The Best Films of 2015

Caren Pistorius in Slow West

There’s a tendency among people who watch a lot of films to boost ones that stand out rather than ones that are good. This can lead to some perverse choices in the “best of” lists that proliferate at this time of year. So that probably explains the rogue nature of the list below – ha ha. If you’re expecting to find Spectre (not at all bad) or the latest Marvel movie or Jurassic World, look elsewhere. These are just the films, of the maybe 350 films or so that I’ve watched in the past 12 months, that jumped out and grabbed me. Some of them are 2014 releases.

Ten Best

Paddington (dir: Paul King)

Operating in Mary Poppins territory, this adaptation of Michael Bond’s books is charming, funny and clever, has jokes for kids and some more thoughtful though never intrusive observations for adults, integrates the animated bear from darkest Peru with the live action brilliantly and there’s even an action-star gag by support-playing baddie Nicole Kidman that’s aimed at ex-husband Tom Cruise.

Wild (dir: Jean-Marc Vallée)

The redemptive drama is a hard sell, but this one about a broken woman’s long trek to self-realisation works in every way. Reese Witherspoon is believably frail as the wee girl dwarfed by her huge rucksack (metaphor), director Jean-Marc Vallée uses music perfectly and does something many directors have forgotten all about – he structures his film visually, using the editing suite to full advantage. His compositional work is remarkable.

Ex Machina (dir: Alex Garland)

Just as we are realising that technology’s grip is icy, and Google might not be our friend, along comes Alex Garland’s directorial debut, a dystopian slab of hard sci-fi in which geeky Domhnall Gleeson falls for robot Alicia Vikander while hipster tech uberlord Oscar Isaac looks on. A three-hander – give or take – getting perfect performances from all concerned, and it glistens like a tiny, beautifully cut gem.

Kajaki (dir: Paul Katis)

A gaggle of British squaddies with names like Tug, Spud and Smudge wander into a minefield and suddenly their casually homophobic banter is replaced by focused professionalism and a sharp interest in staying alive. Gruesomely tense, horrific in its depiction of the damage inflicted by IEDs, is this the best British war film since Ice Cold in Alex? It’s a great war film by any standards.

It Follows (dir: David Robert Mitchell)

Sexual intercourse as an engine of death isn’t new in horror films, but It Follows finds a simple and brilliant new way of telling the story all over again – zombies who are “slow but not dumb” and might appear any time, any place, anywhere, dressed in nightwear or perhaps not very much at all. A lurchingly subjective camera, expressionistic framing and Disasterpeace’s Wendy Carlos-alike score help rack up the intensity even further.

A Girl Walks Home Alone at Night (dir: Ana Lily Amirpour)

The Muslim jilbab as a kind of vampire’s cape – what a brilliantly observed idea that is in one of the strangest horror films of recent times, which combines something of the mass-observation aesthetic of photographer Sebastião Salgado with the disjointed cool of early Jim Jarmusch. Shot entirely in California, yet clearly a film about and for Iran, it’s a fascinating, Middle Eastern take on the Let the Right One In “innocent vampire” genre.

Slow West (dir: John Maclean)

Michael Fassbender’s astonishing run continues with this out-of-nowhere debut by John Maclean, an exquisitely wrought western making clear its debt to old pulp novels and their love of hard-tack glamour and salty danger. Tense as hell, in fact the whole film is one long, slow build towards a great finale. And it looks the business too.

Aferim! (dir: Radu Jude)

There hasn’t been a great Romanian film for about ten minutes, but here’s a slightly different sort than what we’re used to – a historical picaresque following an 1830s cop and his son as they seek to capture a Gypsy and return him to his owner, a rich boyar whose wife has been too free with her favours. Kubrick’s Barry Lyndon inspires some of the look and pace of it, and Don Quixote is clearly also a reference, though Cervantes didn’t finish on as gruesomely gripping a high as this does.

Theeb (dir: Naji Abu Nowar)

It takes a while for it to sink in, but what we have in Theeb – as we follow the exploits of the youngest son of a Bedouin tribe in the Laurence of Arabia-era desert – is a story straight out of Rider Haggard territory. It’s the sort of ripping adventure that once upon a time emboldened Spielberg and Lucas to make Indiana Jones but is done without a cocked eyebrow here, with genuine danger, tough decisions, cruel fate and a bit of socio-economic background (the collapse of the Ottoman Empire) all adding spice.

