Best of 2015: Nathaniel's Top Fifteen

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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Sundance Buzz Pt 1: Birth of a Nation, Manchester by the Sea, Tallulah

Let's check in with the high altitudes of Sundance for a moment. Before we begin a word of 'don't believe the hype' caution. Sundance has the dubious distinction of being the single festival with the highest ratio of critical raves morphing suddenly to real world mehs. Altitude sickness? Long delays between festivals and premieres? Who knows. The buzz sometimes translate (Precious) but you can't ever fully trust it and sometimes it's the films with very quiet receptions that the real world actually embraces (last year's key examples: I'll See You In My Dreams and A Walk in the Woods).

Let's talk about eight new films after the jump, okay?

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Beauty vs Beast: Cloud Actress

Jason from MNPP here with your weekly dose of "Beauty vs Beast" -- it's the 61st birthday of the French director (excuse me, they call them "auteurs" over there) Olivier Assayas, who's just come off one of his greatest successes, the role-playing actressy drama Clouds of Sils Maria. I reviewed Clouds way back at the 2014 New York Film Festival for TFE and I was bowled over by it then and I remain so today; when it continued getting Oscar talk all the way through this season I was happily surprised to see it even remembered. Of course come nomination morning it wasn't, because them's the breaks. I can easily suss out the names I'd boot in both Actress categories to make room for Binoche and Stewart's lively and lovely performances (Bye J-Law! See ya later, McAdams!) but if we were to face the two off against each other, well, then it gets tougher...

PREVIOUSLY The Revenant continues doing boffo box office and everybody seems to think it's Leo's Oscar to lose, but here at TFE y'all shoved him face-first in a snow-bank and ran away laughing -- it was a close contest but by a few points you decided that you prefered a murderer by Tom Hardy better. Said Nick T:

"I'm voting Fitzgerald because yes it's Big but Christ at least Hardy offers us a performance that's interesting because of the performance itself instead of how much he's Suffering, and once Glass is on his own Hardy was only thing that got me through the ordeal of The Revenant."

Ask Nathaniel

We should do another Q&A. So ask away. I'll pick a handful or two to answer. 

(A reminder that Qs that require top ten lists or book-length answers will be ignored)  

Sundance Retro: 1990's "Longtime Companion"

Team Experience is looking back on past Sundance winners since we aren't attending this year. Here's Kyle Turner on an LGBT indie that took the Audience Award and proved so popular in release that it even snagged a Best Supporting Actor nomination (Bruce Davison) at the Oscars a year later.

an early scene in Longtime Companion

In the first fifteen minutes of Longtime Companion, the words “Did you see the article?” fall from around a dozen different characters’ mouths. It’s July 1981, when the New York Times published its piece titled “Rare Cancer Seen in 41 Homosexuals”, and the way news gets around is by press and by word of mouth. These characters, all gay men in their 20s and 30s, shrug it off, try to carry on with their lives. 

To them, this cancer is nebulous, unworthy of their time, and yet something that occupies their thoughts all the same. Thus, the film exists within a particular time, where information is dispersed differently, yet dismissed similarly.

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