My Favorite Films of the 2010s

It’s strange to think that we now live in the far off future of the 2020s. But with that new and strange future waiting for us, we also leave behind a decade filled with some of the best movies we have ever known. While there are a lot of negative and overwhelming things about the 2010s that we’ll always remember, whether we want to or not, I believe it is safe to say that this past decade was one of the best for cinema. It allowed the widest range of filmmakers to tell their unique and awe-inspiring stories that forever changed the landscape. From “Get Out” and “Moonlight” to “Lady Bird” and “Roma,” this was the decade of imaginative storytelling.

For me, I got to see far more wonderful movies than I can count. Not only did I get to see nearly every major release in my small town from 2014 onward, but this was a decade that significantly expanded my world view and tastes in cinema, allowing me to see pictures I would have never expected and now I can’t imagine a world without movies like “Spotlight” or “The Social Network.” But there are so many of those stunning films that forever changed cinema that it’s daunting to even narrow them all down to one list. 

So rather than talk about the best movies that changed the decade and movies forever, I’m going to stick with what I know and talk about the movies that changed me. The movies that I will remember forever from the 2010s and ones that I could watch again and again. I also couldn’t do any of these films justice with a short description here, though I do have full length reviews for nearly all of them elsewhere on my blog, so links to those will be included for each of them. These are not necessarily my picks for the best films of the decade (though some of these would be on that list too), but rather these are my absolute favorite and most memorable films of the 2010s (in no particular order…except for the last one).

“The Artist” (2011)

Out of all these picks, “The Artist” is the only one I haven’t talked about at length. But to get to the heart of it, “The Artist” is cinema at its purest. Raw, emotional, visual storytelling at its finest, celebrating how beautiful and tragic cinema can be by crafting a tale that hasn’t been told for nearly 80 years. It’s one thing to make a silent movie in 2011, but it’s another thing entirely to make about the story of how silent cinema faded and the lives that were crushed by that transition. At times, it evokes the whimsy and energy of “Singin’ in the Rain,” while other times the tragedy of being lost in an ever-evolving world like Norma Desmond in “Sunset Boulevard.” It is a timeless tale about why we love movies so much and why they’ll always be relevant, a love letter not just to silent cinema but cinema in general. 

“Her” (2013)
http://gotengoxgodzilla.blogspot.com/2014/01/the-hopper-8.html

Simple, yet innovative. This is a science fiction piece that understands technology in cinema is not just fiction, but can be relatable and logical yet still fascinating and imaginative. I found myself just as invested in the futuristic Los Angeles as I was in the romance between Theodore and Samantha, finding a love story set in a world not too different from our own. A world where technology might have advanced further than us, and has replaced us in many capacities. Yet “Her” finds a middle ground where humans and technology make each other more desirable. That we wouldn’t be complete without the other. With the same quirky, off-the-wall craziness you can only get out of a Spike Jones film, “Her is one of the most creative and heart-warming films of the decade. 

“La La Land” (2016) and “Whiplash” (2014)
http://gotengoxgodzilla.blogspot.com/2017/01/movie-review-la-la-land-2016.html
http://gotengoxgodzilla.blogspot.com/2015/02/movie-review-whiplash-2014-does-he-want.html

After a lot of consideration, I’ve come to the decision that I cannot decide which of Damien Chazelle’s masterpieces I love more. So rather than pick one, why not just include both in one spot? Though both films do tell me the same thing – that the musical is not dead. Chazelle’s take on the genre uses music more as an emotion or a state of mind that is complimented by a passion for why music, moving music, needs to be shared with the world. In “Whiplash,” this is taken to its most extreme through J.K. Simmons’ character and his anger at a world that doesn’t share his enthusiasm for music and can’t understand why his students don’t care about it as much as he does. While in “La La Land,” that passion is splashed all over the screen through vibrant colors, long shots of stunning choreography that demonstrates why musicals are beautifully unique without ever sacrificing that same harsh reality that “Whiplash” started. While both films are joyous in their own way, they never sugar-coat anything and often show just how cruel and unforgiving the world can be, but also why that passion is something worth fighting for.

 

“The Lego Movie” (2014)
http://gotengoxgodzilla.blogspot.com/2014/02/movie-review-lego-movie-2014.html

There were a large amount of noteworthy animated movies over the last decade – “Inside Out,” “How to Train Your Dragon,” “Spider-Man: Into the Spider-verse,” “Kung Fu Panda 2,” “Zootopia,” “The Wind Rises,” “Kubo and the Two Strings” just to name a few. But none of them made quite as much of an impact on me as “The Lego Movie.” As strange as this is to say about a film meant to sell tiny bricks of plastic that are a pain to step on, “The Lego Movie” might have been the most creative, heartfelt, nostalgic and visually-striking film of the decade. Say what you will about some of the best cinematography of the decade, none of those movies were made up entirely of legos. But beyond the vast cast of characters that seems to cover nearly every franchise in existence and makes it all feel connected, what makes this so important is the twist near the end and the message that comes from it. No other animated movie hit me nearly as hard as that moment when you find out who has really been pulling all the strings and how it fits right at home with the imagination of legos. I didn’t know that I ever wanted a movie about yellow bricks that has Batman, Shaquille O’Neal and Charlie Day playing a crazy astronaut obsessed with spaceships, but now I can’t imagine a world without “The Lego Movie.”  

