Tag Archives: Catholicism

Top Ten Films of 2015

2015 was the year of change.

As I sit here, thinking about how this year ends and the next one begins, that’s the thought that keeps coming to my mind. I’ve changed this year. Not just me, but everyone else this year. People changed after terrorists attacked the city of Paris twice in both January and November, killing more than 140 people in total. People changed when business mogul Donald Trump announced his campaign for presidency in June, and as voters continued to debate the upcoming elections and how important it is to elect the right leader for the future of the U.S. People changed when war raged on in Syria, consuming over 200,000 lives as they died trying to escape their reality and come into Europe or the United States.

People all around the world changed as tragedy struck it again and again. It is years like these that remind me that we need the movies now more than ever. Not just to comment and bring exposure to the different realities we don’t know about, but also to escape from them when we need to.

It is times like these where I am overjoyed that the movies decide to change with us. To not only bring us stories that we don’t know about, but also to give us emotions of insight, joy, angst, tragedy, anger, sadness, and hope as we see these characters growing and changing, just like we are.

A few notes I want to point out before going into this year’s top 10 list. First of all, this is my top 10 list, meaning not every critically acclaimed movie from the year will be on this list. Movies such as Steve Jobs and The Martian, for instance, were highly regarded by critics and audiences everywhere. Neither of those are in my top 10. If you want to see movies like those in your top 10 list, go to RottenTomatoes or iMDB. Or better yet, make your own and comment below. Either case does not affect me. Top 10 lists are supposed to be celebrations of your most cherished movies of the year. Not everyone will share your views, and indeed, you might disagree with one or two entries on this list.

And as another disclaimer, I have not seen every movie released this year. The biggest I have missed, perhaps, is Alejandro Gonzalez Inarritu’s The Revenant, which is NOT a 2015 release despite claiming it is on Wikipedia. It’s doesn’t get a wide release until Jan. 9, and as such, I will not be able to review it in time for this year, which sucks, but it’s Inarritu’s own fault. So sorry if a movie deserved to be on this list but couldn’t be. I’m only human.

Before we get into my top 10, I want to start by announcing my special prize for the year. For those of you that don’t know, the special prize is a honorary recognition I give to a limited-release film that was not heard about or seen by many moviegoers, but deserves just as much recognition, if not more so, than most of the movies on my list. Last year, that honor went to the Roger Ebert documentary Life Itself. This year, it goes to Bill Pohlad’s music biopic Love and Mercy, which tells the wonderful yet heartbreaking story about Beach Boy’s singer Brian Wilson, his battle with mental illness, and his overcoming of drug abuse and childhood trauma. Pohlad, who also served as a producer for The Tree of Life and 12 Years A Slave, debuts as a strong filmmaker all his own, not only understanding and implementing the visual art of storytelling, but also accurately appealing to the aesthetics of this complicated and personal biography. Actors Paul Dano and John Cusack are exemplary at portraying Wilson at different points of his life, and do well at showing how much this talented musician struggled with himself at any time period of his life. A small-budget summer release that squeaked by unnoticed by most, but is just as deserving to be seen as any wide-release blockbuster out there. Four stars.

10) Creed

Creed lives and exists in the shadows of its predecessors, but just like it’s main hero, it breaks away from the mold and builds a legacy all of its own. Adonis “Donnie” Creed (Michael B. Jordan) is the illegitimate son of Rocky Balboa’s (Sylvester Stallone) rival, Apollo Creed. When he decides to step into the ring himself, he enlists in the help of the Italian stallion to train him and become a fighter all his own. Writer-director Ryan Coogler, who is most known for 2013’s Fruitvale Station, approached this not as a sequel to a popular franchise, but rather as an intimate, personal story about one fighter’s deep aspirations. Jordan and Stallone demonstrate great chemistry with each other, even challenging the dynamic between Rocky and Mick in the original film. A hot-blooded sports drama through and through, let alone one of the best Rocky films, if you can call it that. Three and a half stars.

9) Avengers: Age of Ultron

A summer blockbuster that aims to outdo the original and misses it only by a hair, which is not a bad thing. The Avengers team up this time to take on the wickedly manipulative artificial intelligence Ultron (James Spader), who was created by Tony Stark, a.k.a. Iron Man (Robert Downey Jr.) to protect the Earth from super human threats. When Ultron goes rogue and become obsessed with human extinction, it’s up to the Avengers to stop him. Spader as Ultron is the best super villain performance I’ve seen in a Marvel movie to date. He doesn’t behave or talk like other androids. He is fluid and life-like, chaotic and radical in his thinking, acting more like a psychotic child rather than a logically driven A.I. Everything else in the movie lives up to the expectations you had from the first movie. The action is unique, visually complex, and eye-popping. The story is layered and intelligent, with characters bouncing witty and thought-provoking dialogue off of each other in perfect dynamics. The people over at Marvel continue to surprise me and make me believe in its cinematic universe. Let’s hope they can keep this up for the next 11 movies. Three and a half stars.

