I credit the director. A few actors and actresses in films which I did not put among my top choices still made into this new list, since they were so mesmerizing and memorable, even if the film was not.
Therefore, the actors and actresses listed, below – each with a clip of their performance (when available, and if none is available – or if the available clip is not very good – then I include the movie’s trailer, instead) – are the 5 per category (I stick with just 5, like the Academy, though this is sometimes difficult) whose work most stands out (for me) within the context of the film they’re in; those performances which most contribute to raising the quality of the movie. All movie titles are hyperlinked to my review, and if you follow that link, you can learn more about the movie, itself, and my thoughts on what makes that actor’s performance so special in that movie.
It’s so difficult to choose, but here goes (in alphabetical order by last name within each category):
Brie Larson, Room
Teyonah Parris, Chi-Raq
Bel Powley, The Diary of a Teenage Girl
Charlotte Rampling, 45 Years (no full review yet, so I link to my “best films of the year” page, where I have a capsule review)
Saoirse Ronan, Brooklyn
BEST SUPPORTING ACTRESS:
Joan Allen, Room
Elizabeth Banks, Love & Mercy
Kiersey Clemons, Dope
Olivia Cooke, Me and Earl and the Dying Girl
Alicia Vikander, Ex Machina
Paul Dano, Love & Mercy
Michael B. Jordan, Creed
Shameik Moore, Dope
Géza Röhrig, Son of Saul (no full review yet, so I link to my “best films of the year” page, where I have a capsule review)
Jacob Tremblay, Room
BEST SUPPORTING ACTOR:
Oscar Isaac, Ex Machina
Michael Peña, Ant-Man
Tony Revolori, Dope
Mark Rylance, Bridge of Spies
Alexander Skarsgård, The Diary of a Teenage Girl
[For an explanation of my blog post title, check out my “best of” list from 2013.]
So here we go … below you will find a number of lists, including: my top two favorite films of the year; my next 9 favorites; my next 9 favorites after that, for a total of 20 best films of the year; and, finally, my (lucky) 13 least favorite films of 2015. I also add, at the end (before the “worst” list), a list of films that may not have cracked my top 20, but which I enjoyed, nevertheless. My main criterion for liking a film this year seemed to be the following: did it surprise me and tell a story in a fresh and original way?
All of the films mentioned received some kind of theatrical or online release in 2015. Where I have previously written reviews of a movie, the title of that movie is hyperlinked to my original review. If I only wrote about a film after seeing it a film festival, then I link to that write-up, however short it may be. Where I have not (yet) reviewed a film – usually because the film has yet to be released in Baltimore – I have hyperlinked the title to the movie’s imdb page and written a (very) brief capsule review of it, just to explain what I admire (or don’t).
There are a few films not on the list that might have made had I seen them by now, but for various reasons I have not. Anomalisa,* for instance, hasn’t even opened in our area yet (but I’m seeing it, finally, next week). I missed The Black Panthers: Vanguard of the Revolution when it came to the Maryland Film Festival this past May, then missed it again when it opened at The Charles Theatre in town, and now I won’t be able to see it until it’s available for home viewing, in mid-February. It’s not going to be nominated for an Oscar (though Anomalisa may be), but it’s at least been mentioned on some people’s end of year’s lists. I also missed – even though it’s been available on Netflix for some time – Beasts of No Nation. I started it, but then got distracted. I watched almost 250 movies this year – not all new ones, for sure – and some TV shows, as well, so sometimes I just … drop the ball (plus, I do have a full-time day job). For the most part, the kinds of films that I review for Hammer to Nail – mainly, micro-budget indies – did not make it onto this list, as I wanted to only include films that non-press folks would have had some chance to see in theaters … or on Netflix.
Enjoy! In a few days, as always, I will publish a separate list of the best acting and technical/artistic achievements of the year.
