Top 15 Of '15

2015 was the year where flying cars, hoverboards, & food hydrators were commonplace and everything was supposed to look like this, if we're to believe Back To The Future, Part II. Sadly, no such awesomeness occurred. However, we were treated to one helluva year for movies. I started this year with the goal of watching one movie a day for the entire year. 365 movies...could I do it? Hell yes I could, so much so that I made it to 500 FILMS. Some new, some old, some good, some bad. It was fun. This was the year of creative, original horror, with four films making their way into the Top 10.  But enough jabber-jawing. These are my favorite films of 2015.

Honorable Mentions:

Love & Mercy, Jurassic World, The Martian, Turbo Kid, Crimson Peak

15. CREED

Inspiring and emotional, Creed is the perfect way to “reboot” a franchise for the digital generation and not disregard or shit upon the entries that preceded it. Instead of getting endless sequel retreads, we will be treated to an entirely new series of boxing films featuring great stories, worthy opponents and memorable drama. Michael B. Jordan plays Adonis Creed with a major chip on his shoulder, mad at his father Apollo for not being there for him. Though he is wealthy, he feels the burning desire to prove himself and step out of his father’s shadow. Enter Rocky Balboa, who becomes a surrogate father to Creed and helps train him to make a name for himself.

It mirrors the underdog themes of the original Rocky quite well without feeling forced or repetitive, something I was dreading. Jordan completely commits to the role; I can’t wait to see what the future has in store for him – he could be the next Denzel Washington. Stallone is superb here, giving an honest, heartfelt performance that might fittingly win him another Oscar. Creed’s opponent isn’t particularly memorable, but he doesn’t have to be since this is Creed’s show. It’s the best Rocky film since the 80’s.

14. INSIDE OUT

Pixar rarely stumbles, though people do seem to hate on the two Cars films for some reason, I'm not sure why. They are directly influenced by the old cartoons "One Cab's Family" and "Little Johnny Jet" which I was very familiar with growing up. But that's a story for another day.

Inside Out is yet another sterling addition to their impressive catalogue; a smartly concocted concept that maturely deals with deep, emotional stuff like depression and other heavy subject matter, brought to life with Pixar's vibrant visuals make Inside Out required viewing for kids but especially adults. We let the stresses of life get to us sometimes and to have an animated feature spell out how damaging it can be is quietly introspective and strangely comforting.

The voice actors, including Amy Poehler, Bill Hader and Lewis Black as some of the different emotions, do a fantastic job as usual as Pixar has a knack for finding the voice perfectly suited for the character. They all have a unique look with Fear being lanky and manic, while Anger is short and cantankerous. The human story, portrayed from a god-like perspective, resonates well as we've all experienced these base emotions.

I really enjoyed how some of the more advanced psychological concepts like abstract thought and existentialism were dealt with and how they showed memories being stored in our consciousness like an enormous library that is constantly changing, much like my film collection. This creativity is what separates Pixar from the rest of the pack. Highly recommended!

13. THE GIFT

A surprisingly potent thriller that mirrors Hitchcock and remains unpredictable. It shows just how damaging bullying can be and how it can be detrimental later in life. Joel Edgerton has proven himself a more than capable director here, in addition to starring in, writing AND producing the film. He plays Gordo Mosley, an awkward weirdo who reconnects with a childhood acquaintance and his wife, after which their lives begin unraveling. Rebecca Hall is perfect as the unassuming wife while Jason Bateman does an outstanding job portraying the everyman husband who has a dark past that transforms him.

This is not a flashy film by any means; it’s an intriguing psychological thriller with just enough mystery and ambiguity to keep you guessing. But the thing that makes The Gift so powerful is its truly disturbing gut-punch ending that I did not see coming. I won't say anymore.

12. WHAT WE DO IN THE SHADOWS

Parody done right. The eclectic indie cast is phenomenal, the humor is fresh and consistent, the horror elements get fully explored in creative ways and it's energetically shot and framed. I enjoyed the many subtle nods to horror films past.