8) Concussion

A provocative sports drama that refuses everything we love about sports. Bennet Omalu (Will Smith) is a brilliant pathologist who, after performing an autopsy on a notable football player, discovers a lethal disease that is caused by repetitive physical trauma to the brain. Now teaming up with doctors and scientists to defend his findings, he prepares to take on the NFL and reveal the problems the league has been hiding for a long time. There are many people who will not want to see this movie due to their love and commitment for the sport. Yet, it is these same people that need to see this movie the most. Writer-director Peter Landesman, who was previously criticized for his 2013 political thriller Parkland, finds his niche here in a story that not many people knew about, or maybe didn’t want to know about. Smith is exemplary as Omalu, and from the movie’s most bravura scenes to its most tender, he hits every emotional note spot-on, all while not breaking his Nigerian accent. An unconventional, nail-biting thriller that demands to be seen and heard. Three and a half stars.

7) Mad Max: Fury Road

Never before has a movie broken so many many rules and get away with it. On a desolate and deprived planet Earth, former patrol officer Max Rockatansky (Tom Hardy) is on the run from the tyrannical warlord Immortan Joe (Hugh Keays-Byrne). When he gets caught up in a conflict involving Joe, road warrior Furiosa (Charlize Theron) and all of Joe’s wives, he needs to team up with them to escape the desert and free the women from Joe’s cruelty and control. There is no plot in this movie, only the resemblance of one. The plot, however, is not what matters. What matters is the spectacular, eye-popping action and explosions, and even a few moments of softly implied feminism in the picture. Hardy replaces Mel Gibson’s role well with hardened machismo and stiffness to his gesture and voice. Theron demonstrates great versatility, being firm and uncompromising in one moment, and emotionally exhausted and stricken in another. A film that’s politically driven and female empowering, all while being ridiculous and absurd in the most gleeful of ways. Three and a half stars. 

6) Paper Towns

The second of John Green’s novels to be adapted to film, with the first being last year’s The Fault In Our Stars. Quintin “Q” Jacobsen (Nat Wolff) is a regular high school student with regular friends, regular parents, regular life, and regular post-graduation plans. The one thing that isn’t regular in Q’s life is Margo Roth Spiegelman (Cara Delevingne), the girl on his block that he’s been in love with since they were kids. One day, after Margo completely vanishes, Q discovers clues Margo left behind for him to discover. Now convinced that Margo wants him to find her, Q starts piecing all of the clues together to find out where she has gone to convince her to come home.

It’s hard to look at this movie and not relate it to our own experiences in high school, in first love, in friendship, and in self-discovery. Wolff plays his role convincingly without overdoing it, portraying all of the joy, excitement, angst, ambition, and confusion a teenager has during his high school years. The supporting cast is just as essential in making John Green’s ordinary characters extraordinary. A genuine, funny, and passionate film that delves into both the truths and fantasies of growing up. Three and a half stars. 

5) Straight Outta Compton

One of the most compelling films I’ve seen this year. Straight Outta Compton follows the story of Dr. Dre (Corey Hawkins), Ice Cube (O’Shea Jackson Jr.), Eazy E (Jason Mitchell), MC Ren (Aldis Hodge) and DJ Yella (Neil Brown Jr.), and how these five men grew up in the streets and eventually formed the iconic hip-hop group N.W.A. The parallels this movie draws on is ingenious, and director F. Gary Gray is exemplary in realizing the African-American struggle in a poverty-stricken neighborhood. What’s most captivating is the fact that the movie isn’t pro-police or anti-police or pro-gangs or anti-gangs. It shows the ugliness of every side of Compton, whether it exists on a badge or on a bandana. A great film that sets out not to show who’s right or wrong, but simply what is. Four stars.

Note: While among the year’s best, it’s important to note that ‘Straight Outta Compton’ deserves every syllable of its R rating and then some. F-words fly out like bullets from an uzi. Nude and scantily-clad women flock to rappers in herds, and in some cases engage in explicit sexual acts in public. Police and gang members also equally engage in very violent confrontations. This is your warning. If you hate hip-hop, you will hate ‘Straight Outta Compton.’ 

