Tag Archives: Dr. Dre

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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“STRAIGHT OUTTA COMPTON” Review (✫✫✫✫)

The biography of the boyz in the hood. 

Perception is reality.

That’s a motto my newsroom lives and dies by. That’s also a truth that the boys from Straight Outta Compton live and die by. The only difference between us is that we experience it figuratively: they experience it literally.

We witness this early in Straight Outta Compton; as early as the first scene, in fact. Eric Wright, a.k.a. Eazy E (Jason Mitchell) confronts his cousins, who hasn’t paid him yet for the dope that he sold them a few weeks ago. Suddenly, like an Earthquake striking a town, the police ram into the house and start raiding it, arresting any African-American they can find in there. E slips out of the window and onto the roof just in time. He’s survived. For now.

We switch to a less tense scene. Andre Young, a.k.a. Dr. Dre (Corey Hawkins) is sitting on his bedroom floor, listening to classic funk and R&B records on his record player. Dre isn’t like the others in the streets. He doesn’t want to sling dope or be in a gang. He just wants to produce beats and music: a mozart to his suburbs.

His mother Verna (Lisa Renee Pitts), however, isn’t so enthused about his career path. He has a family and a daughter to care for, and he isn’t going to do it sitting on the floor listening to a record player, DJ’ing for a club at night. Dre, however, has his mind set. His future doesn’t lie in cleaning toilets and taking fast food orders. It lies in a DJ mixer and a pair of headphones. Dre knows what he needs to do.

Meanwhile, on the other side of Compton, O’Shea Jackson, a.k.a. Ice Cube (played by his own son, O’Shea Jackson Jr.) is sitting on a bus waiting to go to school. He sees the white kids in another school yard, all dressed in nice clothes, all with newly-bought school supplies and slick cars. Meanwhile, Cube sits in his creaky bus seat, looking at his clothes he probably wore yesterday, and his worn pencil and notepad, which is the only school supplies he has.

He takes his pencil and notepad and starts writing.

These three men, alongside Lorenzo Patterson, a.k.a. MC Ren (Aldis Hodge) and Antoine Carraby, a.k.a. DJ Yella (Neil Brown Jr.) make up the notorious hip-hop group N.W.A. The last two words stand for “With Attitude.” You can imagine what the letter “N” stands for.

Here is a film that, by any standards, is morally despicable. I go on and on in some of my reviews how movies are either incredibly violent, shamelessly sexual, or blatantly vulgar. This movie is all of those things and more. F-words fly out of their mouths like bullets in an uzi. Nude and scantily-clad women flock to these rappers in herds. In some scenes, they engage in sexual intercourse with many attendants watching, all with drugs and alcohol present. Police and gang violence is also present in the film, with crips, bloods, and officers shoving, punching, shooting, assaulting, and harassing each other in very violent, confrontational fashions.

Do not be fooled. This is not an easy film to watch, and if you don’t have a strong moral compass, you will get lost in the violent, sexual, promiscuous, profane, and blatantly explicit content you will find in this motion picture. If you hate hip-hop, you will hate Straight Outta Compton.

That being said, Straight Outta Compton is one of the most compelling films I’ve seen so far this year. The movie is more than the problems it poses. In fact, I’m happy that the film shows the content that it does in the film. It shows the destructive lifestyle these people experience, both on and off the streets, and they confront very real issues that hits them hard at home and at heart. The most significant issue that the movie covers is, of course, police violence. In one of my favorite scenes from the film, one of the police officers that was harassing these young men was not white, but black. My jaw dropped as he continued to berate these men as they were walking away: “Listen to your master!” he said, referring to their white manager.

What I love most about this movie, though, is that it isn’t biased. It 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. Police cruelty is an obvious focus of the film, because it’s a recurring theme in hip-hop and rap culture. I was pleasantly surprised, though, to find at how much the film delved into hood culture and how damaging it is to these young men’s lives. The biggest instances of cruelty came from record producer Suge Knight, portrayed here by R. Marcus Taylor, whose business tactics include physical intimidation, humiliation, fear, confrontation, and violence. If the movie is anything to go by on how the real events transpired, Suge is a monster. He is painted as nothing less than the Godfather of suffering in this movie.

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 and in their aspiration to escape from it. Jackson does very well in portraying his father, and demonstrates the same snarl and attitude with such accuracy that it made me laugh at how similar he looked to his father. Hawkins is passionate and driven in portraying Dre, and while he physically looks smaller than the real-life Dr. Dre, his performance and his versatility in emotion more than makes up for lacking in physical similarities.

The greatest performance, however, comes from Jason Mitchell. In hindsight, he is the character with the most problems. He’s egotistical, he objectifies women, he betrays his friends, he resorts to violence, and he flourishes in the most destructive lifestyle as he bathes himself in a plethora of drugs, alcohol, and sex. In comparison to his N.W.A. companions, he is the most flawed character. But with his flaws comes his emotions to those flaws, his own moments of self-reflection that makes him think back at his decisions, his career, and the life that he’s trapped in. E goes through many emotions in this film, from fear, to anger, to happiness, to sadness, to heartbreak, and Mitchell portrays all of those emotions perfectly. If he doesn’t deserve the Academy Award for best supporting actor, he definitely deserves a nomination.

But at the heart of this movie is the struggle, the struggle that these five young men go through together, apart, individually, and inseparably. Their struggle being not having enough money. Their struggle being having too much money. Their struggle of not having a place in the world, and their struggle of what to do after establishing their place in the world. Like hip-hop, this movie will stir some major controversy for its content and for what messages it sends to its younger viewers. But it’s important to understand that this movie doesn’t set out to prove who is right and wrong. This movie sets out to show a reality. This movie sets out to show their reality.

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