2015 Year in Preview

With 2014 in the books, and the awards season all but over, it's time to set our sites toward 2015 and the projects that look intriguing. Here are the 20 films that caught my eye, and I left out the Avengers, Ant Man, Ted 2, Magic Mike 2, 50 Shades, Furious 7, Pitch Perfect 2, Jurassic World, Terminator, Fantastic Four, and all the others that if we're being honest, I'll probably see anyway. These 20 films are the ones that just might hit the mark this year. Although a quarter of them are sequels, there is something different about these that propel them to a higher level in my book. Here are the films, in no particular release date order. Let's start with the sequels.

Star Wars: The Force Awakens - J.J. Abrams nailed Star Trek, and now with Disney, Bad Robot, and Lucasfilms behind the first of a six-film dynasty, expect greatness. The original cast is back, this film picks up presumably 30 years after Return of the Jedi, and will expose a whole new generation of kids to the Star Wars universe. Let's just hope these are like the first three, and not the George Lucas prequels. He's a creative genius, but better to leave the directing to Abrams. This should be the coming out party that the Phantom Menace was supposed to be.

Mad Max: Fury Road - this one has been in the works for seemingly years, and finally (hopefully) this summer it will come to the silver screen. Written and directed by original Mad Max creator George Miller, this will be visionary to say the least, and with Tom Hardy and Charlize Theron in the lead roles, it will bring some star power to the gonzo action. The previews show just a glimpse of the madness that is the mind of George Miller. This should be cool.

Spectre - Who cares if the script was leaked by hackers? Sony's team of Sam Mendes and Daniel Craig are the best 007 yet. Already having consumed the original Ian Fleming collection, we're beginning to delve into more original stories, which is very 21st Century. Should be the caliber of Skyfall, not so much License to Kill.

Vacation - Yes! Rusty and Audrey are all grown up, and the Griswolds once again take a family vacation. Chevy Chase and Beverly D'Angelo are back as the grandparents, but this time it's Ed Helms as the clumsy patriarch, and Christina Applegate as his wife. This might be the reinvention of a brilliant comedy franchise. Here's hoping.

Mission Impossible 5 - I thought Ghost Protocol was a great action film, and I am back on the Tom Cruise bandwagon after Edge of Tomorrow and Rock of Ages (even Oblivion was pretty cool). Brad Bird was a big part of the success of MI4, so we'll have to see how Chris McQuarrie does filling his shoes as director. McQuarrie is one of the best screenwriters around, but his direction has been suspect. Fresh faced Drew Pearce wrote this screenplay, and his only other feature length film was Iron Man 3. This could go either way, but with Renner and Cruise back, I have faith.

Tomorrowland - Speaking of Brad Bird, his latest is one of the more mysterious projects out there. A kid and a scientist explore space and time in a collective memory in this sci-fi for kids endeavor. George Clooney may only have a few films left in him before entering the political arena, but at least his next one is a Coen Brothers comedy. Tomorrowland might be a massive hit with kids. Perhaps the non-animated smash of the year? We will see.

Pixels - This has some serious potential, or could be awful. Adam Sandler. That's why. However, Chris Columbus is behind this sci-fi action comedy which has aliens invading Earth with a battle strategy devised by intercepting signals sent to space in the 1980's which happen to be old-school video games. So, the military recruits the best players of Pac-Man and the other classics to beat them at their own strategy. Sounds incredibly ambitious to me, but Sandler notwithstanding, this could be pretty fun.

Masterminds - Napoleon Dynamite creator Jared Hess hasn't done much since the indy breakthrough, but with Kristin Wiig and Zack Galifianakis on board this bank heist comedy, it just might work.

Selfless - I read about this story and immediately thought about one of my favorite Tales From the Crypt episodes. The one where the old rich man envied the young muscular man, who had all the women. So he offered him cash to exchange body parts, and piece by piece through surgeries, the young, muscular man got old and frail and wealthy, and the old, rich man got muscular and poor. Well, turns out women like money more than muscles, so the old man was cursed to live broke and homeless in his hot new body. Anyway, Ryan Reynolds plays the young, healthy body in this rendition. The wild card is director Tarsem Singh, who has a resume with mixed results, but one of his brilliant gems was The Cell from 2000. Ethereal and mystifying, the imagination of Singh bodes well for this film's basic premise.