 

“Mad Max: Fury Road” (2015)
http://gotengoxgodzilla.blogspot.com/2015/05/movie-review-mad-max-fury-road-2015.html

This film still blows me away. So much is conveyed with little dialogue and visually-rich imagery, creating this hellscape built on madness and cars. It is not only the most high-octane movie of the decade, but also the most authentic action movie of the decade too, with little CGI and epic level action sequences that would make David Lean blush with jealousy. This is what every action movie should aspire to be like – beautiful, detailed in its simplicity, deliciously hand-crafted and satisfying. Any day with “Mad Max: Fury Road” is a lovely day indeed.

“The Martian” (2015)
http://gotengoxgodzilla.blogspot.com/2015/10/movie-review-martian-2015-best-mars.html

As time has passed, the more I have fallen in love with “The Martian.” I’d describe it now as a comedy that laughs in the face of certain death and takes delight in the small moments of happiness, anything to remind us why it’s wonderful to be alive. Despite films like “Gravity” or “Interstellar” taking giant leaps for exploring the universe in new and creative ways, it’s the heart and honesty of “The Martian” that wins me over every time. Matt Damon gives the best performance of his career, perfectly capturing the highs and lows of having a planet to yourself while refusing to succumb to the dread of dying and working towards another chance to live. “The Martian” is as uplifting as it is hilarious, striking the perfect balance between crisis and serenity. 

“Nightcrawler” (2014)
http://gotengoxgodzilla.blogspot.com/2014/11/movie-review-nightcrawler-2014.html

If I had to include one gritty and unsettling film from the 2010s, I’d certainly go with the irresistible “Nightcrawler.” Jake Gyllenhaal’s performance might be my second favorite of the decade, as a man so engrossed in his own uncaring and unsympathetic world that he has to go out to prove his worth in any meaningful way. The way he treats others like his pawns or tools yet how it plays so well into the world he creates for himself and the “Man bites dog” mentality of journalism is so highly captivating. Watching this man try to conquer the world in his own way is a treat all on its own, especially once he starts to succeed at it. 

“Parasite” (2019)
http://gotengoxgodzilla.blogspot.com/2019/12/movie-review-parasite-2019.html

While I tried to stay away from more recent films that haven’t had as much time for reflection as the other films on this list, I keep coming back to Bong-Joon Ho’s immensely captivating genre-bender. Not only is the film able to effortlessly bounce between being a thriller, comedy and social commentary, but it is the most unpredictable experience of the decade. With each scene, it feels like the film could spring off a million different ways, always keeping the audience guessing as to which path it will take, and yet Bong-Joon Ho often picks none of those million possibilities and goes off in a completely different and yet still fascinating path no one could have expected. “Parasite” makes storytelling as creative and original as it was when we first heard stories and reminds me why cinematic storytelling can be so fun in the first place. 

“Shin Godzilla” (2016)
http://gotengoxgodzilla.blogspot.com/2016/10/movie-review-shin-godzilla-2016.html

I tried desperately to think of a movie that I loved more than “Shin Godzilla” from the 2010s, and I could only come with a few movies, and certainly no other kaiju films. When I think of a modern monster movie, one that portrays a honest depiction of what would happen if there ever was a giant monster running around, “Shin Godzilla” captures that perfectly. The dread and uncertainty of a creature that defies all the laws of nature and the cold reality that scared, tired and confused men are in charge of dealing with that creature is terrifying in its own right. Democracy was not meant to handle a nearly indestructible monster that destroys everything in its path. And even beyond that, this version of Godzilla is the most terrifying since the original monster, leading to monster scenes that are just as intense and gripping as the scenes with the government, and helped by wonderfully dynamic cinematography. Lastly, there’s the national identity of Japan on full display as the film makes Japan the main character with its demeanor, ideals and fears bared for everyone, leading to a climax that is triumphant as it is exhilarating.  

“The Shape of Water” (2017)
http://gotengoxgodzilla.blogspot.com/2018/01/movie-review-shape-of-water-2017.html

Despite everything else being in no particular order, “The Shape of Water” is, without a doubt, my favorite movie of the 2010s. From the opening scenes of finding joy in the small moments of happiness like the smell of chocolate in the air to tap dancing after watching in on TV, to the transparently wicked Michael Shannon soaking up every minute he has a chance to assert his authority, to the hauntingly beautiful dream dance sequence that brings me to tears every time, there is no shortage of wonder and awe in this movie. But what really brings it all together is Sally Hawkins giving my favorite performance of the decade, so raw and emotionally gripping as she acts her heart out in every scene without ever saying a word. She commands the screen, not like Michael Shannon’s intensity, but through her vulnerability. “The Shape of Water” is joy in its purest form, capturing the majesty and imagination that cinema can offer without ever shying away from the darker, more horrific sides of that imagination that leads to powerful emotional moments that I’ll never forget. And it is because of Guillermo del Toro’s passion for filmmaking, passion for the fantastical and passion for life that makes “The Shape of Water” the most rewarding movie of the decade. 

This has been a decade of so many wonderful movies that I’m sure there’s a bunch that I missed or left out or possibly some that I didn’t even see. So if you have any of those, be sure to let me know what your favorite movies of the 2010s were!