Mommy (dir: Xavier Dolan)

With Tom at the Farm it became clear that Xavier Dolan was something of a genius. Mommy is further proof, a tough drama about the stumbling relationship of a flaky mother (Anne Dorval), her aggressive, firecracker ADHD teenage son (Antoine-Olivier Pilon) and their nervous neighbour (Suzanne Clément). It wears its emotions out there on a selfie stick – “fuck off” in this film often means “I love you” – and there are at least two scenes so powerful you might have to remind yourself to breathe.

Honourable Mentions

Victoria Almeida in What's Left of Us
Victoria Almeida drives the boys crazy in What’s Left of Us


Appropriate Behaviour (dir: Desiree Akhavan)

The life and times of a second generation Iranian, or of a confused bisexual, or of a girl in the big city, or of a struggling 20something – Desiree Akhavan gets it all just right in this through-the-fingers New York comedy.

Maps to the Stars (dir: David Cronenberg)

Still Alice won her the acting accolades, but Julianne Moore is actually better in this return to nightmarishness for David Cronenberg, as a fading star and member of a family for whom the term fucked really doesn’t cover it. The Player meets Sunset Boulevard.

Life After Beth (dir: Jeff Baena)

Aubrey Plaza gives it her absolute all as a newly dead zombie trying to have a relationship with old boyfriend Dane DeHaan – who finds her a whole lot more into him than she used to be – in a genuinely inventive comedy made all the better by the presence of John C Reilly and Molly Shannon as Plaza’s concerned parents. Dead funny.

The Tribe (dir: Myroslav Slaboshpytskiy)

Shot entirely in Lithuanian sign language, acted by first-timers and set in a school for the deaf where a new boy finds that the descriptor “sex and violence” barely covers what’s going on, this film sounds like a stunt – and it obviously is to some extent – but it’s a stunt that works. And the lack of dialogue is no bar to understanding when emotion this direct and action this unambiguous is concerned.

 The Babadook (dir: Jennifer Kent)

There’s a touch of The Innocents in this highly atmospheric Aussie horror about a mother driven to desperation by her needy child. Or is it the child we need to feel worried for? Sure, it goes slack in the middle, and becomes over-focused on telling us that writer/director Jennifer Kent has seen a whole load of old horror movies, but wait for the finale – barking, scary and brilliant.

The Book of Life (dir: Jorge R Gutierrez)

A Mexican flavoured animation with a Day of the Dead theme and a plot with a distinct Orpheus and Eurydice flavour – she’s dead and he goes after her into the underworld (ish). The visuals are spaghetti western meets Ren and Stimpy, the songs are jaunty and mariachi-flavoured and the voicework (Ice Cube in particular) is exemplary.

Pictures of the Old World (dir: Dusan Hanák)

“The best Slovak film ever made”, the reputation of Dusan Hanák’s disarmingly simple documentary from the early 1970s – about the dirt poor lives of ancient peasants up in the back of beyond – is entirely deserved. “I’m going to die this year, I can feel it,” says one old timer. And that’s what it’s about – quite starkly. Death.

Two Night Stand (dir: Max Nichols)

Breakfast at Tiffany’s, The Pink Panther, It Happened One Night and The Dick Van Dyke Show are all in the mix in this subversive comedy about a girl (Analeigh Tipton) who has hook-up sex with a stranger (Miles Teller) and then gets stuck in his apartment. Old-school screwball romance follows, charmingly, smartly and at speed.

Predestination (dir: Michael and Peter Spierig)

Robert Heinlein’s sci-fi story All You Zombies provides the backbone for the Spierig brothers’ follow-up to the similarly idea-crammed Daybreakers, a “guy walks into a bar” tale of a hermaphrodite (Sarah Snook) who walks into Ethan Hawke’s bar and tells him a story about time travel and the paradoxes that erupt from it. Refreshingly hard sci-fi.