In the Heart of the Sea - Ron Howard taps Chris Hemsworth as his Captain Ahab in this Moby Dick retelling. Pushed from spring to summer to fall, perhaps initial thoughts are that it might be an awards contender. Howard is a master of his craft, and audiences love big fish stories.

The Walk - A bit out of character for Robert Zemekis, this Philip Petit biopic takes us back to a time when the Twin Towers stood, 1974, when the Frenchman crossed them on a tightrope. Joseph Gordon-Levitt stars as Petit, and the film will be released in IMAX and 3D, so I imagine the scenery and high-wire tension is going to be breathtaking. Zemekis is pretty good with dramatic scenes.

Regression - Emma Watson will appear naked in this, but that's not why it's on the list. Writer/Director Alejandro Amenabar does a great job creating suspense and then pulling a twist at the end. He wrote Vanilla Sky and the underrated The Others (check it out - it's chilling). Regression follows a family dealing with PTSD where an abusive father doesn't remember perpetrating the abuse.

The Gunman - Could be disappointing, but this generic ex-spy-on-the-run tale has 2 time Oscar winning actor Sean Penn in the lead, and he looks pretty good. Idris Elba and Javier Bardem make this an eyebrow-raising cast in what otherwise would be another Transporter or Taken (which the director worked on).

Everest - This might be one of the best films of the year. A climbing expedition goes bad on Mt. Everest and survival is the name of the game. The cast is the scintillating part. Jake Gyllenhaal, Josh Brolin, Jason Clarke, Sam Worthington, and John Hawkes. Throw in Emily Watson and Keira Knightley and you have a true contender.

The Hateful Eight - Say what you will about Quentin Tarantino, but he knows how to make a movie. And his next one should be awesome. Back in the Western genre, in Post-Civil War Wyoming, a group of strangers seek shelter during a storm, and their dialogue and interactions will be talked about for years to come by critics and audiences. Tarantino knows how to make a character, and whether you're a fan or not, you have to respect his writing. Some of the eight include Channing Tatum, Samuel Jackson, Kurt Russell, Walton Goggins, Tim Roth, Zoey Bell, Bruce Dern, Demian Bechir, Michael Madsen, and Jennifer Jason Leigh. I know that's more than eight, but I'm sure Quentin knows what he's doing.

Joy - David O. Russell is back with Jennifer Lawrence, Bradley Cooper, and Robert De Niro in this biopic of a struggling single mother who invents a better mop. No joke. This might be the beginning of the end for Russell's Oscar darling run.

Untitled Cameron Crowe Project - Bradley Cooper is busy these days. He's a military contractor caught in a love triangle between Rachel McAdams and Emma Stone. Tough gig. Crowe's first movie since We Bought a Zoo (which I thought was refreshing), this might be a feel-good, might be a tearjerker, but either way, it's Cameron Crowe, so expect some fun music.

Untitled Steven Spielberg - Tom Hanks, Steven Spielberg, Cold War CIA spy drama. Oscar nominations, but won't win. See the next film on the list.

The Revenant - Alejandro Gonzalez Innaritu is a household name now with Birdman (OK, maybe not household, but at least people can remember Alejandro?) The Revenant was my second favorite book of 2014 (technically I read it this month, but whatever). 1820's fur trading along the Missouri river, Leonardo Dicaprio is Hugh Glass, a part of a trapping and trading team who is left for dead after a savage bear attack. After survival, he seeks revenge on those who left him behind. Whether you're a fan of historical fiction or not, this will be pretty cool. And explains Leo's long hair and beard lately. He will win his first Oscar, and this will win Best Picture if Innaritu is on his game. Tom Hardy, Will Poulter, and Domnhall Gleeson play his betrayers.

The Martian - The best book I read in 2014 is also going to be one of the most fun films to watch. Matt Damon stranded on Mars? What's not to love. Oh wait, Ridley Scott directing? A sci-fi movie set in space? Oh, OK. Sounds like there can't be much of a plot, but The Martian is a must-read. Great book filled with science, humor, and some witty monologues.

