Showing posts with label It Follows. Show all posts
Showing posts with label It Follows. Show all posts

Monday, January 4, 2016

2015 in Review: The Longlists

Before I announce the nominees for the Hollmann Awards, it's traditional that I provide the long lists: the 15 finalists in each category. It's great fun for Best Picture, because now that you know my Top Ten, you can see the five films that almost made it in! And it also allows you to see the full breadth of films I'm considering, from Carol to Mortdecai.

BEST PICTURE

The Beauty Inside
Best of Enemies
Brooklyn
Carol
Creed
Girlhood
Grandma
Joy
Our Brand is Crisis
Paddington
The Revenant
Spotlight
Steve Jobs
Tangerine
The Throne


Remaining semi-finalists after the jump

Friday, July 3, 2015

First Half of 2015

A brief look at the film year so far.

I've only seen 38 films so far this year (not counting the retrospective flicks, of course), which is fewer than I had hoped -- though, if recent conversations are any indication, far more than the average. I mean, someone told me the last movie they saw in a theater was Gravity!

These are unranked choices, but they are grouped together in ascending order of affection. Directors and commentary follow each title, except in "Shan't See It Again", a sort-of Hall of Shame -- the guilty are protected in this instance.


Shan't See It Again 
Aloha
Child 44
The Con Artists
San Andreas
Seventh Son
Woman in Gold


Wish They Were Better

Fifty Shades of Grey (Sam Taylor-Johnson): Dakota Johnson a natural, goofy yet convincingly sexy, with a soundtrack that's on point; but Jamie Dornan is a wasteland, and the finale is ho-hummingly tame

Jupiter Ascending (The Wachowskis): fascinating world-building, but clearly hacked to pieces, and with a wan Mila Kunis at its center

Jurassic World (Colin Trevorrow): great fun as a monsters-run-amok flick (and I consider That Death a huge plus), but script is aggressively regressive re: sexual politics

Me and Earl and the Dying Girl (Alfonso Gomez-Rejon): surprisingly unsentimental lead a relief; in fact, most of the ensemble shines and convinces, despite suffocatingly twee conceits and sketchily-written adults

Serena (Susanne Bier): J-Law understated, intense, hypnotic; film should be a slow burn but it's actually a long sit


Guilty Pleasures

The Boy Next Door (Rob Cohen): deliciously scandalous, and it must be said: J.Lo is genuinely phenom in this

Mortdecai (David Koepp): I laughed more than once, love the song "Johanna" that plays over the end credits, and I think everyone should be aware that I am always Team Gwyneth

Positivity after the jump -- or as I like to call it, the Cold Stone Rankings.