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Film Babble Blog’s Top 10 Movies Of 2015 (With Spillover)



As the Academy Award nominations are going to be announced tomorrow, I thought it was finally time to unveil my top 10 movies of the last year. I saw over a hundred movies on the big screen in 2015, and I found it to be a good, not great, year for film. 


There are a number of notable films I haven’t seen yet, but, of course, you can never see ‘em all. So let’s get right to my favorite motion picture picks of ’15, in descending order:



10. ROOM (Dir. 

Lenny Abrahamson)




Like I said in my review last fall, if Brie Larson doesn’t get a Oscar nomination for her harrowing role as a woman who’s been held captive in a backyard shed for five years taking care of her five-year old son (the result of a rape by her abductor), I’ll be very offended. The kid (Jason Tremblay) was pretty 
“on” too.


9. THE MARTIAN (Dir. Ridley Scott) Astronaut and can-do acheiver Matt Damon sciences the shit out of his predicament of being stuck on Mars, and it makes for an inspirational epic of cerebral sci-fi. Read my review here.

8. INSIDE OUT (Dirs. Pete Docter & Ronnie Del Carmen)


It’s been five years since a Pixar film made my top 10, and this one definitely wins a placing because, as I wrote last summer, it pulls every heartstring there is.

7. THE HATEFUL EIGHT
(Dir. Quentin Tarantino)



The Eighth Film by Quentin Tarantino, as it’s identified in its opening credits (who else does that?), is his most divisive work for sure, but its bloody Western mix of THE THING with RESERVOIR DOGS, with a splash of Agatha Christie, really entertained the bejesus out of me. Here’s why.

6. ANOMALISA (Dir. Duke Johnson & Charlie Kaufman)



A stop-motion emotional masterpiece from the guy who brought you BEING JOHN MALKOVICH, ADAPTATION, and SYNECDOCHE, NEW YORK. And it’s the second film on my top 10 that has Jennifer Jason Leigh in it! My review of this delightful yet unnerving piece of high art will be posted when it opens in my area later this month.


5. CAROL (Dir. Todd Haynes)



Todd Haynes’ film follow-up to one of my favorites of 2007 (I’M NOT THERE) is a sophisticated, complicated, and immaculately artful look at a lesbian love affair in the oppressive era of 1950s New York City. The performances by Cate Blanchett and Rooney Mara are as pitch perfect as their setting. Read my review.

4. MAD MAX: FURY ROAD
(Dir. George Miller)



As I wrote in my review last May, George Miller’s fourth entry in the MAD MAX series is a “brutally brilliant blast”; “an orgy of fire-breathing cars, pole-swingers, chainsaws, steampunk thugs, and gas fire explosions all given a heavy metal soundtrack by a masked musician with a flame-throwing electric guitar atop a vehicle piled with amplifiers.” And it’s even more awesome than that sounds.
3. SICARIO (Dir. 

Denis Villeneuve)




As modern action movies go, as much as I loved MAD MAX: FURY ROAD, this superbly dark cartel counterinsurgency thriller got to me more. The terrifically intense turns by Emily Blunt and Benicio Del Toro have a lot to do with that. My review.

2. THE REVENANT
(Dir. Alejandro González Iñárritu)



Leonardo DiCaprio deserves (and will probably get) the Oscar for what he went through in the punishing wild here, but I predictTom Hardy will at least get a nomination too for his supporting part. The film itself, as well as Iñárritu, may also get nods, but coming after last year’s win for BIRDMAN, I wouldn’t bet on it. My review.


1. SPOTLIGHT (Dir. Tom McCarthy)



Tom McCarthy’s fifth film, his follow-up to last year’s infamous Adam Sandler flop THE COBBLER (WTF?), which focuses on the Boston Globe’s “Spotlight” team into the scandal of child molestation and systematic cover-up within the Catholic Church, is a clean, precise procedural about a extremely messy, and unsettling subject. 


The perfect storm of an excellent cast including Michael Keaton, Mark Ruffalo, Rachel McAdams, John Slattery, and Liev Schreiber; a sharp, involving screenplay, along with its top notch editing, score, and Masanobu Takayanagi’s cinematography all collide together to make this my #1 movie of 2015. I’ll be shocked if the Academy doesn’t reward multiple categories for this one. My review.