That's my list. 20 films that I will certainly be checking out, and although there are always others, and some of these may be bumped to 2016, or off the map entirely, we have something to look forward to besides superheroes. Although, I do look forward to superheroes as much as the next guy.

Thanks for reading, send me your thoughts in a comment or an email...

Best of 2014

It's time for the annual Best of 2014 wrap-up. I make my list for reasons similar to other critics, but not all of them. My criteria is how a movie makes me feel, plain and simple. That's the whole point of film, isn't it? to evoke emotion of some kind, whether it's through strong characters, complex relationships, clever writing, good directing, a familiar story, or just plain cool action. I was going to make a top 10, but that proved a bit difficult this year. So, this is my 12.5 best films of 2014.

Best film of the year - Whiplash. I just saw this a few days ago, but see my rave review for more details.

Feel good film of the year - Chef. Chef was a gem that wasn't talked about much, but this film of a divorced dad leaving his prestigious job as head chef of a fancy restaurant to travel in a food truck hit the mark. Jon Favreau wrote, directed, and starred, and anytime you mix an upbeat story with delicious looking food, the film wins. It didn't try to be more dramatic than it needed to be, it just went with the flow. Not a great film, but memorable enough and just leaves you smiling at the end.

Most original film of the year - Birdman. It will be a shame if Alejandro Gonzalez Inarritu doesn't win Best Director. The seamless camera work and pure originality of the story and characters is nothing short of brilliant. Nothing comes close to Birdman in terms of grounded surrealism (maybe I'll coin that term).

Most fun at the theatres - Guardians of the Galaxy. A lot of it might be due to Chris Pratt's emergence as the next big thing, but Marvel nailed it when they took a band of unknown characters and started yet another billion dollar franchise. Bravo, Marvel. I never cease to be amazed with their savvy decisions. Hopefully Ant Man continues the lesser known character success. And if not? They've still got the Avengers.

Most surprisingly awesome action film - Edge of Tomorrow (aka All You Need is Kill, aka Live, Die, Repeat). Doug Liman proved that a 50 year old Tom Cruise is still a viable action star. This was a great adaptation of a Japanese story and combined some sweet special effects with a great sci-fi story.

Most underrated Oscar-Caliber film - Nightcrawler. Gyllenhaal's performance blew me away, and although I wouldn't remove any of the Best Actor nominees, Jake got snubbed. The film leaves you with an icky feeling, but that was the whole intent. And it was well-done. Mission accomplished.

Best military film - American Sniper. Although my review was more "good, not great" than anything else, it is still a genre close to my heart. American Sniper still makes my list.

Best Biopic - tie: The Imitation Game and The Theory of Everything. I know, I'm cheating, but it's hard not to give props to both of these films. Fortunately for Michael Keaton, the performances of Eddie Redmayne and Benedict Cumberbatch and the films themselves have so much in common that they just might hurt each others chances of winning a deserved Best Actor. Both of these films were incredibly well-done and as such, deserve the recognition.

Most heart-wrenching family drama - Still Alice. Julianne Moore will win the Best Actress Oscar for a woman who develops early-onset Alzheimers way too young. Heart-breaking performance, and leaves you wanting to hug your family.

Best film not recognized at all by the Academy - Cake. Not only is Jennifer Aniston's performance the best of her career, it's a true shame that she wasn't nominated for an Oscar. Beyond the performance, the film touches a nerve and is very much underrated.

Best film that pretty much nobody saw - Men, Women, and Children. Jason Reitman is one of the brilliant young minds in the business, and this look at how social media and ubiquitous cyber-access has caused detachment from reality and each other is severely underrated. Not worthy of award recognition, but worth watching.

Best short film - VHS: Viral segment - "Parallel Monsters". Guilty pleasure? Of course. Is VHS: Viral a good film? No. However, the segment titled Parallel Monsters by Nacho Vigalondo is frighteningly tense. At no more than 20-25 minutes, you feel like you were transported to a Twilight Zone episode, or a Tales from the Crypt without the cheesiness. It starts out confusing and quickly, but as you begin to realize that something is not quite right, your heart starts pounding until the ultimate ending leaves you breathless. It's true, you have to wade through the other segments which are gory and I suppose somewhat entertaining, but Parallel Monsters is a sharp piece of writing.