Movie Review - "Sicario" (2015)

I will remember "Sicario" for being filled to the brim with tension in all the best possible ways. In a film about the escalating drug wars along the Mexican border, this is a film that is more about the morbid details of paranoid and fear than the action. In fact, for a movie with such a big military presence, there is very little gun play, but the promise of violence hangs around every corner, especially in the opening 40 minutes of the movie.

After a drug raid on an abandoned house in Arizona ends with the discovery of dozens of dead bodies left in the dry wall and two dead police officers, FBI agent Kate Mercer (Emily Blunt) is called into confront the man responsible for these deaths. But Kate is kept in the dark throughout the majority of the film, especially when she's briefed that the mission will be happening in El Paso and the group is actually crossing over the Mexican border to Juarez, the drug smuggling hotspot.

Throughout this sequence of events, we are repeatedly shown that nothing good will be coming from this raid on Juarez and that brutality is inevitable. The tension continually mounts, as the convey has to divert when they hear gun fire, everyone becomes suspicious when a rogue state patrol car follows too closely, and we end up at the US-Mexican border, only to face gridlock and the convey is brought to a dead stop. The audience is told many times the most likely spot for confrontation would be at the border, and now everyone is stuck and unsure of where and who their enemy is.



Most of "Sicario" is like a good, well-timed jump scare. It is not the act of the jump scare that terrifies us, but knowing that it could happen at any moment, expecting it to happen any time, and not delivering on that until the right moment. The tension comes less from the action, and more from the waiting.

The audience is put in the same position as Kate, looking and waiting for something to pop off, so even the simple action of waiting in an alleyway or rolling down a window becomes a life-or-death situation. We mostly see this whole sequence from Kate's perspective, as she takes in and observes everything.

This sequence is wonderful because the tension is built up for the first act of "Sicario," never letting up and ending in a satisfying conclusion of paranoia and violence. Each scene flows into the next one and builds more on the disorder of the last scene. With brilliant pacing, atmosphere and a haunting score, we get one of the most memorable sequences in recent memory.

The rest of "Sicario" continues that creepy and unexpecting atmosphere, but gets a little too wrapped up the characters and plot to keep up the tension. The film loosens its grip on us and pulls back to tell us more about Kate and Alejandro (Benicio Del Toro). This doesn't diminish the film by any means, but the first act holds the scenes that are worth remembering.

Final Grade: B+

Paul's 2016 Academy Award Predictions

With the Academy Awards approaching, it is about that time again to go over my predictions for this years winners.

As I've said previously, 2015 was a wonderful year for cinema, and a fair amount of the best films this year got a lot of nominations. Personally, I would have liked to see a bit more diversity in other categories, but most of the nominated films do deserve to be in their respective categories.

To me, it looks like this year of the Academy Awards appear that they will be continuations from last year, and giving long-time artists their respect. Alejandro Gonzalez Inarritu and "The Revenant" seem to be in position to dominate just like "Birdman" did last year, while Sylvester Stallone practically has the Best Supporting Actor award already. I'm looking forward to Best Original Score this year, because it comes down to two masters of their craft - Ennio Morricone and John Williams.

With all of that said, let's take a look at my predictions. As with the last few years, I'll be skipping documentaries, shorts and foreign film categories, since I know nothing about them. Although, it does sound like "Son Of Saul" will win Best Foreign Film based off of what I've heard.

Best Cinematography:
Who should win: "The Revenant"
Who will win: "The Revenant"
Who I want to win: "Mad Max: Fury Road"

While I adored the cinematography in "Mad Max: Fury Road," there is no doubt that "The Revenant" was more impressive. The fight scene with the bear holds everything you need to know about why it has the best camera work of the year, as we watch this visceral and violent scene takes place, all without cutting away.

"The Revenant" is full of great examples like that, and like "Birdman" last year, this will help it achieve victory in this category.

Best Costume Design:
Who should win: "The Danish Girl"
Who will win: "Cinderella"
Who I want to win: "Mad Max: Fury Road"

Hard to say on this one, since I have not seen "The Danish Girl" or "Cinderella," but the Academy tends to love big period piece dramas like "Cinderella," especially when each character has their own unique dress in trying to show off the other. Plus, the level of extravagance is taken to a whole different level by adding director Kenneth Branagh, who takes the visual style of a Shakespeare play and amps it up to 11.

I predict that will be reflected in the Academy's decision.

Best Editing:
Who should win: "The Big Short"
Who will win: "The Big Short"
Who I want to win: "Spotlight"

To me, the editing was the best part of "The Big Short," and one of the standout examples of editing in 2015. "Spotlight" had some wonderful editing as well to keep everything contained so well, but "The Big Short" used editing to help advance the story. That gives it the win in my eyes.

Best Makeup and Hairstyling:
Who should win: "Mad Max: Fury Road"
Who will win: "Mad Max: Fury Road"
Who I want to win: "Mad Max: Fury Road"

No one's ever heard of "The 100-Year-Old Man Who Climbed Out The Window and Disappeared" so it won't be winning this category. I can't recall that much of impressive makeup in "The Revenant," other than Leo being covered in blood and lots of hair. So, by default, "Mad Max: Fury Road" has this one sealed up.



