When you devote your life to the movies, you come to cherish the movies that give back as if they're devoted, in return, to you. Yes, you, specifically. Our consumption of movies may be communal but in some ineffable way, especially when it comes to list-making, they're deeply personal; movies in conversation with your soul. At least if you're doing it right. It's painful enough to "rank" a top 15 for 2015. So I included a second tier of favorites. The 30 best of the year, according to your host, took place all over the world as we know it (Germany keeps popping up as does seemingly every place with an arid climate in an odd but starkly beautiful coincidence) to weirdly recognizable places beyond it (Why, Jakku, you look so much like Tattoine!). The unifying thread might be that however alien their perspectives and locales (inside a young girl's brain, locked in a 10 x 10 shed, or chained to the back of rusted death machines in hallucinatory sandstorms), they resonated as if deeply familiar.
Nathaniel's top 30 films of
If you're looking for __ you won't find it:
I liked Magic Mike XXL -- you may recall that Magic Mike (2012) won the Film Bitch Bronze medal here in 2012 as third best of its entire year -- but can't join the unexpected bandwagon of critics who decided they loved the sequel well after it left theaters. I did enjoy it a lot, though. Also just missing the list, not from an absence of affection exactly but "best?" attributes, is Ridley Scott's disco-lite outer-space romp The Martian. I'm far less keen on recent Oscar nominees like The Big Short, Straight Outta Compton, The Hateful Eight, Anomalisa, Trumbo, Son of Saul, and The Revenant but they need not cry from my qualms, indifference, or distaste (depending on the picture) since they have stadiums full of cheering sections elsewhere
And this list is about positive, nay giddy, love. So on to the best of the best.
15 (Very) Honorable Mentions in Alpha Order
Please seek out: The Troubles via Yann Demange's electric debut '71; Desiree Arkhavan's hilarious bisexual Iranian-American hipster romcom (a genre we didn't even know we needed but love) Appropriate Behavior; Spielberg & Hanks's absorbing Bridge of Spies; Disney's girlie lush live-action Cinderella spin; Olivier Assayas's actressy-angst at those Clouds of Sils Maria; Celine Sciamma's infectiously observed but profoundly sad Girlhood; Lily Tomlin & Paul Weitz's Grandma focused road trip; the waking nightmare game of sexual tag in It Follows; Iceland's formally compelling beast and man oddity Of Horses and Men; Brazil's smart socioeconomic collisions in The Second Mother; Paul Feig & Melissa McCarthy's Spy romp; Disney's easy money $4 billion bet The Force Awakens; Tom McCarthy's soulful journalism procedural Spotlight; Aaron Sorkin's presentational Steve Jobs triptych; Xavier Dolan's queasy, queer, razor blade dangerous Tom at the Farm; and the director, crew, and cast who pulled off that continuous shot jaw-dropper stunt that was Victoria... and pulled it off with feeling.
Without further ado and with deep appreciation...
NATHANIEL'S TOP 15 OF '15
🎶 they're speaking my language baby 🎶
I'LL SEE YOU IN MY DREAMS
(Brett Haley)
Bleecker Street Media. May 15th
92 minutes
A movie as unassuming as Blythe Danner's still waters star turn, and as gently surprised by its twilight romanticism as the wonderful theme song. It's easy to imagine this film becoming a staple, a comfortable blanket to wrap yourself up in on lonely nights; an old dear friend that understands the value of finding new ones.
You're a good drinking buddy!"
CHI-RAQ
(Spike Lee)
Roadside Attractions. December 4th
119 minutes
By no small margin the most uneven and sometimes downright sloppy movie on this 15 wide "Best" list -- stop reading the teleprompter Samuel L Jackson, learn your damn verse! But, a permanent truth: perfection isn't everything. Vitality of voice, with something actually worth saying, counts for quite a lot with so many polished but empty-headed and safe pictures clogging up each year's awards pipeline. Spike Lee won an Honorary Oscar shortly before anyone saw his reworking of Lysistrata, transported to contemporary Chicago (nicknamed Chi-Raq for its crime rate troubles). Nobody knew that his best movie in 15 years was about to hit to make that statue feel retroactively less of a tribute to past highs (Do The Right Thing, 25th Hour, etcetera) and more of an "it's about damn time!" honor for a still relevant artist. Chi-Raq is... Crazy. Funny. Sexy. Anguished. Silly. Mad. Experimental. Sickening. Sober. Even Optimistic. In short, "It's 'EVERYTHING!' as the queens say. Now if only everyone would go see this bold bawdy and beautiful everything. And, did someone say "Queen," I can hear Miss Helen (Angela Bassett, who also Got Her Groove Back of late) shaking her head at the meager box office receipts.
Y'all make my tired ass tired!"
SICARIO
(Denis Villeneuve)
Lionsgate. October 2nd
121 minutes
If Denis Villenueve's movies get any more tense they're going to explode by the second reel.
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Tuesday, January 26, 2016 at 8:30AM 
Glenn kicked off our Sundance retrospective with a look at Desert Hearts, a film with more than a passing resemblance to Todd Haynes' Carol; a few years down the line, and we come to Haynes’ own appearance in the Utah festival, with his feature debut Poison. Winner of the 1991 festival’s Grand Jury Prize - Dramatic, Poison is considered a vital film in the ‘New Queer Cinema’ movement of the early 1990s, as coined by B. Ruby Rich the following year. Rich’s theory involved not just the presence of LGBT characters and themes, but the queering of filmmaking form itself. Haynes had already demonstrated his inventive, radical eye in the controversial short film Superstar: The Karen Carpenter Story, and Poison, with its triptych of homonymic narratives, consolidated the director’s manipulation of nostalgia and classic cinematic forms to produce a strikingly different approach to cinema.
