Recently, George Lucas caused a bit of a ruckus when he criticized Star Wars: The Force Awakens for being too "retro", declaring that he tried his best to do something completely different from film to film. He has since recanted his statements, saying that he used poor analogies (comparing Disney to "white slavers") and that he was honored to have Disney as custodians of his vision and was proud of the work J.J. Abrams had done on the film.
I'm sure that Lucas regrets saying what he did, but I don't think he didn't mean it. However, I would posit that innovation (New spaceships! All CGI effects! Jar Jar!) without respect for character and dialogue is far more useless than brilliant nostalgia. New and dumb is still dumb. Familiar and brilliant is still brilliant.
I start my year-end blog with this because I find that my favorite films this year (my number one film the exception) follow the familiar and brilliant mode. There have been terrific sequels, adaptations, and re-imaginings that play to the natural human inclination towards a beautiful mix of familiar and surprising. Familiar and surprising. Kind of a perfect way to describe this year in film.
First, my yearly disclaimer: I haven't seen everything. The list of acclaimed films that I have yet to see include Mad Max: Fury Road, Brooklyn, The Walk, Pawn Sacrifice, and countless others. I do get to the theater more than most, but I'm still an amateur, which means I see a very small fraction of the films that are released every year. That having been said, here's my year in review.
WORST OF THE YEAR:
Again, since I have to buy the tickets when I go to the movies, I tend to avoid movies that I suspect I won't like. Even so though, I did go to two movies against my better judgement and the recommendations of professional critics: Pixels and Fantastic Four. Both bad, but in very different ways. I was hopeful for Pixels because the premise is fun (although a total rip-off of the third segment from the Futurama episode, "Anthology of Interest II") and the special effects looked terrific. The movie was very much sold as a action-comedy in line with the likes of Men in Black. Unfortunately, it was just another horrible Adam Sandler movie occasionally interrupted by fun action sequences. The "jokes" were painful, the acting atrocious, and the plot developments (why did they have to forever ruin Q-Bert?!?) excruciating.
Fantastic Four was a different type of painful. Since the last Fantastic Four films were criticized for leaning too much on the humorous aspects of the comics, the makers of the reboot obviously decided that it would be better if their take offered no humor at all. Stoic, dour, and worst of all, boring, Fantastic Four was so determined to be different that it forgot to be good.
DISAPPOINTMENTS:
Minions - Cute. That's the best I can say about this movie. Many have criticized this film because it put the sidekicks in the starring roles, but the problem isn't the minions themselves. If anything they're the biggest asset. The problem is that it's not anywhere nearly as well-written as the Despicable Me movies. The voice-over actors do their best (Sandra Bullock and Jon Hamm are clearly having the time of their lives as the villainous Scarlet and Herb Overkill), but the actor can only do so much with a plot that never gets going and jokes that choose easy toilet humor over the wit of the original films.
Poltergeist - I don't know if this really belongs in the disappointment column. It's really as good of a remake of the original as could have been made. It's a well-directed, well-acted, effectively scary movie that ends as a tribute to the strength of love found in the nuclear family. The only problem? It's a remake of a movie that did all of those same things, only better. There's no sense of surprise, which is essential in a good scary movie. It hits every beat (the t.v., the tree, the clown, the closet) from the original. It would have been much more interesting to do a sequel with a new story, but for what it is, it's ok. It's merely unnecessary.
HONORABLE MENTIONS:
Tomorrowland - Brad Bird is a brilliant filmmaker and this movie had been his pet project for a number of years, so it's understandable that expectations were sky high for this bit of retro-scifi. Did it live up to the hype? Not really. The story is a bit thin and the film itself overlong, but it certainly has it's moments and it's unabashed optimism is certainly something that should be celebrated. The performances are warm and engaging throughout, the music by Michael Giacchino is pitch perfect, and it ends with my favorite final shot of the entire year. Tomorrowland isn't game changing, but it's a delightful place to visit.
McFarland, U.S.A. - This one almost made my top ten. I love this movie. It's unashamedly sentimental, hokey, and inspiring, and it's one of the most uplifting movies of the year. Disney does this type of underdog sports movie better than anyone and this story of determination and teamwork in a small, poor town is among their best.
Furious 7 - I have to be honest, I really hated this franchise at its inception. It was everything that was awful about modern Hollywood action films. I nicknamed the first movie "Pretty People Scowling." Then Fast Five happened. It was fresh and funny and surprising, with a vibe that was way more Ocean's Eleven than Fast and Furious. Fortunately, the latest installment falls in line with the previous two. It was utterly ridiculous, but unquestionably fun, with some of the best stunt work of any action film this year. Plus, it ends with a surprisingly heartfelt tribute to the late star of the franchise, Paul Walker. In fact, the ending was so perfect that I wish they would have just stopped the franchise there. However, the movie made 1.5 BILLION (?!?) worldwide, so it's no surprise that an eighth film is forthcoming.