Best Original Score:
Who should win: "The Hateful Eight"
Who will win: "The Hateful Eight"
Who I want to win: "The Hateful Eight"

This is the one that I'm really looking forward to. It will come down to two composers this year, Ennio Morricone for "The Hateful Eight" and John Williams for "Star Wars: The Force Awakens."

Let that sink in for a minute.

This year, we are witnessing the composer of "The Good, The Bad and The Ugly," "Cinema Paradiso" and "The Thing," go up against the composer of "Jaws," the Indiana Jones movies, "E.T. The Extra-Terrestrial" and every Star Wars films. Morricone is back in the genre that he excels at - Westerns. While Williams is back to composing arguably his greatest score. We are watching two legends of film scoring going at it here, and it could go to either one.

I think it will go to Morricone, because of the legacy that he has left. The Academy loves to give it to very old people who have never won the award, or haven't won it in a long time. John Williams already has more Academy Awards than Meryl Streep, so to give it to an 87-year-old man whose career started in the early 1960s in Italy would be wonderful to see.

Best Original Song:
Who should win: "The Writing's On The Wall" by Sam Smith
Who will win: "The Writing's On The Wall" by Sam Smith
Who I want to win: "The Writing's On The Wall" by Sam Smith

I'm going with the song that I enjoy listening to. I've never heard of the other ones, so that might be swaying my vote. But Sam Smith is well-known now and everyone loves the Bond songs.

Best Production Design:
Who should win: "The Martian"
Who will win: "The Revenant"
Who I want to win: "Mad Max: Fury Road"

For me, the film that ends up feeling the biggest with the most impressive size, scope and feel to it wins this category. I felt that, of these five films, "Mad Max: Fury Road" had that in spades, but I doubt the Academy agrees with me on that.

"The Martian" should win because it felt like it was taking place on different planet, while still feeling down to Earth. The production design was simple, yet effective. But I think it'll go to "The Revenant" for the vast distance that the film covered and making it feel like a vast untamed wilderness.

Best Sound Editing:
Who should win: "Mad Max: Fury Road"
Who will win: "The Revenant"
Who I want to win: "Star Wars: The Force Awakens"

Before I go into my predictions, I feel like this needs to be addressed - What is the difference between Sound Editing and Sound Mixing? Over the past few years, I've seen this question come up a lot and people asking why they don't just combine the two awards together.

Here's the difference between the two. Sound Editing is the creation of all the sound effects for a movie, outside of the music, including additional dialogue recording, or ADR for short. Sound Mixing is combining all the sounds of the film, sound effects, music, dialogue, etc., into one solid coherent piece. In other words, the editing is about the guys who make the sounds, while the mixing is for those that put it all together.

Anyway, I would love to see "Star Wars" win this one, for recreating all the classic sounds of Star Wars while updating it. But it will probably go to "The Revenant" because duplicating the noises of the wild tends to rather difficult, especially when you're trying to recreate a wilderness that hasn't existed for hundreds of years.

Best Sound Mixing:
Who should win: "Star Wars: The Force Awakens"
Who will win: "Mad Max: Fury Road"
Who I want to win: "Star Wars: The Force Awakens"

Again, with the distinction between Sound Editing and Sound Mixing in mind, I have to give this to the film that made its sound as amazing to listen to as the visuals were thrilling, "Mad Max: Fury Road." As great as the sound was for "Star Wars," the sound of "Mad Max" has grown on me and has stuck with me as long as the everything else about this masterpiece has.



Best Visual Effects:
Who should win: "Ex Machina"
Who will win: "The Revenant"
Who I want to win: "Star Wars: The Force Awakens"

The bear will give "The Revenant" the win on this one.
Best Adapted Screenplay:
Who should win: "Room"
Who will win: "Room"
Who I want to win: "The Martian"

And now we begin to come down to the final categories, starting with the screenplay awards.
"Room" will take this one due to Emma Donoghue, who wrote the novel, returning to write the screenplay. That is a big deal, since nothing would be lost in the adaptation. This one comes down to how faithful the screenplay is to the source material, and "Room" will get extra points by getting the same writer as the novel.

Best Original Screenplay:
Who should win: "Spotlight"
Who will win: "Spotlight"
Who I want to win: "Spotlight"

I know this may look like it comes easy for "Spotlight" but this one was tricky.

There are a lot of well-written original films this year, including "Inside Out' and "Ex Machina"'s dialogue. But "Spotlight" took years of material from the Boston Globe, took everything to heart, and did there best to stay accurate to reality without diluting the story and message. It is original, yet at the same time, it is an adaptation of reality.

Best Animated Feature:
Who should win: "Inside Out"
Who will win: "Inside Out"
Who I want to win: "Inside Out"

This is the no-brainer pick this year. While "Inside Out" will face competition from "Anomalisa," this is Pixar doing what they do best. Pixar always has this category wrapped up, and this year will be no different.



Best Directing:
Who should win: Tom McCarthy for "Spotlight"
Who will win: Alejandro Gonzalez Inarritu for "The Revenant"
Who I want to win: Tom McCarthy for "Spotlight"

And now the big ones. This year, most of the awards are pretty difficult (aside from one). There are many nominees that are worthy of winning, and it can be difficult if the Academy wants to give it to those that deserve it or those that they know about.

