I prefer to be strict enough with my mind and my heart to rank the best and not just give some alphabetical list. This was a difficult list to settle on for an order. After 84 films this year, I think I've seen all I need to see to give out a complete and legitimate "10 Best" list. Here are my picks and, in the spirit of this site, each of the "10 Best" are paired with their best life lesson. Enjoy!
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More often than not, the movies that land in the months of January and February were either not good enough for qualifying for Oscars by the December 31st deadline or not chipper enough for the spring season. Sometimes, there are those two things and worse. See what you can circle and look forward to in this preview of the 2016 Winter Movie season.
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Closing out 2015, you will find the most argumentative and ballsiest movie of the year hitting wide theatrical release over the Christmas holiday. The real film in question to bear those bold superlatives is "The Big Short." Headlined by a star-studded cast and directed by one of the most unlikely of sources, this legitimate must-see film tip-toes audaciously between biting satire and topical cautionary tale. You won't know whether to be pissed or be entertained and that's a powerful quality to pull off.
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Here is your lineup of upcoming films for the slowest annual season of the year, the post-holiday hangover before the arrival of spring. Pick through this list and find a few winners. Add these to your calendar or print and slip this list on the fridge. As always, release dates shift all of the time, so be aware. My full seasonal preview will be coming soon! Enjoy!
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The problematic factor for this David O. Russell and his acting muses is the diminishing returns of their final products. Showing a case of beginner's luck, "Silver Linings Playbook" was a crowd-pleasing quirky romance that netted Lawrence an Oscar. Full of promise, "American Hustle" was an overrated and misguided attempt at Scorsese Lite. "Joy" now arrives with a random mix of events that may begin insinuate the 14th century expression of "going to the well once too often" for this group. Like the idiom's definition, Russell and company have taken repeated risks and have now pushed their luck too far.
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It is time to go on record and add another label to the colorful list to describe filmmaker Quentin Tarantino: "acquired taste." Even with his recent success, the auteur's excessive and aestheticized indulgences are catching up to him. Each subsequent film of his may be getting more popular, but they are not getting better and "The Hateful Eight" hammers that point home. Swelled to either a 167-minute straight cut or a 187-minute opus complete with overture and intermission, Tarantino's newest film doesn't know when to quit. It just goes and dies, literally and figuratively.
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Any time a film about a real-life whistleblower steps into view, the central question almost always becomes "Is it really true?" Audiences are commonly kind to a good human interest story of this sort, especially when it is spun into an entertaining drama or comedy. However, they are equally quick to disown one that stretches its claims of truth too far. Knowing that dramatization will always be a prominent ingredient in these types of films "based on a true story," we have to settle for asking "Is it true enough?" Such is the weighty burden of "Concussion," starring Will Smith and directed by Peter Landesman.
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No matter where today's "Star Wars" fans come from, all of them want the same thing out of "Star Wars: The Force Awakens." Everyone wants an inspired, entertaining, and compelling fantasy adventure. They want a return of the emotions, wonder, and heartstrings that stirred and inspired their souls when they first encountered these science fiction fantasies. With great pleasure and a nearly pitch perfect blend of innovation and reminiscence, J.J. Abrams promised, and now has delivered, all that anyone could hope for with "Star Wars: The Force Awakens."
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Following his three-trophy Oscar haul for "Birdman" last year, filmmaker Alejandro Gonzalez Inarritu returns with an even more expansive cinematic challenge. Inspired by a wild true story, "The Revenant" is an unrelenting survival drama that makes "Cast Away" look like a cute day at the beach. Powered by raw natural beauty and a constant nerve of savage peril, Inarritu's film succeeds with striking artistry and superior craftsmanship in polishing a harsh and rough-hewn legend. Four-time Academy Award nominee Leonardo DiCaprio pushes himself and you over edge after edge in the most challenging performance of his career.
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In Spike Lee's film, the symbolism is thick and the underlying truths are even thicker. "Chi-Raq" is fiercely intelligent with its farcical parable and fearless in its vicious social commentary. Both exhibit equal power. That balanced ability is tremendously difficult to pull off with honesty and Lee has done it.
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51st Chicago International Film Festival Highlight special presentation
When you have a film adaptation of a William Shakespeare play as arresting, brawny, and commanding as Justin Kurzel's "Macbeth," one has to throw the theater snob rant out the window. They are exactly like the "book is better than the movie crowd" only more under-served. We get it. No cinematic adaptation is ever going to satisfy everyone. My advice is get over the nit-picking and soak in a movie and treat it as a different medium entirely than the static stage. This new "Macbeth" is an event, not a play, and a darn good one.
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Directed by Italian filmmaker Paolo Sorrentino, “Youth” is a cornucopia of quirk colliding with decadence. We get to see how the other half lives through messy characters making sense of their lives while soaking in a lavish vacation. Thanks to a stellar cast and brilliant performances, “Youth” surprises us to show how much interest and intrigue can be found in foppish people we normally wouldn’t closely identify with as an audience.
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