Cinderella - Congrats, Disney! You not only made a film that didn't seem like a needless cash grab, but you made one that could understandably be considered the definitive telling of one of the most over-told stories in human history. This movie is breathtakingly lush and romantic, but at it's core is the vital message that kindness is more powerful than selfishness. What a better world we would have if everyone took that message to heart.
Jurassic World - If I were judging only on action sequences, this one would be high on the top ten list. Unfortunately, the characters are barely one-note and the gender stereotypes are beyond ridiculous. However, this is the first of the sequels to recapture the wonder of Spielberg's original vision. Had the plot and the characterizations been more thoughtful, this could have been one of the year's best.
TEN FAVORITES OF THE YEAR
10. The Peanuts Movie
For years, I have bemoaned the tendency of family films to perpetuate the same message: "Be yourself." I'm sorry, but while I understand the intent of that message, I have to assert that if everyone were to merely "be themselves" then no one would ever become more. No one would grow. No one would curtail horrible instincts. We would all just wallow in a never-ending sea of self-obsession.
The Peanuts Movie, however, has a very different message at it's core: "Be kind, be honest, be willing to sacrifice." I would much rather entrust the future of the world to a generation that believes in these morals. Yes, the movie is simple, but Charlie Brown has never been more giving and heroic than he is in this wonderful little film. Of course, we know that Charlie Brown is the epitome of not fitting in with the crowd, but this story gives him ample opportunities to be a "winner" in the eyes of his classmates. It's something he's yearned for since his humble beginnings on the funny pages in the 50's. Yet, he finds being an unsung source of selfless kindness the better path. If only for it's beautifully and tenderly executed message, The Peanuts Movie is almost revolutionary in an increasingly selfish society, and therefore deserving of high praise.
Yeah, I'm cheating. Technically, there will be eleven movies on my list, but it's my list, so there you go. These movies are both pretty terrific examples of why Marvel Studios is kind of ruling the world right now. Avengers: Age of Ultron (or as Honest Trailers calls it, Avengers: Roughly One Week of Ultron) has all of the wit, action, and exciting character dynamic as the original (contrary to what some of the more vocal critics have said). By dint of being the second time we've seen these characters together, it can't be as joyfully surprising as the first Avengers movie, but this is still a delight from beginning to end. It's been pretty publicly stated that the filming of this almost killed director Joss Whedon, but his trademark ease with humor and character are all over this movie as he uses an apocalyptic superhero movie to analyze the importance of, and the intricacies surrounding the concept of family, specifically the dynamics of generations replacing the ones that came before. This film stands up to multiple viewings well, with each frame filled with action, drama, and humor.
Ant-Man on the other hand is a much smaller movie, and not just because of the stature of the titular hero. It follows the basic plot structure of the original Iron Man film, but it does so by way of an Ocean's Eleven-style heist movie and it does so splendidly. Paul Rudd is a perfect choice for the lead as he is one of the only actors in Hollywood who can simultaneous portray sincerity and sarcasm with equal authenticity, and that combination makes Ant-Man feel like a snarky action-comedy with a surprising amount of heart. Personally, I can't wait to see this character interact with the more famous of his MCU cohorts.
Mr. Holmes is a highly intelligent film that imagines Sherlock Holmes as an octogenarian facing the challenges of increasing senility. He spends the bulk of the movie trying to recount the specifics in the case that led him to retirement, but he finds his flashes of inspiration more frequent as he spends time with the young son of his housekeeper.
This is a slow, simple, gentle movie that is propelled by terrific casting and atmosphere, and one of the best performances by one of the world's greatest actors, Ian McKellen. Portraying Holmes at two different ages, one before losing his mental faculties, one after his increasing memory loss, McKellen is extraordinary in this film. This is an example of a movie that would have been very good regardless, but with this performance, it's great.
Aardman Animation has been a critically-acclaimed powerhouse for decades now, but to be honest, it's been quite some time since I've felt they achieved the heights of brilliance they displayed in the 90's. Shaun the Sheep Movie is a return to that brilliance. Shaun manages to be hilarious, fast-paced, and filled with heart, while doing so without a single line of dialogue. That's right, this is like an animated, very British, Buster Keaton movie with complex visual gags and delightful characterizations galore. If you yearn for the brilliance of Wallace and Gromit, it's here in full display. Enjoy!
When I say that Tom Cruise is utterly insane, it's not meant as an insult. Is there any other big-time Hollywood movie star that would dangle from the side of a plane as it takes off and flies for the sake of keeping the audience involved? While I'm not convinced he's a great person, there's no question that he's 100% devoted to his craft, and that devotion is on display in every sequence of Rogue Nation.
Besides Cruise and his insane work ethic, this movie is filled with other virtues. It's thrillingly paced and impeccably cast, with a particular stand-out performance from Rebecca Ferguson as a British agent with unclear loyalties. This franchise has gotten into the bad habit of making the female characters disposable. Here's hoping Ferguson bucks the trend and returns because she's fantastic.
I know that this is considered heresy, but I actually think Creed is a better film than the original Rocky. Sure, it's mostly a beat-for-beat remake and it's missing the original's rough and tumble charm, but Creed is a much more focused journey and, frankly, contains a more nuanced and depth-filled performance from Sylvester Stallone, a performance that will surely garner an Oscar nomination if not a win.