4) Sicario

A permanent, chilling, and disturbing portrait that remains with you long after you’ve left the movie theater. FBI agent Kate Mercer (Emily Blunt) is recruited for a special op with CIA officer Matt Graver (Josh Brolin), who tells Kate they’re going to bring down the Mexican cartel. As Kate digs deeper into the pursuit of its leader, she soon discovers secrets darker than any drug lord or government official can hide from her. This is a nearly perfect film in which all of the elements form together into an excellent scope of filmmaking. The cast is brilliant and could catch your attention just by reading their lines. Director Dennis Villeneuve evokes a sense of hopelessness and desperation from its setting. The cinematography by Roger Deakins captures the aesthetic perfectly, while editor Joe Walker cuts skillfully in between angles and shots to help construct coherent ideas in the viewer’s minds. Sicario is Spanish for hitman. I don’t know what disturbs me more: knowing who the Sicario is, or who are the people that he’s hunting. Four stars.

3) Spotlight 

A necessary film that makes you think about the people that you don’t normally think about, the problems that you don’t think exist, and the secrets that you don’t think are being hidden behind prayers and confession booths. Based on the Boston Globe story on the 1990 Church abuse scandal, Spotlight follows the investigative reporting team that discovered that the Catholic church was covering up for priests that had sexually abused children at their parishes. When they find out how big the problem really is, they work to get to the bottom of the story and hold the people accountable for the grave sins they’ve committed. Featuring an all star cast including Michael Keaton, Mark Ruffalo, Rachel McAdams, Brian d’Arcy James, Liev Schrieber, John Slattery, and Stanley Tucci, Spotlight is a movie that uses its actors not as the foundation for its story, but as the catalysts to show how urgent this epidemic really is. Writer-director Tom McCarthy, who was raised Catholic, juggles this behind-the-scenes story with real people’s traumas and emotions in mind, resulting in a portrait that is genuine, astounding, mind-blowing, and heartbreaking all at once. Not the best film of the year, but easily the most important. Four stars.

2) Inside Out

Another colorful Pixar masterpiece that uses reality as its springboard for creation and fantasy. The emotions Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Disgust (Mindy Kaling), and Anger (Lewis Black) make up 11-year-old Riley Anderson (Kaitlyn Dias), who just recently moved with her family from Minnesota to San Francisco. As Riley goes through the changes in her life, her emotions go through a roller coaster of an adventure to make Riley’s life a happy, sad, fearful, disgusted, and angry one. The animation reaches out to you in vivid detail through its vibrant colors and ambitious landscapes, creating a beautiful universe in Riley’s expansive mind. What’s most meaningful, however, is its story. Writer-director Pete Docter (Monsters Inc., Up) uses the human psyche as his narrative playground, telling a thoughtful story on the emotions we experience and how they all make up who were are. Like the wacky emotions in Riley’s curious little head, Inside Out is a uniquely original force to be reckoned with. Four stars.

1) Star Wars: The Force Awakens

Are you really that surprised? Star Wars: The Force Awakens is a sheer blast of nostalgia, meaningful and joyous from it’s opening scroll credits to when John William’s score crescendos in the last shot. Taking place 30 years after the events of Return of the Jedi, Star Wars: The Force Awakens follows a new group of misfits as they suddenly get tangled into this intergalactic conflict involving heroes and villains both old and new. J.J. Abrams revitalizes George Lucas’ cherished sci-fi series for a new age, updating it with creative and interesting characters that makes this a strong story on its own, not just a strong Star Wars story. The cast is exemplary, with newcomer Daisy Ridley shining the most out of the whole group. We’ve seen an updated Star Wars for a modern audience before, and that was in the lopsided and disappointing prequel trilogy. Now we have The Force Awakens, and it’s so good that it’s eligible to compete with the original. Four stars.

Honorable mentions go to the smirkingly funny and genuine Trainwreck, the thought-provoking sci-fi drama Ex Machina, the intelligent and maddening The Big Short, and the disgusting yet wickedly genius western The Hateful Eight. All of those deserved a placement on this list, but unfortunately, did not deserve it as much as others. They are still among the year’s best.

Thank you to my readers for experiencing 2015 for me. I look forward to the changes we will go through in 2016, as I do with the movies.

– David Dunn

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“SPOTLIGHT” Review (✫✫✫✫)

“Shine a light, and let the whole world see.”