That's it for 2014, another year in the books. Keep checking back for my Oscar predictions as well as my 2015 year in preview.

American Sniper

I've been a fan of war stories told on screen for years now. From the historical fiction of the 70's, 80's, and 90's to the more recent trend of non-fiction. Zero Dark Thirty, Lone Survivor, Captain Phillips (to some extent), and now American Sniper have elevated the prestigious Navy SEALs to a level of exposure before unprecedented. If the Navy SEALs are gods among the military, then Chris Kyle is certainly Perseus. Kyle's autobiography hit shelves a few years back and I happened upon it, and was blown away. Known as "The Devil" to the Iraqi insurgents, and "The Legend" in the American military community, he is the undisputed combat confirmed kill leader in American military history with over 160. However, his modest personal account puts that number closer to 300. No matter how you feel about killing in wartime, this staggering feat is an epic number worthy of a biopic.

Chris Kyle came from humble beginnings in Texas, and joined the military in 1998 at the age of 24 and served four tours in Iraq before calling it quits in 2009 and settling in Texas with his wife and kids. He was somewhat ironically killed in 2013 at a shooting range near his home where he routinely took soldiers suffering from PTSD to get some therapy.

Directed by Clint Eastwood and starring Bradley Cooper in the titular role, I anticipated this film perhaps more than any other holiday release, yet I was somehow disappointed by the product. The initial adaptation was slated to be helmed by Steven Spielberg, who dropped out due to what could only be a scheduling conflict with his upcoming Tom Hanks Cold War thriller and I think the more serious tone may have been what was missing. Some of the dialogue and story seemed a bit rushed, and although tastefully done, there could have been even more attention on the man and less on the action, which might have added another half hour to the film. Of course, the action is the whole point but it seemed a bit like we didn't fully become invested in Kyle by the time he became a legend. That and the suspense and tension of war wasn't as gripping as films past. All I can say is it could have been better.

Eastwood has a place in Hollywood as one of the finest directors in history. Unforgiven, Mystic River, and Million Dollar Baby all make my top 100 list so there is no questioning his artistry and ability. American Sniper seemed a bit sloppy though, and maybe even rushed. I got the sense that the intent was well, but many of the scenes were set up in a hurry and just pounded out. Cooper on the other hand, did a fantastic job in the role. A complex character with an increasingly heavy emotional toll that gains weight with each kill he makes and numbs him to the gravity of mortality. I only wish that the two scenes where he has cause to reflect on what he's done were given a bit more screen time. Unfortunately, both of them are displayed in the trailers, but they show the true range of Cooper. His Texas drawl (Cooper was born in Pennsylvania) is authentic and convincing, and he delivers his lines in the macho, military fashion expected. Interestingly, Cooper is one of only a handful of actors in history to be nominated for Best Actor three straight years (Silver Linings Playbook, American Hustle). None of the others left without some hardware, although this year's contenders will likely shut him out. He's next up re-teaming with Jennifer Lawrence and David O. Russell in Joy.

Sienna Miller plays Kyle's wife adequately, but the rest of the cast are unknowns, which is for the best. The relationship between Navy SEAL and wife is cliche and tenuous, but I suppose the dynamic is typical given the appropriate credit due. The sharp contrast of the American Dream and the cost of American Freedom are never more starkly shown than in military biopics, and as inspiring as the stories are, they are equally disheartening. I suppose that is why the story is told in the first place.

American Sniper is definitely the best military themed film of the year, but it is not as well done, or exciting as Lone Survivor. Different stories, both unique in their tones and messages with the one similarity of heroism in the face of mortal adversity. And the unseen cost of war.

I will continue to support the genre, and as stories that once were lore now become highly visible, ubiquitous, and almost instantly accessible through the Internet, I only hope that the importance and reverence given to the brave soldiers won't be taken for granted. A good film, but should have been better. 7/10.