Frequencies aka OXV: The Manual (dir: Darren Paul Fisher)

Strip away the romance and what is human courtship about? Status, clearly, according to this lo-fi, highly fascinating film about “what happens when a high frequency meets a low frequency” – hot, smart girl meets average guy, in other words. It’s patchily acted and a bit speechy towards the end, but there are enough ideas in this bizarre film for about 12 Hollywood blockbusters.

 Turned towards the Sun (dir: Greg Olliver)

A simple and revelatory documentary about 90-something poet and Second World War hero Micky Burn, a long-form visual version of a Daily Telegraph obituary whose power lies in the richness of Burn’s Zelig-like life. He was – just one for-instance – the guy in the secret radio room at Colditz.

What’s Left of Us aka El Desierto (dir: Christoph Behl)

A simple but powerful Argentinian zombie movie about a girl, a boy and another boy all locked up together in a house while the world goes to hell in a handcart outside. And inside, it turns out, once sexual dynamics and the fallout of a fetid love triangle start to exert themselves. Victoria Almeida is a powerful and provocative lead, the sexy counterweight to the hothouse atmosphere of death.

Tusk (dir: Kevin Smith)

Kevin Smith reminds us how good he can be with a film about a guy (Justin Long) being turned into a walrus by a demented surgeon (Michael Parks) while his much-cheated-on girlfriend (Genesis Rodriguez) searches for him. A simple film, it somehow manages to be funny and appallingly gruesome at the same time.

Face of an Angel (dir: Michael Winterbottom)

Michael Winterbottom’s drama takes the bones of the Meredith Kercher/Amanda Knox case and constructs a brilliant meditation on the modus operandi of the media, as well as a modern-day Dante and Beatrice tale in which film-maker Daniel Brühl is smitten by virginal Cara Delevingne, as anyone watching probably will be too.

While We’re Young (dir: Noah Baumbach)

Not-as-young-as-they-once-were couple Ben Stiller and Naomi Watts try to keep up with hipsters Adam Horovitz and Amanda Seyfried in a very Jewish New York comedy – smart, dry, a touch bitter – about the importance of being not just true to yourself, but of doing this absolutely and totally properly.

 White God aka Fehér Isten (dir: Kornél Mudruczó)

Kicking off with a quote by Rilke, this unique Hungarian film is like a Disney animal flick about the adventures of a mongrel, except done as existential sci-fi – what exactly would happen if dogs had the same degree of consciousness that humans have?

The Salvation (dir: Kristian Levring)

Director Kristian Levring used to be a Dogme man, but shouts “I’m so over all that now” with this remarkable western that’s like a fusion of Sergio Leone, John Ford, Sam Peckinpah and Robert Aldrich, with a perfectly cast Mads Mikkelsen as a Clint Eastwood-alike quester after vengeance. If looks could kill…

Run All Night (dir: Jaume Collet-Serra)

Another of Liam Neeson’s geri-actioners, though this time he’s back with director Jaume Collet-Serra for a deliberately retro dash for the finish in which strong, silent Neeson takes on the good guys, the bad guys and eventually the whole of New York. Hugely overwrought, entirely satisfying, it’s genre done properly.

Still the Water aka Tutatsume no mado (dir: Naomi Kawase)

If Douglas Sirk had been Japanese he might have come up with this overheated love story about teenage lovers hedging towards full penetrative sex as the waves crash, storms rage and their families conspire against them. Leisurely, beautiful, lusty and lovely, an unusual mix of the entirely natural and the gigantically metaphorical.

Phoenix (dir: Christian Petzold)

The latest of a string of dark, intelligent films that director Christian Petzold and actor Nina Hoss have made together is a revenge drama set in the aftermath of the Second World War where Hoss, just released from a death camp, is recruited by her own husband to play his dead wife – he doesn’t recognise her, obviously – and she plays along. Oh deary deary me.

 Marshland aka La Isla Mínima (dir: Alberto Rodriguez)

Stunningly good-looking policier about an ageing Franco-supporting cop and his younger more democratic sidekick investigating a murder out in the photogenic Guadalquivir marshes in 1980. Brilliantly acted and shot, with locations and music to match, it even does a car chase in an entirely new way. Did I mention how good it looks?