Taika Watiti and Jermaine Clement pull triple duty starring, writing and directing and they do a magnificent job. Even though it's shot as a mockumentary, you can tell that both of them are natural storytellers. The story and concept remain fresh throughout, constantly coming up with new scenarios ripe for comedy. The cast has excellent chemistry as well. Each became a vampire at a different time so their styles and cultures clash resulting in comedy gold. Watiti's character is a hopeless romantic gentlemen, Clement's is a brooding Goth, and another is an ancient 8,000-year-old Count Orlok type. He turns a modern human into a vampire which gives the audience even more insight into the vampire world which, besides the bloodsucking, is just as amusing and random as our own. Add other genre staples such as werewolves (or "swearwolves") and vampire hunters to the mix, and the result is refreshing and hilarious.

The comedy ranges from sight gags and pop culture references to sarcastic zingers and lampooning of countless vampire tropes. The amount of heart and intelligence that has been injected into the film shows just how dedicated Watiti and Clement are. Visually it's nothing amazing being a mockumentary, but it's still impressive how good the film looks. Props to the tight editing and pacing as the film never drags or overstays its welcome. Bloody well-done!

11. KINGSMAN: THE SECRET SERVICE

Exciting and full of energy, Kingsman is both a loving homage to 70's & 80's era James Bond and a lively modern spy thriller. The ensemble cast is superb, with Colin Firth channeling his best Roger Moore and Samuel L. Jackson hamming it up as a lisping virtual entrepreneur. Newcomer Taron Egerton can be a tad stiff early on but quickly finds his stride as the young lead. Michael Caine is himself and I enjoyed seeing Mark Hamill show up.

The stunts and fight scenes are outstanding. Matthew Vaughn continues to showcase his ability to stage thrilling action setpieces and he may have topped himself with the "church scene" in this one. Gloriously set to Skynyrd's "Free Bird", it's a sadistic brawl that is a brutal yet beautiful tableau of violence. I look forward to seeing how they shot and choreographed it...must've been tough. The whole film has a sleek, suave look and feel to it, much like the modern day Bond films. The soundtrack is also superb.

The story echoes Bond as well. From the fancy suits and nifty gadgets to Jackson's megalomaniacal super-villain complete with badass sidekick and underground lair, the entire affair plays out with a smirk on its face, but it has an absolute blast doing it and that fun transcends onto the audience. Highly recommended!

10. BONE TOMAHAWK

An eclectic ensemble cast of actors I love including Kurt Russell, Matthew Fox, Patrick Wilson, and Richard Jenkins who all do a phenomenal job. There's a ton of beautiful, sweeping landscape shots. The unforgiving terrain and arid, dreadful atmosphere make it feel like hell. The violence is brutal and the tone is harsh and bleak. It was definitely a tough life being a cowboy despite how John Wayne or Clint Eastwood portrayed it. I love how modern Westerns have become more realistic and unflinching. 

Like Sicario, this is a slowburn movie. At 132 minutes it is very long with stretches of no dialogue but it works because it lulls you into a sense of security and then boom, something outrageous happens. Matthew Fox is awesome and scary as John Brooder, an Indian slaying badass with a death wish. It all proceeds like a typical Western, but then it takes a crazy turn and morphs into a horror movie. The sound/roar these troglodyte things make is terrifying and sonorous. They have throat implants made from teeth and metal that allow them to make these sounds. Holy fuck that was probably the worst way to die ever, being scalped, impaled through the mouth with a spike, bisected vertically starting at the genitals while alive and then eaten. And the fucking character's name was Nick, goddamn. The horror Western is such a cool melding of genres. It's scary because the life and land was already unforgiving and the lack of communication and harshness of travel make it so easy to set a horror tale in the deep snowy woods or the desert because of the isolation factor. Damn this was a good movie.

9. THE FINAL GIRLS

A creative meta-horror film that plays with the genre rules in clever ways, much like The Cabin In The Woods. The cast is excellent, mostly made up of unknowns except for Malin Akerman and Taissa Farmiga. Adam Devine is hysterically obnoxious as Kurt while Angela Trimbur is fuckably ditzy with a tight ass. A group of teens get sucked into a Friday The 13th-esque cult horror film and must survive until the end and escape the movie. Think Last Action Hero, but for the horror genre. It looks and sounds exactly like an 80's horror flick, with a bodacious synthesizer score and manic direction. The less said about The Final Girls, the better. If you're a horror lover, this is essential viewing!