Whiplash

Miles Teller plays Andrew, a young, wide-eyed jazz drumming protege who is moving up at the fictitious Shafer Music Conservatory in New York City (think Juilliard). He runs into veteran conductor Terrence Fletcher like a buzzsaw. Fletcher is played intimidatingly by J.K. Simmons, whose command of the screen is unrivaled in film this year. They develop a relationship that has so many nuanced emotions running through it that I don't have time to go into it in one sitting, but what unravels on the screen is pure magic.

Novice writer/director Damien Chazelle knocks it out of the park in a story without much depth, but plenty of pizzazz. Set to constant jazz music, which is always a cool thing, there is a mood created that is casual, but simultaneously high stakes. The ear of the conductor is more fickle than mine, but I enjoyed the criticisms and the urgency and importance that underscored perfection.

Paul Reiser returns to the screen playing Andrew's single dad in a subtle, supportive role, and Melissa Benoist is the downplayed love interest. Their screen time is limited, which works in the film's favor. The real gem is the dynamic between Andrew and Fletcher.

I've been wanting to see this film since I first heard about it, but it's been eluding me for months. I finally had the opportunity to see it, and let me be the first to say, it is every bit deserving of the 5 Oscar nominations as well as J.K. Simmons' Golden Globe win. The Best Adapted Screenplay nomination is a bit misleading since it is based on the Damien Chazelle short of the same name from 2013. Same writer, same director, I say it's an original screenplay. Potato, potato.

I've seen the Best Picture nominations, and Whiplash is my favorite. The others have their strengths for certain, and it's likely going to come down to Birdman or Boyhood for the win, but if I were a voter, Whiplash gets the nod and let me tell you why.

First off, originality is in short order this year. Boyhood, Birdman, and the Grand Budapest Hotel notwithstanding, there have been an inordinate number of biopics and non-fiction work. Superheroes in the summer, biopics in the winter. What's the film world coming to? I digress. You sort of know what's going to happen to Louie Zamperini when you step into the theatre for Unbroken. Or Chris Kyle in American Sniper. Or Alan Turing. Or Stephen Hawking. Or John DuPont. Or J.M.W. Turner. Or Martin Luther King, Jr. Or Margaret Keane. Shall I continue? Actually I might not have any more. My point is, there is something special and increasingly rare about walking into a theatre and watching a good old-fashioned original story. Especially this year.

Secondly, the performances of the two leads are flawless. The whole point of the film is their dysfunctional mentoring relationship, and there is this bubbling respect vacillating with anger, humiliation, understanding, and an eagerness to please. Fletcher is a viper, but his bites are the driving force for Andrew's ambition.

"There are no two words more harmful than good job." These words are chilling as Fletcher speaks them to Andrew in a rare moment of calm discussion over a drink. They epitomize his teaching philosophy, and as he eloquently explains why he's so hard, you come to understand and almost shamefully appreciate the aggression. There is some palpable kinship between the two. A love for good jazz music, and a mutual respect for the skill and quest for perfection that each is striving for.

Finally, as the final act approaches, everything that has been building slowly comes to a fantastic explosion, and as the screen goes black after a dazzling interplay done solely with their eye contact, for the first time this year, I got chills. That's the mark of a well-done film.

I don't expect it to win Best Picture, but J.K. Simmons' performance will cause him to be seen in a different light. His ability to turn his emotions on a dime is a side of him we haven't seen before. Don't be surprised if this is the start of a late blooming award winner as he will win the Best Supporting Actor, in what has come to be my favorite category because of the glut of perennial ripe roles (although not well nominated this year... I'll explain in a later post).

Go see Whiplash for the music, for the acting, for the writing, and for the tension. Who knew jazz drumming could be so intense? 10/10.

Birdman (or the Unexpected Virtue of Ignorance)

Birdman is a genre-bent dramedy that follows a washed-up superhero, Riggan Thompson (Michael Keaton) as he attempts to re-establish relevance on Broadway in a production he has put together, based on a Raymond Carver play (which may or may not be fictional - I'm not up on Carver works). As the play gets closer to its debut, Riggan begins to unravel amidst the chaotic pressure, and the viewer is thrown into a fast-paced, spiraling trip where Riggan's own psyche takes on a tangible form and his castmates and family are thrown into a whirlwind of humor and confusion.