Top 2 Films of 2015 (in alphabetical order):**
- Mustang (Deniz Gamze Ergüven, 2015)
- Directed and co-written by Turkish-born, Paris-based filmmaker Deniz Gamze Ergüven, Mustang tells the riveting tale of 5 young sisters, living in a provincial Turkish village, whose lives are turned upside down and inside out when an innocent, frisky game – with boys – in the waters of the Black Sea is misinterpreted by family members and neighbors, alike. Suddenly, the forces of tradition and morality conspire to to take away the freedom they have heretofore taken for granted. Like wild horses unwilling to accept the bridle, they fight back, but it’s not easy being young and female in a world where adult men have all the power. With a sure hand – all the more remarkable since this is her feature debut – Ms. Ergüven guides us through the intellectual awakening of her main characters and takes us on a journey of hope salvaged from despair that is a must-see for all. Despite her grand ambitions, the director never loses sight of her mission to entertain, and fills her movie with rich details and anecdotes, and even great humor. You’ll laugh and you’ll cry, both, and rejoice in discovering that cinema is not dead.
- Son of Saul (László Nemes, 2015)
- Unlike Mustang, this movie has no diverting moments of levity. How could it? It is a concentration camp procedural, taking us through the unbearably harrowing realities of 24 hours in the life of a member of the Sonderkommando (Jews chosen by the Nazis to serve in quasi-management positions over other Jews) at the Auschwitz-Birkenau death camp. This film is one long cry of horror, and also absolutely riveting. Another feature debut, Son of Saul is directed and co-written by Hungarian filmmaker László Nemes, who treats his subject with the appropriate revulsion while also giving us another Holocaust film that doesn’t feel like (just) another Holocaust film. This subject has been given, by now, so many different cinematic treatments that it’s hard to imagine there being anything new or fresh to say. And yet, somehow, Nemes does, indeed, offer a novel perspective. His main character, Saul, is a man with a problem – the classic dramatist’s trick – who, despite the nightmare in which he lives, is determined to solve it, giving the film an especially urgent drive. Nemes ups the film’s ante by keeping the camera close to his protagonist at all times. Indeed, much of what makes the film bearable to watch is that the Nazi atrocities are mostly out of focus and rendered through sound, since Saul is almost always in close-up. It’s a cinematic tour de force that teaches us much about the indomitable human spirit without in any way playing down the savagery of the Nazi genocide. It may be tough for some to watch, but it is well worth the effort.
The Next 9 (in alphabetical order):
- All Things Must Pass (Colin Hanks)
- Amy (Asif Kapadia)
- The Diary of a Teenage Girl (Marielle Heller)
- Dope (Rick Famuyiwa)
- 45 Years (Andrew Haigh)
- Director Andrew Haigh (Weekend) offers up what seems, at first, a gentle meditation on the ups and downs of a long marriage, with two beloved actors – Charlotte Rampling (Swimming Pool) and Tom Courtenay (Quartet) – giving terrific and nuanced performances as wife and husband of … 45 years. As the film begins, they are about to celebrate their wedding anniversary, with Kate (Rampling) – the spryer of the two – doing most of the planning. Beautifully shot in Norfolk, England, the film appears initially to offer nothing more than encomiums to a life well lived. Until it all changes, when a secret from the past emerges that threatens to undermine the security that Kate, especially, had so long taken for granted. See it for Rampling, whose face reflects the devastation wrought within as the life she thought she had been living slowly dissipates throughout the course of the film. It is a devastating journey, playing out like a thriller, except the chases and climaxes are all internal.
- Inside Out (Pete Docter)
- Me and Earl and the Dying Girl (Alfonso Gomez-Rejon)
- Room (Lenny Abrahamson)
- Twinsters (Samantha Futerman/Ryan Miyamoto)
The 9 After That (in alphabetical order):
- Ant-Man (Peyton Reed)
- I have a review already, so this is just a note added to deflect the surprise I know many will feel upon seeing this title here. The big budget action films that some critics have placed on their best-of lists are Mad Max: Fury Road and The Martian, both of which I liked a lot (see my final list of runners-up, below), but which didn’t catch me unawares the way Ant-Man did, which continued to surprise and delight throughout. That’s why it’s here.
- The Big Short (Adam McKay)
- Brooklyn (John Crowley)
- Carol (Todd Haynes)
- Listen to Me Marlon (Stevan Riley)
- Love & Mercy (Bill Pohlad)
- Red Army (Gabe Polsky)
- Spotlight (Tom McCarthy)
- What Happened, Miss Simone? (Liz Garbus)
- Musical biopics are tricky, and often fail when done as fiction films (though not in the case of Love & Mercy, also on this list). This movie, along with Amy (see above), proved how well the documentary format can serve such a complex subject. A brilliant portrait of a brilliant woman, directed by a terrific female documentarian, Liz Garbus (Bobby Fischer Against the World), What Happened, Miss Simone? takes us through the highs and lows of Nina Simone’s life and career, offering up an indelible portrait of an inimitable artist.