Spillover: In no particular order, here’s a bunch of other 2015 favorites:

LOVE & MERCY (Dir. Bill Pohlad)


THE BIG SHORT (Dir. Adam McKay)



STRAIGHT OUTTA COMPTON (F. Gary Gray)



AMY (Dir. Asif Kapadia)



THE END OF THE TOUR (Dir. James Ponsoldt)


Legacyquel Tie: STAR WARS: THE FORCE AWAKENS (Dir. J.J. Abrams) / CREED (Dir. Ryan Coogler)

STEVE JOBS (Dir. Danny Boyle)

THE WALK (Dir. Robert Zemeckis)


EX MACHINA (Dir. Alex Garland)


THE SALT OF THE EARTH
(Dirs. Juliano Ribeiro Salgado & Wim Wenders)

WHILE WE’RE YOUNG
(Dir. Noah Baumbach)



MISSION IMPOSSIBLE: ROGUE NATION (Dir. Christopher McQuarrie) – Hey, it’s a lot better than SPECTRE!


So, those are my picks for 2015. Let’s see what Oscar has to say about it tomorrow morning.


More later…

SPOTLIGHT: A Journalism Procedural That Really Crushes It


Now playing at both multiplexes and indie art houses:

SPOTLIGHT (Dir. Tom McCarthy, 2015)

Tom McCarthy’s SPOTLIGHT is everything that James Vanderbilt’s Rathergate drama TRUTH wanted to be – a vital journalism procedural that actually has the facts to back up its case.

The film focuses on the 2002 Pulitzer Prize-winning investigation by the Boston Globe’s “Spotlight” team into the scandal of child molestation and systematic cover-up within the Catholic Church.

The investigation is spearheaded by editor Martin Baron (Liev Schreiber), who has just joined the paper after a buyout. Baron tasks the team – made up of editor Walter “Robby” Robinson (Michael Keaton), and reporters Mike Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams) and Matt Carroll (Brian d’Arcy James) – to dig into the case against Father John Geoghan, a Catholic priest charged with sexual abuse of over 80 children.

The staff reports to assistant managing editor Ben Bradlee Jr., son of legendary Washington Post editor Ben Bradlee of Watergate fame (see ALL THE PRESIDENT’S MEN) sharply played by John Slattery of Mad Men fame.

To prove that Cardinal Law found out about Geoghan 15 years earlier and did nothing, the Globe sues the church to obtain access to incriminating documents, something that may alienate the paper’s readership, 53% of which are Catholic.

With the help of lawyers Mitchell Garabedian (Stanley Tucci), and Eric MacLeish (Billy Crudup), it doesn’t take long for the team to uncover that close to 90 priests in the Boston area have been accused of sexual misconduct.

McCarthy certainly atones for his previous film, the atrocious Adam Sandler vehicle THE COBBLER, with his passionately meticulous work here. The camerawork, shot by cinematographer Masanobu Takayanagi, is straightforward as is the editing, as no flashiness is required to enhance the swift, compelling storytelling on display.

Many films have great casts, but SPOTLIGHT is my vote for best ensemble of 2015. Keaton, who was wrongly passed over by the academy for his performance in BIRDMAN last year, could be back in the Oscar race for his stellar turn here. Ruffalo, whose reaction to the enormity of the scandal is the most emotional, also stands out, and McAdams puts in her second solid performance of the year (SOUTHPAW was the first one). Schreiber, Slattery, James, Tucci, and Crudup crush it as well – man, this film is really a boy’s club! – and a few non-names such as Neal Huff and Michael Cyril Creighton shine in roles as outspoken victims.

I bet that, much like its classic newspaper drama predecessors ALL THE PRESIDENT’S MEN and ZODIAC, this is a film that will reward repeat viewings. Its pace and construction is tightly wound, but still takes time for some interesting moments in-between the unveiling of events – i.e. a shot of Scrieber looking for the publisher’s office, a beautifully framed shot of Ruffalo, James, and McAdams working at their desks with Keaton in his office behind them (see above).

SPOTLIGHT will definitely make my top 10 films of 2015 list, and I’ll be pulling for it come Oscar time. The acting, screenplay, editing, direction, Howard Shore’s stirring score, etc. should all be acknowledged in the upcoming awards season.

More importantly, it should be seen. It has a lot of competition and isn’t playing on a huge amount of screens so folks should really seek it out. Too many great films slip through the cracks and are largely overlooked. Don’t let that happen to the brilliant, intelligent, and über insightful SPOTLIGHT.


More later…