With that said, Tom McCarthy should be the favorite to win this award, by making a film that feels less like trying to recreate reality and more like actual reality. But Inarritu is the favorite to win this award, as I'm sure the Academy would like to give the award to someone two years in a row.

Best Supporting Actress:
Who should win: Kate Winslet from "Steve Jobs"
Who will win: Kate Winslet from "Steve Jobs"
Who I want to win: Jennifer Jason Leigh from "The Hateful Eight"

This one is hard, because of all the nominees, I've only seen three of them - Rachel McAdams, Kate Winslet and Jennifer Jason Leigh. McAdams was good, but nothing spectacular, I don't see "Spotlight" winning any of the acting awards. Jason Leigh was amazing to watch as she seemed to love playing the bad guy and took delight in making someone's life a living hell.

But Kate Winslet gave that movie the necessary heart that it needed, as she kept Steve Jobs in check. If it weren't for her, Fassbender's performance would have been too sharp and unforgiving. I'm giving it to Winslet.

Best Supporting Actor:
Who should win: Sylvester Stallone from "Creed"
Who will win: Sylvester Stallone from "Creed"
Who I want to win: Sylvester Stallone from "Creed"

When it was announced that Sylvester Stallone was nominated for Best Supporting Actor, at an event that is normally very quiet and very reserved, the crowd erupted in a standing ovation. If that isn't a give away clue that Stallone will win this award, I don't know what is.

Stallone easily has this one for giving the best performance out of anybody this year.

Best Actress:
Who should win: Brie Larson from "Room"
Who will win: Brie Larson from "Room"
Who I want to win: Brie Larson from "Room"

Like with Best Original Screenplay, this is not an easy pick, but Brie Larson will win this award.
This year, it comes down between Larson and Cate Blanchett. What gives Larson the advantage is that Blanchett won the award two years ago for "Blue Jasmine," so that might sway some voters. Same with Jennifer Lawrence for her role in "Silver Linings Playbook," and Charlotte Rampling and Saoirse Ronan are a little too low-profile to win this award. Larson has won several awards for her performance already, so I think that helps out as well.

Best Actor:
Who should win: Leonardo DiCaprio from "The Revenant"
Who will win: Leonardo DiCaprio from "The Revenant"
Who I want to win: Matt Damon from "The Martian"

Finally, Leo will win one!

At this point, the voters feel sorry for Leonardo DiCaprio. Six times he has been nominated for Best Actor, and he has never won. While "The Revenant" was not his best performance in recent memory, it was still a captivating performance that had little to no dialogue from him. He will get this one more out of sympathy and not earning it.



Best Picture:
Who should win: "Spotlight"
Who will win: "The Revenant"
Who I want to win: "Mad Max: Fury Road"

And so we come to the biggest award of the night. With eight nominees, this year it comes down to two films - "Spotlight" and "The Revenant."

As much as I would love "Mad Max: Fury Road" to win the award this year, the Academy is probably turned off by it being one extended car chase sequence through a post-apocalyptic future. It is the one of the most technologically impressive films this year, but it will not win Best Picture.

"The Martian" has some tough competition, having a similar plot to "The Revenant" but that western survival tale still being fresh in people's memories. This one could be sneak up on other awards, but not here.

"Room" is certainly the indie darling this year, but I don't think the Academy will look at it beyond its screenplay and Brie Larson's performance. It is the underdog nominee in this case, but its chances are slim.

"The Big Short," "Brooklyn" and "Bridge Of Spies" are just happy to be here.

That leaves us with the final two, and I'm still unsure about who is going to win. My gut reaction is to say that "Spotlight" should win Best Picture for being the most respected and well-put together film of 2015.

But, the Academy is still high on Inarritu winning everything for "Birdman" last year, and to be able to come out with another high-profile film so quickly. The Academy is going to eat up Leonardo DiCaprio and the cinematography is impressive, to say the least.

Therefore, I believe that "The Revenant" will win Best Picture for 2015. I will have my fingers crossed in the hopes that either "Spotlight" or "Mad Max: Fury Road" can win the award, but the Academy is too much in love with Inarritu for the film to fail.

But we will find out very soon if my predictions are accurate. Because on Sunday, the 88th Academy Awards will take place and the best that cinema has to offer will be crowned.

Movie Review - "Brooklyn" (2015) - The Irish Downton Abbey

After watching "Brooklyn," I’ve come to a sudden realization – I do not care for romance films.

Perhaps it is because I’ve never truly been in a romance with someone, but I find that love is complicated to perform on-screen. Two people not only have to love each other more than they love themselves, but have to portray months to years of chemistry within a confined amount of time and make us believe that they’re compatible with one another. Usually, the best movies with romance often make it look easy, like in "WALL-E" and "City Lights," or focus solely on that like in "Giant" or "Gone with the Wind."

Most of the time though, romance is portrayed like it is something that happens every day and that it is no big deal, when it is just the opposite. There is a lack of conviction and sincerity in the approach, like the filmmakers don’t truly believe in what they’re talking about. By doing so, it stops being a true cinematic romance and borders a soap opera instead.

At times, "Brooklyn" feels like an episode of "Downton Abbey," as the drama builds upon itself in this period piece to the point where it all must explode, ruining many more lives than it needed to if people were just a little more intelligent about their decisions.

Suffice to say, "Brooklyn" did not do much for me.