In the Boston Globe story on the 1990 Church abuse scandal, the Spotlight team reported that there were over 130 sexual assault victims from just one Catholic priest. In the film Spotlight, we eventually learn that over 80 Boston priests were sexual predators, and were being continuously circulated from parish to parish. If those numbers are consistent, how many victims of sexual assault does that spell out for Boston? My math came down to over 10,000.

I don’t know if that’s accurate because I haven’t dug much further into the Boston Globe’s reporting, but I don’t think that matters. What matters is that Spotlight made me think of those victims. It made me think about the people that you don’t normally think about, the problems that you don’t think exist, and the secrets that you don’t think are being hidden behind prayers and confession booths. Like any great piece of reporting, Spotlight brings importance, urgency, and truth that needs to be known about. If Spotlight isn’t the best film of the year, it is definitely the most important.

The Spotlight team consists of lead editor Walter Robinson (Michael Keaton) and reporters Matt Carol (Brian d’Arcy James), Sacha Pfeiffer (Rachel McAdams), and Michael Rezendes (Mark Ruffalo). The team is specifically reserved for investigative reporting, previously breaking stories on transit mismanagement and political corruption in Massachusetts. At the time when they were given this assignment, it was not as a follow-up to a news story, but to a column written and published by one of the Globe’s staffers.

At first, no one really thought much of the project. When originally pitched, it had to do with the Catholic church finding out that one priest had sexually assaulted children in six different churches, and did nothing about it. But when the team kept digging, they found out that it was bigger than they anticipated. Much bigger.

While watching Spotlight, I was thrusted upon an early memory of one of my first major news assignments. It was a story called “Seconds Away,” and it was about a university alumna who was just seconds from crossing the finish line before it blew up during the Boston Marathon bombings in 2013. The story wasn’t that she survived. It was that she went back the following year to finish crossing the line that she never did.

While getting ready for our interview, I was excited, nervous, and petrified all at once. This was a woman who had survived a near-death experience. She had faced something few other people have had to face, myself included. I didn’t know how to approach it. Was she comfortable with me talking to her? Would I be insensitive by asking serious questions? Would I be disrespectful by asking what was going through her mind? What would that say of me as a person, by asking her to relive something traumatic that she already went through?

The reporters and editors behind Spotlight face these same questions and concerns of morality every day they step into the office. Yet, they handled this difficult subject in the same way that the movie does: with grace and respect.

The greatest thing that can be said about Spotlight is its transparency: in how its characters charge towards this groundbreaking story and the emotions and conflicts they experience while doing their jobs. Writer-director Tom McCarthy, who was raised Catholic, juggles this behind-the-scenes story with real people’s traumas and emotions in mind. The result is a portrait that is genuine, astounding, mind-blowing, and heartbreaking all at once.

Take the interview scenes as a demonstration of this. During the film’s first scenes, Spotlight reporters sit down with a few sex abuse survivors, their brokenness and vulnerability made evident on the spot. The interesting thing you’ll find in between these intercut scenes is that it’s not Rachel McAdam’s mannerisms we’re noticing. It’s not Mark Ruffalo’s reactions or face of shock we’re noticing. It’s the supporting actors playing these victims, whom I can’t even identify off of the film’s cast list. Every detail of them is absorbing and introspective.

We notice the gay man in a coffee shop as he twiddles his thumbs nervously on his coffee cup. We notice the skinny drug addict sweating, entering the room cautiously, seeing scars up his arms from when he injected himself with heroin. We notice that while their testimonies are overwhelmingly tragic, they talk about it casually and on a whim; like it’s a scar that has already been healed, but will never go away. We listen to their silence as they quietly relive their traumas, the quivering in their voice as they slowly speak, the tears building up in their eyes as they come to once again realize what they are. I find that so compelling, that one of the best things in this film are the actors that I can’t even name.

The rest of the film is like that: finding value in the areas that you can’t exactly point out, but you know they are there. For instance, who’s the main protagonist? You could argue Rezendes, because he has the most visible reaction from working on this story. In reality though, this story is impacting the entire Spotlight team and more. It impacts everyone, in ways that nobody realizes until it walks right up to their doorstep.

This movie takes time and dedication to build up its story and collect the necessary information, just like Spotlight’s reporters do. In doing that, this is undeniably a slow film, but the pace doesn’t matter as much as the payoff. Spotlight deserves to be sought out. It is one of those rare films that not only makes us better viewers, but also better human beings.

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