Alejandro Gonzalez Innaritu is garnering critical raves for his latest project. He wrote and directed it, and mostly it flew (no pun intended) under the radar until it was initially viewed. The masterful work represents just another step in his short, but distinguished resume. Probably best known for Babel and 21 Grams in the US, he is the front-runner for Best Director so far, and I imagine the originality and flawlessness of the direction will win him the award this year. It's shot as if in one continuous sequence with the exception of a couple of blackouts that represent transition of days, and although it seems frenetic at times, it is seriously deliberate, and mesmerizing. This film will get him on the Hollywood short-list, but it's his next one that might be even better. The Revenant, based on the Michael Punke novel follows a frontiersman in 1820 who is mauled by a bear and left for dead by his fellow travelers, then he seeks revenge for their leaving him behind. Leonardo DiCaprio and Tom Hardy star - it might be Leo's inevitable Oscar in 2015.

Aside from the visionary direction, the cast is what makes this film incredible. Ripe roles, great dialogue, both inner and outer. Michael Keaton has the meatiest role, and devours it without any shame. We've never seen him before, and the verisimilitude of his character is forgotten early on. Riggan was the star of the successful Birdman trilogy in the 1990's, and he's spent the last 20 years justifying why making a Birdman 4 would have been selling out his principles. However, there is the shadow of regret looming like a storm cloud through the whole film. A truly remarkable piece of acting for the man who played the first big screen Batman (but fortunately chose to quit after 2). This is by far the pinnacle of his career, but might open some doors that otherwise were certainly closed before. He can next be seen in 2015's Spotlight, which focuses on the Boston Catholic Church child molestation scandal.

The rest of the supporting cast is amazing. Starting with Ed Norton, he has resurrected a career that was going off into the sunset with his third impressive role in the past 3 years (Moonrise Kingdom, The Grand Budapest Hotel). He plays the Broadway hot shot actor who is brought in to save the play after the male co-star suffers an injury. He plays the role with swagger, but also a delicate sensitivity behind his pompous bravado. He's my favorite to win the Golden Globe, and for now is my front-runner for the Oscar. The only obstacle would be JK Simmons, but I haven't seen Whiplash yet - still waiting for it to play near me...

Emma Stone shows that she's more than a lip-sync champion and comedic lightweight. She plays Riggan's daughter who isn't quite estranged, but is emotionally unattached from him despite working on the play with him. It's a complex relationship, but she plays it well. Zach Galifinakis is the frantic agent, and I've said he plays straight roles great for some time now. Naomi Watts and Andrea Riseborough round out the cast as the female actors in the play, and they both show the incestuous side of show business, but do it playfully so it doesn't add any unnecessary emotional drain to the film.

I really like the tone that Innaritu brought to the film. It's a very serious film portrayed as a comedy. Dazzling camerawork and surreal transitions from real to delusion. It's refreshingly original in a time of biopics, remakes, and superheroes (although it's kind of a superhero film). This is its hope for awards. Originality. It's missing from Hollywood these days, but then again, Birdman won't make billions at the global box office.

It might win Best Actor, but the competition is exceptionally stiff this year. Cumberbatch, Redmayne, Gyllenhaal, Oyelowo, Phoenix, Murray, Waltz, Cooper, Isaac, Carell. The strength of the category is overwhelming in contrast to the weakness of the Best Picture category. Keaton will get a nomination for sure, but I don't see him winning. Norton on the other hand, will win his first Oscar for his supporting role.

Innaritu wins Best Director, and with it, his likelihood of picking up Best Picture is automatically the odds-on favorite. I have more than a few films to see yet before officially making that call, but the one thing that might distress the film is its ambiguity and deep metacognitive approach. You could think about this one for hours, which is awesome, but it's not quite mainstream movie audience style. America likes endings tied up with a bow.

This is a very well done movie, and is worthy of the recognition for certain. A beacon of originality, which is a breath of fresh air. 9/10.