Little Accidents (dir: Sara Colangelo)

Old school 1970s-style humane ensemble drama with a standout Boyd Holbrook as a survivor of a terrible mining disaster whose testimony about the event at an upcoming hearing is going to decide the futures of a whole lot of people in town. An ambling drawl of a movie, with Elizabeth Banks and Jacob Lofland almost as good as Holbrook, surely a star of 2016.

 Turbo Kid (dir: François Simard, Anouk Whissell, Yoan-Karl Whissell)

Utterly on-the-nail pastiche of 1980s straight-to-VHS movie-making, a post-apocalyptic Total Recall meets Mad Max story of a BMX-riding kid, called Kid, gaining special powers, falling for a special girl (a special Laurence Leboeuf) and saving the world. Funny and gory, with in-jokes for nerds, and a fabulous John Carpenter-like soundtrack by Le Matos.

Mad Max: Fury Road (dir: George Miller)

Pedal-to-the-metal furious punk-funk madness, with a barely speaking Tom Hardy as Max, the road warrior on the road with badass Charlize Theron (the film’s real star) while director George Miller obsessively choreographs the relentless chase/action mayhem around them.

Tomorrowland (dir: Brad Bird)

Whatever happened to the futurism of jet packs and flying cars? Brad Bird answers the question with jaw-dropping visuals in a modern-day Wizard of Oz quest-adventure coolly received by critics with ass/elbow disassociation disorder.

Cop Car (dir: Jon Watts)

Another of those great Kevin Bacon movies he comes up with every few years, with our guy as a really bad cop on the trail of a couple of kids who have nicked his car, unaware there’s something in the boot they really don’t want to be discovering. A high-concept B movie of real distinction, lean, simple and with smart, believable dialogue, especially for the kids.

Palio (dir: Cosima Spender)

A remarkable documentary about the Palio, a horse race run in Siena, Italy, twice a year, which takes such pains to introduce us to its characters – chiefly, the young buck hoping to steal the grizzled champion’s crown – that when the race kicks off, you’re really in the medieval square with the riders.

 Minions (dir: Kyle Balda, Pierre Coffin)

After the boring Despicable Me 2, who’d have thought that a spin-off – the backstory of Gru’s little yellow helpers – would have worked this well. Brilliantly animated and written, it’s a breathless, idea-packed, funny, inventive animated comedy.

I Believe in Miracles (dir: Jonny Owen)

Even if you have no interest in the 1970s, or British football, or managerial legend Brian Clough, this documentary about his astonishing success and idiosyncratic style will have you hooked. “The most charismatic man I ever met,” says one former player, part of the team of underdogs he willed to European Cup success, twice.

And if you want to watch or buy any of the films, this Amazon link will allow you to do just that – enjoy!

I am an Amazon affiliate

© Steve Morrissey 2015

19 October 2015-10-19

Michael Fassbender shaves Kodi Smit-McPhee in Slow West


Out This Week


Slow West (Lionsgate, cert 15)

One of the best westerns for some time, Slow West plays with the tropes of the pulp magazines that first connected the Old West with a reading public – the glamour, the danger, the hardship and the austere beauty are all here in Scotsman John Maclean’s really rather extraordinary feature debut. It’s framed like an odd-couple road movie, with Kodi Smit-McPhee as a naive, priggish kid following Rose, his one true love (Caren Pistorius, a star), from Scotland across the ocean to America, and then across the increasingly wild badlands. Joining him on the journey is Michael Fassbender as a bounty hunter – there’s a price on Rose’s head, though the youngster doesn’t know it – and following these two, like scavenging beasts, is a gang of properly bad guys, led by a piss-and-vinegar Ben Mendelsohn in a gigantic buffalo-skin coat. Fassbender plays the mercenary-but-decent Silas as 50 per cent Clint Eastwood, and director Maclean borrows that sense of leanness from Eastwood too, and his picture of a down-at-heel, nailed-together, planks-and-bottles Wild West could almost be lifted from High Plains Drifter, though Robbie Ryan’s cinematography adds an extra sparkle. If it wanders towards cliché, that’s because it’s meant to, Maclean enlivening a campfire singalong with a smattering of off-screen orchestra as if to say “Back atcha”. He’s not just smart, but an excellent builder of tension, the entire film in fact one long slow build towards a finale that manages to be gruesome, funny, cathartic and beautiful all at the same time. Yup, unmissable.