12 Final Films of 2015 that didn’t quite crack the top 20 (in alphabetical order):
- Best of Enemies (Robert Gordon/Morgan Neville)
- Clouds of Sils Maria (Olivier Assayas)
- Far from the Madding Crowd (Thomas Vinterberg)
- Going Clear: Scientology and the Prison of Belief (Alex Gibney)
- Unlike Gibney’s other film of the year, Steve Jobs: The Man in the Machine, this is a tightly constructed and well argued bit of investigative journalism. Based on the book of the same title by Lawrence Wright, the film takes us on a disturbing journey through the inner workings of the cult that is Scientology. If a tad overlong and overstuffed, the movie is still a solid piece of documentary filmmaking. It may seem strange that I include a Tom Cruise film (below) on this same list, despite the fact that Gibney’s movie reveals his own deep involvement in the revolting practices of his chosen faith, but I can’t help it, as that film is terrific fun. I beg your forgiveness.
- Macbeth (Justin Kurzel)
- Mad Max: Fury Road (George Miller)
- The Martian (Ridley Scott)
- Mission: Impossible – Rogue Nation (Christopher McQuarrie)
- The Overnight (Patrick Brice)
- 7 Chinese Brothers (Bob Byington)
- Straight Outta Compton (F. Gary Gray)
- White God (“Fehér isten“) (Kornél Mundruczó)
Worst 13 Films of 2015 (in alphabetical order):
- Fantastic Four (Josh Trank)
- Fifty Shades of Grey (Sam Taylor-Johnson)
- Hot Pursuit (Anne Fletcher)
- I did not review this, nor did I want to. It is stale and unfunny, and does no favors for its two stars, Reese Witherspoon (Wild) and Sofia Vergara (Modern Family), nor for its director, Anne Fletcher (The Proposal), who has done (nominally) better before. I don’t even think this would be funny on an airplane.
- In the Heart of the Sea (Ron Howard)
- Jupiter Ascending (The Wachowskis)
- The Longest Ride (George Tillman, Jr.)
- Lost River (Ryan Gosling)
- This is a great vanity project for its director, Hollywood star Ryan Gosling (Drive), who, in his debut as a director, throws everything but the kitchen sink into mix – strike that, the sink is there, too – without achieving anything of merit. Beautiful to look at and utterly incomprehensible, the film is also so tedious that its mere 95-minute length ends up feeling like twice that.
- Magic Mike XXL (Gregory Jacobs)
- San Andreas (Brad Peyton)
- Seventh Son (Sergei Bodrov)
- Sisters (Jason Moore)
- Southpaw (Antoine Fuqua)
- Where to Invade Next (Michael Moore)
- I used to like Michael Moore, back when he was less convinced of his own goodness. From the time of his documentary debut Roger & Me up to and including his Oscar-winning Bowling for Columbine, he seemed like one of those ideologically driven filmmakers whose work was entertaining enough that even those who might disagree with his ideas might enjoy his filmmaking enough to stick around until the end, thereby walking away with a nugget or two of new information. But then, post-Oscar, Moore began to believe his own press clippings, and now, with his latest film, Where to Invade Next, he offers up nothing that we haven’t heard or seen from him before. Worse, he is has devolved into such a smug and self-congratulatory filmmaker that he no longer feels the need to present actual research on screen, assuring us that because he believes in something, it must be true. In this film, he takes us on a journey across randomly chosen countries (he never explains those choices) that ostensibly provide better services and lifestyles to their citizens than we do in the United States, and then presents only one or two examples to back up his claims before moving on to the next country. It is lazy filmmaking at its worst. If you agree with everything Moore says, then you’ll nod along in joy; if, like me, you expect some actual journalistic information, you will be disappointed. As a good progressive, I find Moore – these days – more harmful than helpful to the cause.
*[from 1/20/16: when I finally saw it, I liked Anomalisa, but did not consider it good enough to be among my top films of the year. Maybe among the runners-up, however.]
**[also from 1/20/16: I have to add another film to my top of the top, making it a “Top 3,” and that is The Look of Silence