1.
Mad Max: Fury Road
This is unquestionably one of the most expertly paced films in recent memory, never given to stretches of tedium or repetition. Though Im not overly critical of exposition (particularly when its well-implemented), the almost imperceptible nature of this particular element was exceedingly refreshing. Rather than excessively delineate on the construct of their civilization, the minutiae of the world and the characters that inhabited it was skillfully conveyed through cursory bits of dialogue and, of course, some meticulously crafted visuals. Despite the constancy of the action, the characters were surprisingly well-developed as the film progressed. The script and George Millars direction are undoubtedly essential in how well-executed this aspect was, but the subtleties of expression conveyed by Hardy, Hoult, and, in particular, Theron (whose performance was terrific) elevated the effectiveness of the exposition and characterization immensely.
George Miller, despite his age, appears to have only improved, displaying some virtuoso filmmaking throughout, most evident throughout the sandstorm sequence. I had expected a slight diminishment in quality over time, as I became more detached from the initial viewing, but my appreciation of the film and all of its exceptional qualities has only strengthened, which is quite rare. Though I dont typically throw this word around when discussing recent films, this could very well be a masterpiece, and, despite adoring
Road Warrior, Fury Road is perhaps George Millar at his most refined.
2.
Carol
This is an exceptionally well-crafted film, evoking a meticulous refinement in every aspect of its construct, from the sharp editing to the elegant cinematography to the immaculate costume and set design. Todd Haynes direction is masterful, visually orchestrating the intimacy of Therese and Carols relationship with a restraint that is deftly able to capture both the nearly imperceptible subtleties and the obvious sensuality of their romance. Cate Blanchett is, as always, excellent, but Rooney Mara delivers a performance that is quite possibly even better, as she convincingly and expressively conveys every emotional flourish involved in their unexpectedly wondrous romance. Fortunately, the writing smartly avoids even a hint of melodrama, which would have likely tarnished the film considerably, instead determined to quietly unravel their story.
3.
Macbeth
A uniquely arresting, albeit noticeably flawed, adaptation of what I consider to be Shakespeares best work. Though several of the more atypical directorial flourishes are excessively implemented, particularly during the battle that opened the film, Justin Kurzels direction is strikingly brutal. Arkapaws stunning and inventive cinematography complemented said direction superbly in its ability to so starkly capture the savagery within Macbeths descent into madness. Fassbender is fantastic as Macbeth, while Cotillard provides an equally impressive and considerably performance. As an adaptation however, it was rather flawed. With the focus of the story residing almost entirely on Macbeth, several of the secondary threads and characters are afforded little in the way of insight or development. Fortunately, this didnt necessarily weaken the quality of the film, even if I would have possibly preferred another hour to broaden the scope of the narrative. The final fifteen minutes of the film were masterfully executed, as all of the finer aspects of the film were expertly woven together in the creation of a crescendo that was thoroughly riveting and exceedingly satisfying.
4.
45 Years
A thoughtful, intricately told portrait of a matured marriage and all of the emotional and psychological complexities that so many years have embedded into their relationship. The wistful, restrained nature of both the film and Andrew Haighs direction work wonderfully in complementing the understated approach to its storytelling. As such, the story gently, yet masterfully, entangles the viewer into the maelstrom of unspoken emotions that each of these individuals are experiencing. The narrative is methodically paced, yet never tedious, culminating with an ending that is at once beautiful and devastating. Charlotte Rampling gives an exceptionally nuanced performance here (undoubtedly the best of the year), effortlessly weaving through a myriad of disparate emotions without sacrificing the essential strength that her character possesses.
5.
Phoenix
Though the premise could have so easily proven maudlin and incongruous with the nature of the time in history that this story occurs, the narrative and characters are crafted with a deftness that is remarkably effective. Christian Petzolds direction is exceedingly impressive throughout, as he confidently balances several distinctly separate tones, carefully weaving them together as this melancholic tale unfolds. Though permeated by an aching solemnity, there is a quietly effective hopefulness that underscores several significant moments tremendously well. Nina Hoss vulnerable, yet continuously commanding, performance is sublime. The ending, above all, is exquisitely haunting; the best of this year by some measure.
6.
Duke of Burgundy
Quickly establishing itself as a considerably more intimate and complex film than most others within this fetishistic genre, this proved to be a thoroughly compelling and surprisingly humorous tale of romance. Stricklands direction was wonderfully provocative and rather creative here (notably improving on his promising, yet deeply flawed,
Berberian Sound Studio), as his stylish and surrealistic flourishes were able to capture the, at times, dream-like nature of Cynthia and Evelyns salacious, yet exceedingly naturalistic love for one another remarkably well. Chiara Dhannas performance was particularly great. Having said all that, the storys pacing does become a bit flawed in the latter half of the film, faltering slightly due to its potentially necessary repetition. Thankfully, the conclusion is appropriately understated and immensely satisfying.
7.
Son of Saul
A bleak, unrelentingly solemn affair that, similar to
Macbeth, focuses almost entirely on a single individual and the torments of his existence. This pointedly narrow focus creates a thoroughly unsettling sense of claustrophobia that pervades the entire film. Smartly avoiding introspection or an exploration of the psychological, this film captures the brutality of the Holocaust in a manner that is quite unique and altogether riveting. As a directorial debut, Laszlo Nemes direction is astonishing in its unwavering confidence, never relegating the telling of its starkly savage story to mere observation. In tandem with the tightly focused and often oppressive cinematography, Geza Rohrigs haunting performance is superb, guiding the audience through a sort of hell that lingers for quite some time.