In the early 1950s, Eilis Lacey (Saorise Ronan) has been given an opportunity to move from her home in Ireland to Brooklyn, where she will be given a job and a home to live in. This forces Eilis to leave her family, friends and everything she has ever known to a foreign land where she has an opportunity to prosper.



I left "Brooklyn" feeling the same way I did about "Bridge Of Spies," it certainly wasn't a bad experience, but I won't be remembering much about that film either.

Nothing was bad about the film. It was a sufficient tale of a woman immigrating to America while still trying to be herself in the face of this new society. By the time Eilis is given the option of going back to Ireland with what she's accomplished in America and still being near her family, that is when Saorise Ronan's performance shines and we are given a struggle between choosing your roots or your chances at happiness.

But "Brooklyn" is also far too by-the-numbers. We've all heard this story so many times before about immigration, and "Brooklyn" does not do anything to stick out among the others. Aside from Saorise Ronan's role and a few of her friends, especially Emory Cohen as Toni and Domhnall Gleeson as Jim Farrell, there isn't much noteworthy about this one.



Emory Cohen added a much-needed light-hearted touch to the film, as he plays an italian plumber who enjoys Eilis' company. The two don't really have any other reason to be together, other than they're nice to each other, but Cohen certainly has fun being around her and his smile is infectious.

Domhnall Gleeson, coming off his role as General Hux in "Star Wars: The Force Awakens," gives us a man who sees one last opportunity for a good life and takes every chance he can get at it. From the audience's perspective, he plays a tragically-doomed character that will be let down by something out of his control.



Overall, "Brooklyn" was sufficient, but did not provide me with anything substantial. If you enjoy romance or period pieces, then you'll like this one just fine. But if you're hoping for something more than just a pretty looking piece about immigrating to America, don't expect to find it here.

Final Grade: C+

Movie Review - "Room" (2015) - Oh hai, Room!

This is one of the greatest worst movies I have ever seen, starring Tommy Wiseau, who also wrote, produced, edited, directed and presumably gave birth to this film through his artificial womb, "The Room" is about a group of guys who, I assume, know nothing other than to toss a football around in tuxedos and...

Wait...Sorry, wrong room.

To be honest though, every time I've heard people discuss Lenny Abrahamson's "Room," the first thing that comes to mind is Tommy Wiseau's strangely detached character screaming, "You are tearing me apart, Lisa!" This is unfortunate, since "Room" has one of the greatest mother-son relationships in cinema, and proves to lift itself above the depressing scenario into a truly hopeful and optimistic film.

Jack (Jacob Tremblay) wakes up on his fifth birthday to his universe - a tiny room with little more than a bed, a wardrobe, a rug and a toilet. His mother, Joy (Brie Larson), has decided to bake Jack a birthday cake with the few supplies they've been given by "Old Nick" (Sean Bridgers). Every night, Old Nick pays Joy a visit, forcing Jack to sleep in the wardrobe.

But soon after, Joy puts her faith in Jack now that he's five years old and tells him the truth. There is a whole world outside of Room, not just empty space like she had told him a long time ago. Joy was kidnapped by Old Nick seven years ago, forced into Room, a tiny tool shed converted into this makeshift home, and she has no way of getting out without knowing the code. Joy needs Jack's help in getting out of this hole, but Jack is unsure about leaving the only world he has ever known.




And I'm sure Tommy Wiseau and Greg Sestero are out there talking about how beautiful Lisa is somewhere in there.

When I heard about the story for "Room," I was immediately turned off. It sounded like a depressing tale of an innocent young woman being forced away from her home to be little more than a slave, while making her son become a part of this world as well. But what I got instead was a film that nearly made me cry at how these two were able to take these shriveled husks of lemons life has given them and turned it into the sweetest lemonade you have ever tasted.

Jack lives a happy and most carefree life, as he tells these elaborate stories about every object in Room. From the vast ocean in the top of the toilet, to his hand-crafted egg-snake being the longest creäture in the universe. Jack is content with living the rest of his life inside Room, because his imagination is able to run wild in this place. In place of knowledge of the outside world is a bottomless pit of enthusiasm and excitement over what the day will bring next.

As for his mother, Joy is constantly haunted by this existence, but finds a way to be optimistic for the sake of Jack. We learn later in the film that she had no purpose in life until Jack came along, giving her a reason to fight and hope that tomorrow would be the day she would finally escape and allow her son to experience a worthwhile life. This is anchored by Brie Larson’s performance, who is haunting at times in her vacant stares, as though she’s been drained by the last seven years, but still finds the energy to play with Jack.



Most of "Room" is shown from Jack’s perspective, as we hear his inner monologue explaining the situation as if he were a knight fighting a dragon, with extravagant details as though from classic literature. His childhood innocent not only elevates the story, but gives the film its added punch when Joy tells Jack the truth and we watch as reality shatters and is replaced by love for his mother.

What I’ll remember the most about "Room" (aside from the disappointing lack of Tommy Wiseau’s sweet love-making), is its constant need to look for the light inside of a dangerously dark situation. It is as if we’re watching a sequel to a much grittier tale, like "Gone Girl" or "The Gift," only now our characters have clawed their way through tragedy and find a sliver of hope, and cling to that with a vice grip.