Slow West – Watch it/buy it at Amazon




Cop Car (Universal, cert 15)

This elegant, gripping thriller is pretty much a three-hander. On one side there’s a couple of runaway kids – perhaps 11-years-old – who find a cop car which appears to have been abandoned. Tentatively they play around in it, then start it, then drive it away down the highway – we’re in the middle of rural nowhere so no one stops them. On the other is Kevin Bacon, sporting a bad-man’s moustache, as the bad cop whose car contains… well, that would be telling. The rest of the film cats-and-mouses between the two parties, the impossibly naive kids who touchingly think they’re grown-up because they’re in this car, and the cop trying to do his best not to let on to his colleagues that he’s lost his car, while trying to find the kids and get the car back, before they discover what it is that the car contains. Diners and backroads, homesteads and wide open spaces, director Jon Watts dredges everything in Americana, and makes much of the kids’ fragility, as they play, in heart-in-mouth scenes, with the guns, defibrillators and other potentially lethal paraphernalia you tend to find in a cop car. It’s a high-concept B movie of real distinction, with its own languid pace and a discordant jazz-drone soundtrack suggesting everything’s a little off kilter, and so you nod indulgently it as it builds towards an OK Corral ending that’s a little fanciful, a touch overwrought and very bloody.

Cop Car – Watch it/buy it at Amazon



Knock Knock (EV, cert 18)

Eli Roth’s remake of the 1977 cult film Death Game stars Keanu Reeves as a uxorious husband whose gorgeous wife and kids go away for the weekend, leaving the successful architect alone to finish some swish project in his fabulously appointed home. That evening, in the pouring rain, two wet, cold (and hot) girls knock on the door in a state of distress. Being the gent, Keanu invites them in. And being wicked minxes, the girls seduce him. Well what middle aged man of 43 (ahem) could resist? I say 1977, but there’s a lot more 1967 in Roth’s version of events – by the 1970s protagonists in films were always guilty; Keanu, by contrast, is simply an innocent man led astray by his dick. Roth also piles on the Hammer horror thunder and lightning here and there, to suggest higher powers (again, more 60s than 70s), though Roth insists the time is right here in the twentyteens with protests-too-much references to Uber and iPads, Facebook and what have you. Keanu is fabulous as the initially broad-minded guy who becomes increasingly uncomfortable with the girls’ increasingly sexual overtures (they say they’re 15, just one of a string of lies). He’s fabulous, too, as the man whose sexual urges finally sumo-flip him, Roth reminding us here of the sex/horror mash-up that was Motel. And Keanu’s fabulous again as the increasingly angry victim of the girls’ blackmail attempts/revenge plans. Why are they doing it? Roth inserts a line about Keanu being from “1% land” – more updating overload. If you want a horror film with the zeitgeist hardwired, go elsewhere. But Knock Knock works well as a fun, nasty exercise in victim-baiting, and in Keanu Reeves Roth has an actor always at his best when he’s playing back-to-the-wall characters.

Knock Knock – Watch it/buy it at Amazon



Match (Praslin, cert 15)

And yet another small, tight film with a tiny cast. This time there are just three players – Carla Gugino, Matthew Lillard and Patrick Stewart, the first two playing a woman and her husband interviewing the latter, a New York dance teacher at the end of a seriously successful career. For her PhD, she says. This is not at all true, and as the spoilerish reveal arrives – once the characters have loosened up with booze and weed – the film shifts into a discussion of 1960s morality, or lack thereof. It seems that Stewart had a lot of sex back then, both straight and gay, and has left behind a certain amount of damage. More than this I cannot say. What I can say is that the theatrical origins of this story weigh heavy on it for a while, until things start to take off about halfway through. At this point I suddenly understood the point of Gugino, looking much younger and more attractive than she did in San Andreas, where she was required to act not only against a younger, rackier Alexandra Daddario, but also against a faceful of Botox. Here, she holds her own against Stewart, which is an achievement considering he’s playing a booming, flamboyant creature of the stage. More surprising, maybe, is Lillard, who starts quietly as a character on the sidelines but slides more towards centre stage as the film’s big reveal arrives – you can guess what it is already, I’ll bet. Here, the entire thing catches fire, melodramatically, for sure, but on fire it most surely is.