8. KRAMPUS

Truly great Christmas horror films are few and far between. Krampus can proudly add itself to the esteemed company of Gremlins, Black Christmas and Silent Night, Deadly Night. Not only is it a good horror film, it is a good film altogether. The cast, the script, the atmosphere, the production design, the music and the direction are all impeccable. It feels like vintage Joe Dante, complete with mean-spirited humor, so much so that I swear one sound effect was a Mogwai from Gremlins. It has a fairy tale/story book aspect which is enhanced by the archetypal horror characters that don’t feel one dimensional. I liked the Christmas family bickering because it reminds me a little of my family.

There is inventiveness galore with all the monsters and devilish dark use of Christmas music. Every happy part of Christmas gets a twisted, macabre spin. The PG-13 rating didn't hurt it as much as I thought it would. There's almost no blood or gore, but the scares are still effective. If you think about it, the film is much darker than it looks. Having an 'anti-Santa' who "doesn't give, but takes" is a fiendishly sinister idea that the movie fully explores. Finally, it’s visually ominous but also bright and colorful, an unusually satisfying combination. Most of the effects are accomplished practically, which makes it feel even more like it was ripped straight from the 1980’s.

Michael Dougherty is an extremely talented director, especially with holiday themed movies, and here he goes for broke, holding nothing back. Now if he would just collaborate with Eli Roth and make Thanksgiving already!

7. WYRMWOOD: ROAD OF THE DEAD

For the first time in a long time, a movie lives up to its hyped tagline. It really does feel like a mixture of Mad Max and Dawn of the Dead, with dashes of Evil Dead and Braindead. A meteor shower occurs and causes a zombie outbreak, and a mechanic named Barry must fight his way through the hordes. This is the perfect example of a high concept hybrid of horror and action. It's gory and gleefully vicious with tons of headshots and zombie bites, plus a few nasty surprises I don't want to spoil. The skillfully shot action is fast-paced and exciting to watch, on top of being pulled off with practical stuntwork.

The dramatic angle is effective as well because the actors they chose do a phenomenal job with the material. It elevates it above your standard horror movie. The camerawork is very Raimi-esque, and coupled with the vibrant cinematography and killer sound design, everything looks and sounds superb. The best part about this wonderful independent gem is that it's filled with tons of creative and inventive ideas that are maximized to their potential. I don't want to give them away because they just enhance the overall film so much. It breathes new life into the genre.

6. SICARIO

Intense and frightening with superb performances. Emily Blunt is intelligent and vulnerable, keeping her character from falling back on genre clichés. Josh Brolin and Benicio Del Toro both deliver subtly sinister performances that rival their best work. Precise and methodical direction from Denis Villeneuve with lots of slow pans. He has a steady hand and keen eye for beautiful yet gloomy shots, including gorgeous ones of the landscape much like The Revenant.

This is a slowburn movie that takes its time but it holds your complete, undivided attention, a rare feat for a film in 2015. It paints the world as increasingly corrupt and scary with nowhere to run, not even our own homes. It calls for more direct action, regardless of morals or political correctness. This is war and all bets are off. Josh Brolin’s character sums it up perfectly when he’s accused of using questionable tactics: "the boundary has been moved". The action is taut and suspenseful, punctuated by raw and realistic violence that evokes shades of Heat with their jarring authenticity. I found myself holding my breath a few times, finally letting out a sigh of relief (or shock) once certain scenes concluded. Much like Villeneuve’s previous film Prisoners, this is a bleak but necessary look at the world and its clashing viewpoints.

5. THE HATEFUL EIGHT

Featuring an incredible ensemble cast led by Kurt "The Man" Russell, Tarantino's 8th film is a violently funny murder mystery disguised as a western. The writing is so sharp and caustic, it brings these unforgettable characters to life effortlessly. Kurt Russell and Samuel L. Jackson are terrific here, with both commanding every scene they're in with precision and wit. The remaining six hatefuls include Bruce Dern, Demian Bichir, Jennifer Jason-Leigh, and QT regulars Tim Roth, Michael Madsen and Walton Goggins. Tarantino, as always, utilizes all their talents amazingly well, with each actor getting at least one chance to showcase their craft with a biting monologue or richly detailed story.

While it takes place almost entirely in the snow, it's gorgeous to look at thanks to superb cinematography. Ennio Morricone's outstanding score, which uses snippets from The Thing - my #2 of all time - keeps you on edge throughout the entire picture. For what it's worth, I think Django Unchained is the superior film, but The Hateful Eight is still a phenomenal experience that echoes the classic Westerns of old.