Overall, "Room" is one of the most uplifting films of the year, held together by performances from Brie Larson and Jacob Tremblay, along with spectacular direction by Lenny Abrahamson. Credit must be given to the cinematography, for making the room feel tiny and claustrophobic at times, while others it is vast and almost endless. We are given a film about the acceptance of being trapped, yet never giving up on the fight for freedom.



Final Grade: B+

Movie Review - "The Big Short" (2015) - The Power of Money

Full disclosure: This movie was not aimed for me. As a result, I did not enjoy it at all.

This is the risk of making a movie like "The Big Short," which spends most of its run time discussing Wall Street tactics to breaking into the system and making big money off of the collapse of the American economy. You are immediately alienating most of your audience, the ones who do not completely understand the financial structure of Wall Street.

For me, most of "The Big Short" was like listening to the techno-babble on "Star Trek," where the show will create new forms of technology that the audience has never heard of to solve a particular situation. I got just as much out of hearing about C.D.O.'s and hedge funds as I do listening to multi-moldo reflection-sorting.

In other words, because I'm uninformed about these events, I'm also uninterested and uninvested.

Even after watching this film, I couldn't even begin to tell you how these group of men capitalized on the collapse of the housing market.

I can tell you that each of these gentlemen has little respect for the system they work in and have more than their fair share of mental problems. From Christian Bale's inability to interact with others, to Steve Carrell's tendency to snap at anything that might be faulty, to Brad Pitt walking around as though the apocalypse is one day away.



When "The Big Short" chooses to focus on these characters attempting to rejoin society, that is where the genuine comedy comes from. These are the guys that will bring down massive corporations to their knees, yet one of them can't go outside without wearing a mask over his mouth. It is too bad there are so few of these scenes.

Most of the time is spent on Bale, Carrell, Pitt and Ryan Gosling slowly realizing that the housing market is on the verge of collapsing, using this knowledge to their advantage and want to make millions from other people's suffering. They face challenges along the way, like Bale's superiors constantly asking where nearly $1.5 Billion has gone, or that Carrell and Gosling's deal keeps changing.

All the while, the film hardly ever takes a moment to explain exactly what is going on.

I say hardly, because there are a few strange scenes in "The Big Short," where the film will stop to have celebrities explain some aspects of Wall Street. These include Margot Robbie in a bathtub explaining default credit swaps, Anthony Bourdain to talk about the housing crash a bit better, and Selena Gomez playing blackjack.

These were the scenes that I enjoyed the most. Not because they explained more about this nonsensical business, but because they were so out-of-place and random that they always caught me off guard. Part of this might have been the conviction and sincerity in what Margot Robbie was saying, that she believed every word while taking a bath and drinking champagne. Any time one of these scenes happened, they stole the show.



But the sad thing is that these scenes don't do what they're supposed to do - Inform the audience. By the time these cutaways were finished, I couldn't remember what they talked about. None of the information stuck in my head, because I was so off-put by how random and unexpected those scenes were.

Yet, I can admit that I was not the target audience for "The Big Short." I know little to nothing about investments, banking and Wall Street, so most of this is lost on me. I can appreciate its attempts to bring this subject to a larger audience, but I feel it was not done well enough or accomplished much better in films like "The Wolf Of Wall Street."

If you have a basic understanding of how business and banks work, then you should understand "The Big Short" and enjoy it much more than I did. And even if you liked similar films, such as "The Wolf Of Wall Street," then there are at least parts that are a joy to sit through.

Final Grade: D+

Best of 2015

And with another year in film coming to end, it seems appropriate to finish it up on my awards for the year. This will be different from my top ten films of the year, as these will be the films that stuck out in my mind for various reasons.

But first, let’s answer the question of "Was 2015 a good year for film?"

Since I’ve been writing reviews, it seems like every year of cinema has gotten better than the last. 2013 had three or four stand-movies to make it a good year, 2014 was a great year with five or six films that I still love to watch, and this year was even better. Most of the cons of 2013 and 2014, like the lack of good comedies and over abundance of effects-filled movies, were fixed in 2015. We got several laugh-out-loud comedies, like "Spy" and "Trainwreck," films with more practical effects, like "Mad Max: Fury Road" and "Star Wars," plus a nice mix of stand-out horror films and better effects in movies overall.

And while there were more than a few movies that grinned my gears, I can think of at least eight films that I would have no problem watching times in the future. I go into a bit more detail about that in my top ten films of 2015, so be sure to check that out. Any year where more than five rewatchable and respectful movies come out is a fantastic year for cinema, so I would call 2015 a massive success.

With that said, let’s take a look at the best (and worst) of 2015. Beginning with…



Biggest Surprise – "Mission: Impossible – Rogue Nation"

Going in, I did not expect much out of this one. Tom Cruise is getting far too old for these types of roles, and the "Mission: Impossible" franchise seemed to be running out of ideas after the third film. But, much to my amazement, "Rogue Nation" dwelled less on stunts and more on complex character moments, giving Tom Cruise enough room to play both hero and villain. Each action piece was unique, and the pacing makes each one gripping and exciting to watch. This is not only the best film in this series, but the best spy film of the year.



Most Technologically Impressive – "Ant-Man"

In a year full of technologically impressive films, this one was tough.