Match – Watch it/buy it at Amazon




The Overnight (Universal, cert 15)

Yet another tiny film. Only four people in this one, Adam Scott and Taylor Schilling as an uptight married couple who have just moved to LA. Jason Schwartzman and Judith Godrèche as the effusively friendly couple who befriend them so fulsomely that we immediately know something is up. So, Scott and Schilling turn up for dinner, with their kid in tow, and are first subjected to hospitality of an epic sort, in a house that marks Schwartzman and Godrèche out as super-successful, before the guests are invited to let their kid sleep over, and are then plied with booze and drugs. And thus begins a long night of through-the-fingers embarrassment – mostly related to matters sexual – which comes across as if Abigail’s Party had been crossed with the Danish comedy Klown. Or, put another way, as if Bob and Carol and Ted and Alice had been a) funny and b) sexy. And if none of those references mean anything to you, just laugh at the man with the big penis and the man with the small penis. Guess which is which?

The Overnight – Watch it/buy it at Amazon




Friday Download: The Movie (Spirit, cert PG)

Friday Download is a British TV show about a gang of cool kids who do cool stuff – such as appear in a British TV show. Think The Monkees for its knockabout and self-referential attitude and much of its humour. For this spin-off movie, the gang go on holiday – as is written in movie spin-off lore – but to the Downloaders’ credit, they don’t head off to sunny climes, as The Inbetweeners did. Instead it’s all aboard a rickety old van for a trip to a big old house, which is of course haunted. A live-action Scooby Doo is the result, with the same sort of genial ramshackle energy, some quite good jokes (writer Toby Davies has worked with Mitchell and Webb, hence a brief cameo by David Mitchell), some rather fine if cheap special effects and a couple of half OK songs by The Vamps and various members of the crew. It’s not for me, obviously, and if you’re a girl who’s yet to have that special talk with your mum, it might just be for you. Though mum might worry it’s a bit too frightening for you, like she’s got any idea.

Friday Download: The Movie – Watch it/buy it at Amazon




Soaked in Bleach (Platform, cert E)

Did Courtney Love kill Kurt Cobain? Let’s put that another, slightly less litigious way. Did Love know more was afoot than she was letting on when Kurt Cobain was announced as missing a few days before he wound up dead, apparently from suicide? Tom Grant, the private eye Love hired to find him, is convinced she was a lot more involved than she says, and is the foundations, walls and roof of Benjamin Statler’s late-in-the-day documentary. In some not-awful drama-doc footage, and assisted greatly by the recordings of telephone conversations with Love and most particularly with her close ally and music attorney Rosemary Carroll – which Grant made when he started to have his suspicions – we get the official story (the suicidally inclined Cobain escapes from rehab, buys a gun and a load of heroin, then heads off to a remote cabin, barricades himself in, takes loads of skag and shoots himself). In slightly ramshackle fashion, and without at any point making the throughline as clear as I have just there, the film then, with some (though not enough, if I’m being just) forensic detail, takes apart that order of events. We discover that Kurt was neither personally suicidal, nor did he come from a family of suicidal uncles, as is often suggested, not least by Courtney Love. A barrage of doctors stand up to point out that no one takes that large an amount of heroin and then shoots themself. The position of the suicide weapon seems all wrong. The cabin wasn’t barricaded. The suicide note seems forged. And so on. If you’re not totally convinced by the end, as I wasn’t – because Grant and Statler’s contentions are hardly given a thorough stress-testing – there’s certainly a lot of chin-strokey material to give pause. More than pause, in fact. And the fact that Kurt seemed to be on the verge of divorcing Courtney – and that a pre-nuptial agreement they’d signed meant she’d get nothing – certainly doesn’t make her position look any better. Cui bono, as they say in Latin. Or, as we now say in English, follow the money.

Soaked in Bleach – Watch it/buy it at Amazon





© Steve Morrissey 2015