Speaking of which, it feels like an old-school epic. I'm so glad Tarantino still makes these genre films, and makes them so damn good that they represent the best of said genre: crime dramas, spaghetti westerns, grindhouse exploitation flicks and samurai films. He refuses to let the genres die, which I have mad respect for. From a true lover of film, please don't stop making movies good sir. Cinema just won't be the same without you.

4. STAR WARS: EPISODE VII - THE FORCE AWAKENS

The Force Awakens was everything I hoped for and MORE! Great characters you care about, excellent performances from all involved, a fast-paced yet fun script and respect for the mythos and visual style of the original trilogy. I am shocked J.J. Abrams and company pulled this off. Bring on Episode VIII!

The visuals were reminiscent of the Tattooine, Hoth and Endor. Things look authentic, not fake and plastic like the prequel's. I adored all the new planets and background characters & creatures that further deepen the Star Wars universe in a good way. Director J.J. Abrams is clearly a fan considering how well he maintained continuity and tone. I adored the lightsaber duel in the snow...so vibrant and eerie.

Daisy Ridley is as cute as a button but also a total badass as Rey. She's smart, resourceful, brave and excited for the adventure ahead. Oscar Isaac is has a natural charisma and impresses as X-Wing pilot Poe Dameron. John Boyega handles most of the comic relief but still has a satisfying mini-arc as a stormtrooper-turned-resistance fight. I absolutely love how Rey becomes the main character, another strong female badass to join the likes of Ellen Ripley and Sarah Connor. Killing of Han Solo, arguably the series' most beloved character, took major cajones but was a gut punch and necessary for the development of Kylo Ren as the new main villain. I was amazed at how well Adam Driver did as Ren. I hated Driver with a passion (his greasy character on the godawful "Girls" was repulsive) but once he shaved the pedo-mustache and picked up a lightsaber, he transformed into a good actor. The returning cast doesn’t phone it in, especially Ford who effortlessly slides right back into Han Solo’s boots.

So well made, enough to wash the nasty prequel taste out of our collective mouths. I loved everything about this film and cannot wait for Episodes VIII & IX.

3. EX MACHINA

Beautifully visualized and scripted by Alex Garland in his directorial debut, Ex Machina is a cerebral science fiction classic and my favorite of the year so far. All three leads are superb, in career best work. Domhnall Gleeson plays a sharp but vulnerable programmer, Alicia Vikander stuns and disarms as Ava the android and Oscar Isaac is outstanding as the mastermind who created her. Isaac is particularly memorable as a heavy drinking, skinheaded genius billionaire inventor, almost like a more grounded and ruthless version of Tony Stark. The back and forth between Isaac and Gleeson is raw and feels completely genuine, while the chemistry between Gleeson and Vikander is enthralling. They all play off each other so well. and That's the other thing I liked was the minimal cast. It was perfect.

The ideas on philosophy and the human condition are fully explored, probing what it means to be human and showing how dangerous technology can be in such a terrifyingly simple way, executed brilliantly. It's scary to think how close we are to a true artificial intelligence that may eventually make us obsolete. Not in a Terminator way but in the technological singularity way where once A.I. is achieved, it will get to a point where its intelligence and understanding will eclipse our current knowledge and it will become unintelligible to humans, but could still be useful to us. Sort of like at the end of Her, the smart A.I. basically went to another plane of existence beyond our comprehension. It's deep, challenging stuff, but damn if it's not fascinating to imagine and ponder.

The writing and above all, the direction, is just stellar. Alex Garland creates so many gorgeous and visually stunning shots that it feels like he's been doing this for YEARS. He must've picked up a few tricks from Danny Boyle & Co. I adored the nature vs. technology juxtaposition. Not only does it keep the film from becoming visually monotonous, it speaks to the whole of creation and how far humans have come and what we've created too. It gives the film a grander feel, I guess.

Films like Ex Machina are the reason I go to the movies. This is meat and potatoes cinema for me - I can't get enough of it. Highly recommended!

2. THE REVENANT

Visually captivating and emotionally raw, The Revenant is a harsh and unforgiving survival tale for the ages and a harrowing journey through the blackest hearts of revenge. Very few words are spoken, but so much is said with the eyes, expressions and actions of the characters. Leo is spectacular as always, diving deep into the pure rage and seething hatred of Hugh Glass, making his continued survival believable and frankly quite frightening. As much as I'd love to see DiCaprio take home an Oscar for his relentless performance, I doubt he'll win given the character's minimal dialogue. We shall see. Tom Hardy's character is the abrasive son of a bitch responsible for most of Hugh's suffering, though his character is only trying to survive. The small supporting cast all do a stellar job, especially Domhnall Gleeson (who has been in THREE amazing films this year) as the leader of the hunting party.