The rest of the performances are terrific as well, especially Michael B. Jordan as the son of boxing legend Apollo Creed and Tessa Thompson as his "Adrian", the immensely likable and talented Bianca. Director Ryan Coogler skillfully balances sentiment, drama, and character resulting in a movie that manages to enthrall and inspire. Gonna fly now, indeed.
4. The Martian
I haven't read the celebrated novel upon which this movie is based, but considering the extraordinary achievement of this film, it must be one heckuva read. Matt Damon turns in a career best performance as Mark Watney, an astronaut mistakenly thought for dead and left behind after an expedition to Mars. His efforts to survive and make contact with the world beyond are reminiscent of Tom Hanks' similar journey in Cast Away, but The Martian is not only a taut survival drama, but a surprisingly funny character study.
The Martian is also one of the best films in the career of director Ridley Scott, and that is high praise indeed. Every frame is a work of art and every emotional hit is perfectly balanced. The Martian is, quite simply, one of the most thoughtful, inspiring, and exquisite works of cinematic science fiction in film history.
Bridge of Spies, the true story of an insurance lawyer, played by Tom Hanks, who is roped into representing an accused Communist spy at the height of the cold war, could not be a more timely film in our political atmosphere of building walls and de-humanizing anyone considered "the enemy." As the film progresses, there is no question of the guilt of the accused (Mark Rylance, in an Oscar worthy performance), however, the movie shows that, in spite of the differing world views of the two characters, they are both indisputably, sometimes painfully, human, and as a result, actually capable of understanding and respecting one another, even while disagreeing.
Spielberg shows, once again, that he knows how to handle a camera like no other living filmmaker. He's an expert about showing, not telling, giving us all the information we need without depending on an over-expository script. Speaking of the script, it's a work of subtle nuance and memorable dialogue created by Mark Charman and the Coen brothers (yes, those Coen brothers). While it does contain the Coen brothers celebrated humanity and quirk, it also has a refreshing optimism that has certainly not been the hallmark of their writing style. A masterwork that stands proudly among Spielberg's best.
2. Star Wars: The Force Awakens
I have great respect for the talent and vision of George Lucas. However, I have to state emphatically that his views about J.J. Abrams epic, nostalgic, surprising, heartbreaking, thrilling, deftly funny take on the Star Wars legacy are simply wrong. That having been said, I very much appreciate that he had the humility to step aside and realize that he was not going to give the legions of Star Wars fans the movie they had been longing for since 1983. In fact, the kindest thing that he said about Episode VII is that it was definitely a movie for the fans, and he's not wrong about that.
Yes, The Force Awakens has a plot structure that will be familiar to fans of the original trilogy, especially of the first Star Wars. Yes, it has a desert planet and a snowy planet. Yes, there's a droid with valuable information being hunted by the bad guys. However, for every moment of nostalgic familiarity, there are three or four of thrilling surprise.
One of the most delightful things about The Force Awakens is a re-dedication towards character and dialogue. Instead of the prequel's stilted plotting and painful dialogue, we're given characters rich with hope and possibility, and dialogue that will likely stand tall among the most quoted lines of the original trilogy. Plus, we get a villain that is not only intriguingly flawed, but a very pointed commentary on fandom gone horribly, horribly wrong.
J.J. Abrams was absolutely the right man for the job. The Force Awakens is the best Star Wars movie we've seen in at least 35 years, if not more.
1. Inside Out
Let me be clear, I loved Star Wars: The Force Awakens. I could not have loved it more. It's one of the most enjoyable and thrilling blockbusters in decades. However, Inside Out did something that not even Star Wars could do. It changed me.
A day-glo colored fantasy about the inner-workings of the mind of an 11 year-old girl, Inside Out is a work of absolute genius, but beyond the imagination bursting from the seams of this instant classic film, it is a movie that makes us think about the way we interact with one another and how we choose to develop our personalities and emotions. Since my first viewing of Inside Out, I've had countless conversations with my wife about subjects that it brought up. What islands of personality am I creating? Which emotion do I let run the controls and why? Can I truly be empathetic with others if I can't communicate my own sadness? Isn't is interesting that the most profound moments of joy I've experienced in my life have often been preceded by sadness? Are memories associated with mixed emotions inherently more powerful? When's the last time any film, let alone an animated "children's" film, inspired such personal reflection?
Also, what a wonderful way to engage in a dialogue with children about their emotions. Director Peter Docter wrote Inside Out in an effort to understand his tween daughters' increasing eye-rolls and sass-talk, but what he did was create a masterpiece that is so complex and rich that it's legacy will not merely be found in its entertainment value, which is extraordinary, but also in its ability to inspire personal introspection and change. It's this kind of power that elevates this from being a mere movie to being a profound and lasting work of art.
Well, there is is, 2015. A fun and history-making year of film. Now to look forward to dawns of justice, civil wars, forgetful fish, rogue rebels, and going where no one has gone before in 2016. Should be fun!
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