8.
What We Do in the Shadows
This mockumentary is a wonderfully paced, immensely enjoyable comedy that rarely falters despite the potential tedium derived from its premise. The humor cleverly approaches the conventions surrounding vampires, while also, similar to Edgar Wrights films, being fully aware of the longevity of a joke, sharply avoiding the monotony so easily found in a well-worn and overly stretched bit of satire. Nearly every character is engaging and amusingly endearing, elevated, in part, by the excellent performances by all involved. Im greatly looking forward to the sequel, especially since it appears likely to be focusing on some of the best characters (the werewolves).
9.
Anomalisa
Like most of Charlie Kaufmans work, this was a strangely humanistic and thoroughly endearing tale of loneliness and an existential exploration of a single individuals life. Though I wasnt overly fond of Kaufmans first foray into direction with
Synecdoche, New York, finding its admirable ambitions to be repeatedly weakened by its flawed execution, this was a considerably more polished directorial effort. Kaufmans writing was, as is typically the case, surprisingly complex and bizarrely humorous. The animation is quite impressive, lending itself well to some of the more surrealistic moments. David Thewlis naturalistic performance is perhaps the highlight of the film.
10.
Inside Out
This surprisingly poignant tale manages, despite its somewhat problematic pacing in the second half, to be the best of Pixar since
Toy Story 3, as it beautifully depicts a faintly nostalgic sense of melancholic whimsy that complements Rileys youthful struggles superbly. This is perhaps the strongest of Pete Docters films (followed closely by
Monsters Inc. and not so closely by
Up), as it features an increasingly polished execution of the more intimate scope that his earlier efforts have, to varying success, attempted. Riley is, by some distance, the most compelling character, but both Joy and, in particular, Sadness are consistently engaging. Unfortunately, the other secondary characters, aside from Rileys parents, arent woven into the story as well as I would have liked. Thankfully, unlike several of Pixars output over the last five years, the emotional moments were, for the most part, devoid of artifice or needless contrivances. Though it doesnt quite reach the stunning heights of his work on
The Incredibles or
Ratatouille, Giacchinos score, particularly the main theme, is terrific.
Honorable Mentions
1.
Room
This film is essentially a tale of two halves, both narratively and in regards to its quality. The first hour, as such, is a harrowing and deftly executed tale of hopelessness, struggle, and an eventual respite. The latter half, however, though still quite engaging due to the thoughtful characterization of both Jack and Joy, is plagued by several developments that werent exactly compelling. The aspect of this film that so strongly elevates it despite some disappointing qualities is, of course, the performances by Brie Larson and Jacob Tremblay, both of which weave a beautiful naturalism into the portrayal of their characters. Jacks youthful perspective offered a very effective narration of sorts, as the audience is able to glimpse both worlds through a narrower and more idealized, prism.
2.
Brooklyn
This was a very charming and consistently enjoyable film. Though thematically straightforward and narratively simplistic, Eilis story is beautifully told, buoyed primarily by a superbly subtle performance from Saoirse Ronan. The supporting cast all give admirable performances, particularly Emory Cohen, who was quite impressive. Of course, there is an occasional moment of excessive sentimentality and several bits of questionable storytelling in the latter half, but the confident approach to nearly every aspect of the film ultimately resulted in something that was quite satisfying.
3.
Sicario
Denis Villeneuve, once again, proves to be exceptionally skilled at conveying tension. This quality, above all else, elevates the film beyond the mediocrity inspired by its disappointingly conventional storytelling. The story, as such, never quite captures the sort of moral complexity that it appears to be striving for, unfortunately. A more polished execution in this area would have likely strengthened the film immeasurably. Unlike his previous effort,
The Prisoner, which I consider to be a somewhat superior film, Sicario offers little in the way of compelling characters. As such, despite Emily Blunts strong performance, her character is too often relegated into the role of a passive observer. Benicio Del Toro, however, excels throughout, providing a fantastic portrayal of a thoroughly intriguing and fairly enigmatic character.
4.
Spotlight
Considering the rarity of films such as this and that
All the Presidents Men is one of my favorite American films, I was hoping and expecting that Spotlight would be slightly more noteworthy. While it was still consistently compelling, elevated further by Ruffalos strong performance and a premise that was immensely intriguing, it felt strangely lacking in several areas. Above all, there was an unfortunate absence of tension throughout much of the film, which somewhat dulled the effectiveness of the story. The narrative, as a result, became occasionally repetitious, steadily progressing towards its slightly unremarkable conclusion (credits notwithstanding). It was nevertheless a largely engaging telling of what is an enormously interesting story.
5.
Bone Tomahawk
This was a rather strong western, surprisingly besting
The Hateful Eight, as it was elevated by some excellent characters and a refreshingly languid pacing. This pacing, in turn, allowed for some fairly lengthy and rewarding conversational interludes that would typically be edited out. Though the unique approach to its story, wherein several disparate genres were woven together, could have certainly detracted from the quality of the film, it was executed quite nicely, as each genre largely complemented the other. Aside from an inconsistent Lili Simmons, the performances are uniformly great, particularly from Kurt Russell and Matthew Fox.
This was a fairly good year, as it provided a plethora of reasonably high quality films throughout a fairly diverse amount of genres. There were several films that I was unable to watch prior to the deadline that would have likely altered this list dramatically, namely
Hard to be a God,
Theeb,
Amy,
The Lobster,
Mistress America, and
A Pigeon Sat on a Branch Reflecting on Existence.
