Okay, I know it’s February 2016. I am well aware that the year I am writing about right now ended 56 days ago. One of the problems with not being a critic or a film festival hopper is that it takes a while to get to see all the films you want to see from a given year. It wasn’t until about a week ago I felt confident putting down what I considered to be my favorite films of this surprisingly solid year of cinema. Sure, there were some stinkers in 2015; some films that didn’t quite live up to the hype, films that disappointed movie goers across the country, and even some that are getting tons of praise that I just don’t understand and may even win a bunch of Oscars!
Unrelated image from The Revenant
But, we’re not here to talk about the bad films.
Unrelated image from Chappie
I said we are NOT here to talk about the bad films. We’re here to talk about the ones that I liked the most! It was tough narrowing it down to just ten. There were many films I had to chop off of the list (which was quite tragic), but I can stand by the 10 films I present for you below. I will note before we begin that I have NOT seen all of the films I’d like to see from 2015. Some notable blind spots are Mustang, Anomalisa,Embrace of the Serpent, Creed,Youth, and most importantly Bone Tomahawk (which I know is streaming on Amazon Prime, so I don’t know what I’m waiting for).
Anyway, without further adieu, here are my top 10 films of 2015.
About 20 years ago, a weird new sort of cartoon graced the screens of our theaters. It wasn’t drawn by hand, but animated using computers. It was odd, it was cool, it was new. At 8 years old, that kind of stuff mattered. I desperately wanted to like cool things, and this movie seemed like it was made for me. So, I managed to convince my mom to let me tag along with my older sister who she was going to the theater to see this movie with some friends (much to the embarrassment of my sister). That movie was TOY STORY, and it was my first encounter was the studio known as Pixar.
This film about toys that came to life when their owners weren’t around was funny, it was sweet, it had great characters, and most importantly, it had a great story. It was instantly my new favorite cartoon movie. “How can that be your favorite?”, a friend asked me upon that apparently ludicrous statement. “They don’t even sing!” It didn’t matter to me, I hadn’t even noticed. I was transfixed on something else, something I couldn’t even quite put my finger on. At least, not at that time.
SPOILER WARNING: In this article, I’m going to be discussing a number of key plot points for my Criterion Blogathon film of choice, THE BROOD. If you haven’t seen the film (and you should), or care about spoilers, perhaps you shouldn’t read the essay below. I realize this is a great way to maintain regular viewership for my new blog and promise to be less spoilery (even for 36 year old films) in the future (unless otherwise noted). Anyways, without further adieu, let the blogathoning begin.
Monsters have always fascinated movie goers. From Nosferatu in the early twenties, to Frankenstein in the 30s, to Godzilla in the 50s and 60s, to the zombies of today, audiences love a good monster. They are a foreign force, something wicked that taps into our instinctual fear of predators that go bump in the night. But, what happens when the real monster isn’t some mythical creature? What about when the real monster is us?
So, what better film to discuss on the topic of human monsters than David Cronenberg’s THE BROOD? What, did you expect a compelling human drama, or period piece that highlights the darkest aspects of the human soul? No, I’m going to talk about a film with actual, albeit unconventional monsters.
One of the first things you learn when you’re learning to become a screenwriter is that your protagonist (see: main character) should be likable. It makes sense, you want someone the audience can see themselves in so they can form an emotional attachment to their plight and their story. Considering that most people see themselves as “good”, you obviously want your main character to be some form of “good guy” with a few flaws to humanize him or her. But what happens when the story you want to tell doesn’t call for a good guy? What if your story is about bad guys?
Lobby card for NIGHT AND THE CITY
1950’s NIGHT AND THE CITY, directed by Jules Dassin and written by Jo Eisinger, based on the novel of the same name by Gerald Kersh, is a prime example of a film with dastardly, wicked, and some may say irredeemable characters. A staple of noir, NIGHT AND THE CITY is the story of Harry Fabian (played by Richard Widmark), a hustler and insufferable heel, and his attempts to make it big in the seedy underworld of the East End of London. He finds what might be his last and only shot in wrestling, an industry controlled by ruthless gangsters and racketeers. His doomed journey towards the big time is speckled with a fantastic and equally dark supporting cast, including Phil Nosseross (played by Francis L. Sullivan), a portly and imposing gentleman who owns the Silver Fox nightclub, his wife Helen (Googie Withers), a conniving femme fetale, Kristo (Herbert Lorn), the dangerous racketeer who runs wrestling in London, and The Strangler (Mike Mazurki) one of Kristo’s violent and unstable star-wrestlers.