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!

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© Steve Morrissey 2015

3 August 2015-08-03

Commanding officer Bruce Greenwood talks to drone pilot Ethan Hawke in Good Kill


Out This Week


Good Kill (Arrow, cert 15)

What happens when you force a Top Gun kinda guy out of his plane and into a bunker, where he is now commanded to kill people in Whereveristan remotely, using drones?

Writer/director Andrew Niccol and his Gattaca star Ethan Hawke reteam to answer the question in an anti-war film running through most of the arguments made by the liberal intelligentsia (ie the intelligentsia).

Hawke physically channels Tom Cruise, donning Ray Bans and copying the faux big-bollocks walk, while little touches nudge us even further towards the conclusion that drones are a bad thing – the voice coming down the line from Langley with lethal orders sounds a lot like Donald Rumsfeld’s.

Middle aged man finds he can’t get hard any more – for war, anyway – subtly played, intelligently told, though there’s no such nuance in the message.

Good Kill – Watch it/buy it at Amazon




White God (Metrodome, cert 15)

Bizarro item of the week is well worth hunting down.

Imagine a Lassie story with dog-fighting, animals attacking and killing humans, extreme violence, bloody mayhem, with our hero dog eventually attaining a moment of consciousness and ganging together with other street beasts to lead an attack on the good burghers of Budapest, where this film is set.

This is that film. And because it sticks to the animal movie template – Black Beauty is actually what it’s closest to, with its story of a mongrel passed from human to human and having new adventures on the way – it’s hard to shake off the feeling that this is a Disney film as made by an executive who’s just done four straight days on crystal meth.

White God – Watch it/buy it at Amazon




Hustlers Convention (Kaleidoscope, cert E)

The motherlode of rap, made in 1973 by Jalal Nuriddin of The Lost Poets, gets a belated appraisal.

No surprise to find that the guy who made it is now knocking on a bit, but he’s in good shape, both physically (thanks to martial arts) and mentally, because, as he tells us, “I chose the message over the money.”

Which is good for him, because though his album telling the story of life in the hood – gangstas and niggaz in utero – was massively influential, it never really crossed over, though a million sales on word of mouth alone is obviously impressive. “It was the human rights struggle in a nutshell,” says the eloquent and charming Nuriddin.

The line-up singing his praises is impressive – KRS One, Ice-T, Chuck D, all voluble and interesting fans – but the talking heads tends to repeat each other and the film is a touch formless, though director Mike Todd does make it build, vaguely, towards a gig at London’s Jazz Cafe, which he then shows almost nothing of (a rights problem?).

However, any gig that ends with its clearly enthused lead singer giving the black power salute and signing off with “power to the people” is OK by me.

Hustlers Convention – Watch it/buy it at Amazon




Insurgent (E One, cert 12, Blu-ray/DVD/digital)

After a quick “previously on Divergent” preamble, we’re into number two in the series, which sees Shailene Woodley advance towards the inevitable challenge to the rule of dictator Kate Winslet, in what looks very much like a re-run of the Hunger Games, because it is.

Nothing wrong with that – the story of a gifted lone individual leaving home, and being forged in the wilderness while assembling a rebel gang was good enough for Bilbo Baggins and Luke Skywalker, not to mention Jesus Christ.

What’s problematic here is how pedestrian the telling of the story is, the script in particular letting the side down with its resort to cliche and just dead flat writing.

As if sensing this, director Robert Schwentke makes an effort with the lighting and keeps the action moving. In fact the whole film is a triumph of production design.

And the acting isn’t bad either. Though Theo James as a rough tough badass leader still isn’t convincing, at least Shailene Woodley is on hand, that “not hot enough” trolling after the first film having persuaded her to tone up – shoulders are broader, waist is narrower, clothes and hair are cut just so.

It isn’t a good film, but then I’m not 13 nor a girl.

Insurgent – Watch it/buy it at Amazon




Admiral: Command and Conquer (Signature, cert 15)

Sneaking out to DVD in the UK, though well worth seeking out, is this sumptuous Netherlands historical epic, the country’s second most expensive film (after Verhoeven’s Black Book).

It’s a rollicking Sunday afternoon adventure about naval hero Michiel de Ruyter and how he saved his country from the English navy. It’s done on the big scale, booms and dolly shots, lots of extras, sumptuous sets and costumes. More importantly, it’s well written, moves at speed and spends time with its luffs, mizzens, braces and jibs, so that when the big sea battles do come, we have some idea of the physical abilities of the ships, how subject they are to the whim of the wind, and the extreme skill it takes to manoeuvre them.

Pubby bear Frank Lammers is a coup as the brave, resourceful but modest de Ruyter, the sea captain who’d rather be at home with the wife and kids. Charles Dance turns up as the finagling crook Charles II of England, and he twirls his moustaches as if for the first time.

I’d swap out the over-Hollywood soundtrack, which gets a bit by-the-yard(arm) at times, and the odd bit of CG probably needs another few thousand euro spending on it, but it’s a good film – highly informative and vastly entertaining. Ahoy!

Admiral: Command and Conquer – Watch it/buy it at Amazon



Glassland (Kaleidoscope, cert 15)

An Irish misery memoir, with an excellent Jack Reynor, in louche Michael Fassbender territory, its saving grace as the son of alcoholic Toni Collette trying to persuade her to stay off the bottle. I would say Collette was good too, since she always is, except that her Hollywood bleached teeth do slightly let the side down.

Don’t bother if you’re sick of seeing working class life as a shit-covered slide towards the grave, because that’s what we have here. Though if looked at as a strange sort of love story between a son and his mother, it gains a few plus marks, and the dangle of a possible redemptive finish does at least give the drama some tension.

Will Poulter fans should ignore his name in the credits. He’s in it for seconds, possibly just to help young director Gerard Barrett get his film financed.

Glassland – Watch it/buy it at Amazon




Woman in Gold (EV, cert 12)

A BBC and Weinstein brothers co-production. And both are up to their usual middlebrow tricks with a dramatised version of the true story about the ageing Jewish woman (overacting Helen Mirren) who decided to fight the Austrian government and claim back what the Nazis had stolen from her family – the Woman in Gold, Gustav Klimt’s portrait of her aunt, Adèle Bloch-Bauer.

Ryan Reynolds arrives early on, as the rookie lawyer she co-opts to help her, and the story is then bent very much into a chemistry-free facsimile of Philomena – prim pensioner and cocky guy double-act stuff.

It’s not as good as Philomena in any way, not least because there are no real stakes here – a perfectly comfortably off woman would rather like a painting back so that justice may be seen to be done. It’s hardly life and death.

Nor do we need backstory for Reynolds – his domestic setup with wifey Katie Holmes is just space-filling. And director Simon Curtis’s decision (or maybe it was the Weinsteins; they tend to interfere) to shoot the Nazi-era Vienna sequences in that flat sepia has the effect of suggesting the past isn’t as important as the present (which, most surely, flatly contradicts the film’s message). While, in the present, Curtis’s camera is ever busy, gliding about when it should be still.

Strange how a story with so much potential – the Nazis, a great artist, millions of dollars, an iconic picture, a legal battle raising spectres of mass extermination and national guilt – has settled instead for the chocolate box.

Woman in Gold – Watch it/buy it at Amazon


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© Steve Morrissey 2015