If you've seen Birdman, you know how good Iñárritu is. Here we have stunning natural landscapes photographed impeccably, all using natural light - today that is unheard of. In addition we are treated to a number of astonishing and complex long takes that are technical marvels, including a brutal bear mauling that will leave you cringing. It's all set to a nerve-racking score that intensifies each and every scene. Lastly, there are multiple ways the film could be interpreted, some straightforward and others quite cryptic, which only reinforces how damn good of a film it is. This is an experience worth enduring!

1. MAD MAX: FURY ROAD

We are so lucky Fury Road ever got made. Since 1998, it had a long and arduous production with so many things going wrong it seemed destined to fail. The fact that the final film is a bonafide action classic and one of the best films of the last 20 years, it seems fitting. Fury Road is visual poetry.

If you're not familiar with the Mad Max franchise, I can guarantee you've at least seen its influence on the myriad of post-apocalyptic video games out there, such as Borderlands. Set in a desert wasteland where the vestiges of humanity have reverted to a sort of tribal hierarchy, FR takes place in between Mad Max 1 & 2. Max must team up with Imperator Furiosa, a rebel, to fight Immortan Joe, a calculating warlord hellbent on retrieving his stolen property. As with previous entries the exposition is quick and efficient with minimal dialogue, something I found immensely refreshing nowadays where everything is drawn out and over-explained.

The characters are memorable, with superb performances from Charlize Theron as Furiosa and Tom Hardy as Max. Theron is as badass, intelligent and vulnerable as Ellen Ripley or Sarah Connor, which is some serious company. Her character is the true center of the story with Max along for the ride. It's an interesting gamble to have the title character take a backseat in his own movie, but it pays off because it breathes new life into the franchise instead of feeling like a retread of the earlier films. Hardy slides effortlessly into Max's boots and never looks back. He has Gibson's grit and charm, plus the story delves into what makes Max so mad, giving the character a satisfying arc. Toecutter himself (Hugh Keays-Bryne) returns as Immortan Joe, the fearsome leader of the War Boys, a diseased but highly resilient army of kamikaze zealots including Nicholas Hoult as the enthusiastic Nux. The rest of the cast is made up of mostly unknowns but all are well-chosen as expected.

The car chases and balls-to-the-wall action rival many 90's Schwarzenegger classics such as True Lies and Terminator 2: Judgment Day. Incredible tableaus of destruction and vehicular carnage. The pace is unrelenting, so much so that after many of the chases, you could audibly hear people breathing a sigh of relief...it's that intense! The amount of creativity in the Frankenstein-like vehicles is remarkable. There are SO many different fearsome automotive monstrosities, welded and fused together with scraps and spare parts, such as a hot rod that's the love child of a 57 Chevy and a monster truck or a stage on wheels complete with massive drums and a wall of speakers with a mutant, Hellraiser-like guitarist armed with a flame-throwing guitar. It's all so imaginative!

The world-building is magnificent. The different warring factions, the varied landscapes, the water starved town, the milk maids, and the hydroponic gardens are just a few examples of some of the best world-building since Avatar. The world feels lived-in and deep, and it feels REAL because it was shot on location in Namibia instead of on some shitty green screen. George Miller is a master at world-building and with a budget of $150M, he had lots of stuff to play with. Visually, it is absolutely gorgeous. Today's modern cameras help Miller capture shots of such pure beauty and spectacle that few other filmmakers could ever achieve.

The religious themes of redemption and sacrifice really push the film above its sci-fi action trappings. There's all sorts of religious imagery throughout, such as the War Boys zealotry and worship of cars and chrome. The whole film could be seen as an allegory for the search for Eden.

Look, they don’t make movies like this anymore. This will be remembered as one of the greatest action-sci-fi films of all-time, and rightfully so.

RIP Starman

WORST OF 2015:

1. Terminator: Genisys

2. The Loft

3. Poltergeist

4. Woman In Black 2

5. Monsters 2: Dark Continent

6. The Gunman