Usually, I like to give this award to the film that transports us to a fascinating new world. But this year, while films like "The Martian" and "Inside Out" did just that, they always felt close to home. So I’m giving this one to "Ant-Man," for making our world feel foreign. This film was at its best when making every-day objects feel like weapons of mass destruction, especially on a toy train set.



Most Fun In Theaters – "Star Wars: Episode VII – The Force Awakens"

This one is a no-brainer. If you didn't have fun with "Star Wars: The Force Awakens," go see it again. It only gets better on the second and third viewing. Trust me, I learned that from experience.



Sleep Inducer – "Run All Night"

It certainly didn't help that I saw this one at 11 o'clock at night, after a long day of walking miles through an anime convention. I'm pretty sure I tuned out half way through this "Taken" clone.
You know, I haven't even seen "Taken." But now that I've seen so many films like it, I feel it would ruin my first experience of the film that just about everyone seems to love.



Film I Need To See Again – "Spotlight"

I respect "Spotlight" far too much to only watch it once. This film deserves as much attention as it can get, for being so loyal and dedicated to the truth, much like the journalists covering the story.



Funniest Film – "Spy"

I rewatched "Spy" recently, and the comedy still holds up as much as it did when I saw it in theaters. The scene where Melissa McCarthy verbally destroys Rose Bryne's character in the airplane is her crowning moment of comedy, combining her talent of insults, imagination and spunk. This film makes the best use out of McCarthy's talent as both a comedian and an actress, while still giving plenty of great moments to Jason Statham and Jude Law.



Biggest Disappointment – "Joy"

A film that I had looked forward to since the first trailers came out, and what we got was the story of a bored housewife making a mop, while everyone around her either ruins her dreams or watches soap operas.

Weak.



Most Forgettable – "Southpaw"

After watching "Creed," I had utterly forgotten about seeing "Southpaw." That film was the most cliché, predictable and by-the-numbers film of the year, with no stand-out performances, even from the lead actors. At this point, "Southpaw" has become nothing more than the butt of a joke.



Most Overrated – "The Revenant"

If this is the most overrated film of the year, then you now it has been a good year for cinema. Because there was a lot to like about "The Revenant." Leonardo DiCaprio's performance, the breath-taking cinematography combine with so many long takes to show case the awe of nature, and the atmosphere of isolation.

However, the pacing is excruciating at times, making the experience almost sleep-inducing at times. Since "The Revenant" came out the same year as films like "The Martian" and "The Hateful Eight," this one seems almost forgettable.



Most Underrated – "Kingsmen: The Secret Service"

Even I had forgotten about this one for a while, since it came out so long ago.

While I did say that "Mission: Impossible - Rogue Nation" was the best spy film of 2015, "Kingsmen: The Secret Service" was the best spy film that did not take itself seriously in the slightest. This one takes the most ludicrous action sequences, villain schemes and long-winded speeches from "Spy" and "Spectre" and amps it up to 11. Yet, it never looses its sophistication, especially with Colin Firth's character. Though there were sequences that didn't make a lot of sense, like the all-out violent scene, and I still don't know why Samuel L. Jackson's character had a lisp, "Kingsmen: The Secret Service" was a blast and a hidden gem from this year.



Best Performance – Sylvester Stallone as Rocky Balboa in "Creed"

This might be the biggest surprise of 2015. In a year where we get stellar performances from Matt Damon, Leonardo DiCaprio, Charlize Theron and any role from "Spotlight," it is Sylvester Stallone that comes away with the greatest performance of the year.

Stallone gives us a tortured and beaten soul that has given up on life, until life gives him a second chance to prove that he is still useful in this world and can continue to fight. At times, Stallone seems low on energy, but there is always that hidden power laying underneath each line of dialogue.



Most Anticipated Film of 2016 – The Japanese Monster Films to be released, in particular "Godzilla: Resurgence"

At this point in time, there isn't a lot I'm looking forward to in 2016. Right away, we have "Kung Fu Panda 3," "Deadpool" and "Hail, Caesar!" Later on, we have "Captain America: Civil War" and "Batman Vs. Superman." But if I had to pick a movie to be excited for, it would be every monster film being planned for 2016. And there's a lot.

There's a Ultraman movie being planned for later this year, a new Gamera film has been tentatively planned for a 2016 release, and most importantly, a new Japanese Godzilla film, titled "Godzilla: Resurgence."

Not much is known at this time about the film, but given that Toho wants to make this Godzilla even bigger than the 2014 Godzilla, while still maintaining his roots to the 1954 film, is at least promising. While the new suit has already thrown a lot of people off, I think the suit is terrifying. This is a Godzilla that has been decimated by the atomic bomb, as shown by his massive amounts of teeth (in strange place no less) and the large burn marks all over his body, and yet is still alive. It's almost tragic in a way, a creature that should have died a long time ago, but is somehow being kept alive to suffer, and share that suffering with millions of people.

Count me in.



Worst Film of 2015 – "Krampus"

This was the only film that truly hurt me this year. "Krampus" is anti-fun, as if it is taking something away from you as you slowly descend into a tedious rage. It wasn't funny, nor scary, and was about as whimsical as an icicle through the eye. I really don't care if it is faithful to the legend of Krampus, because that does not make the viewing experience any better.



Best Film of 2015 – "Mad Max: Fury Road"

Oh, what a film! What a lovely film!