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Every year, as award ballots arrive, critics like me take a second or two out of their hectic end-of-year schedules to reflect on the year in movies. This year, as it turns out, was one of anticipation, controversy, and, ultimately, a whole lot of indifference.
By the end of most years, the award season buzz is building around a few big movies and a few big names—the films and performances that are guaranteed to dominate the year’s awards. But that’s not really the case this year. Instead, there’s no real front-runner—just a bunch of good (but small) movies that could possibly battle their way to the top. For that reason, it’s been an especially hectic year for critics. For the past two months, we’ve been flooded with screeners of films that could be our favorites of the year. Instead of just a handful of films on which to focus our attention, there have been dozens of movies that we need to check out before those final ballots are due.
And now that I’ve been putting off compiling my annual Top Ten list for weeks, it’s time to stop procrastinating—to attempt to gather my favorite (and least favorite) movies of the year (or at least those that I’ve managed to get through so far) and put them into some kind of loose order. As always, it’s a strange and random list. Really, these 10 films could be arranged in almost any order—and there are a number of others that could have made the list—but, for those of you keeping score at home, you can assume they’re roughly ordered #10 through #1.
The LEGO Movie: Since I have a movie-loving little girl at home, my kid-friendly screeners have gotten the most attention this year. Though my family has already watched another favorite, Disney’s Big Hero 6, over and over again, there’s just something about this quirky, clever, and surprisingly grown-up-friendly animated adventure that I appreciate even more with each new viewing. And it doesn’t hurt that it cracks me up that my daughter has been belting out “Everything Is Awesome” the way that other little girls belt out the songs to last year’s mega-hit, Frozen.
Nightcrawler: Dan Gilroy’s gritty thriller is just the first of the dark and twisted picks on this year’s list. Jake Gyllenhaal is fabulously creepy—and even horrifying—in his starring role in this film that’s sure to give you a whole new perspective on your local news broadcast.
Red Army (review to come): It isn’t often that a documentary makes my list, but I just couldn’t resist this entertaining exploration of hockey in the Soviet Union. Told mostly through the eyes of hockey great Slava Fetisov, it’s historical, political, and surprisingly emotional—and the breathtaking archive footage of the Russians on the ice is the icing on the cake.
22 Jump Street: This summer wasn’t exactly loaded with eagerly-anticipated releases. In fact, this comic sequel was one of the films that I was the most excited to see this summer. Fortunately, it didn’t disappoint. While most sequels take themselves a little too seriously while trying to capitalize on old successes, 22 Jump Street is hilariously self-aware—and the stars just keep getting better (as do directors Phil Lord and Christopher Miller, who also directed another one of this year’s picks, The LEGO Movie).
Gone Girl: There’s just something fascinating about David Fincher—something about his ability to play with twisted, disturbing stories. His latest literary adaptation is definitely twisted—and he never shies away from the story’s shocking moments. The story (by author Gillian Flynn) is full of surprises. The characters are fascinating. And Fincher brings it together in a way that’s darkly riveting.
The Theory of Everything: Some films catch you completely off-guard. That’s certainly the case for this surprising Stephen Hawking bio, which offers just enough information about the physicist’s career while focusing on his life, his challenges, and his relationship with his college sweetheart. But perhaps the most amazing thing about it is Eddie Redmayne’s absolutely remarkable performance as Hawking.
Chef: After weathering the big-budget Hollywood storm for the last few years, Jon Favreau took a step back this year to write, direct, produce, and star in this adorable indie comedy. It’s a simple feel-good film with an infectious, upbeat energy—and while this DIY adventure clearly helped Favreau reignite his passion for filmmaking, it’s an enjoyable experience for viewers, too.
Foxcatcher: I’ll admit that part of my enjoyment of this strange-but-true story came from the fact that I didn’t know how it ended—and, for that reason, I was left speechless by the unexpected conclusion. But this eerie drama is also about the performances—from Channing Tatum, who continues to impress, to Mark Ruffalo, who’s solid in his small but important role, to Steve Carell in an absolutely jaw-dropping turn as a troubled millionaire with a love of wrestling.
Whiplash: This dark and edgy indie was definitely a contender for my top spot this year. The music, the tension, the performances, and the twisted psychology of it all make it an intense and haunting film—one that’s sure to linger in the back of your mind long after you see it.
Begin Again: I spent a lot of time trying to decide which movie to put in my top spot this year, but I decided to go with my heart. There were a number of films that grabbed my attention this year, but this one simply made me happy. I truly got lost in this charming musical romance, shutting out the rest of the world for just a couple of hours—and, when you watch as many films as I do, that’s not really something that happens often. Not only does it feature a catchy soundtrack, some spectacular street photography, and some noteworthy performances, but it also tells the story exactly as it should. It’s honest but upbeat, and it’s absolutely beautiful. Maybe it’s not the most gut-wrenching or poignant film of the year, but it’s the one that made me the happiest. And that’s saying something.
Of course, as much as I would love to spend each year watching nothing but films that are surprising, breathtaking, wildly entertaining, and altogether award worthy, that’s never actually the case. Whenever someone tells me what a fun job I have, I tend to agree—before listing off movies like the ones on this year’s Bottom Ten list as examples of the times when my job isn’t quite so much fun.
Tammy: I will freely admit that this outrageous comedy isn’t the most painful thing that Melissa McCarthy has forced me to endure. Those came out last year. But that doesn’t mean that Tammy isn’t still more of the same: an irritating character delivering obnoxious comedy that isn’t actually funny.
Obvious Child: I was supposed to like this movie. In fact, I was supposed to love it. But the film’s controversy falls even flatter than the comedy. And, in the end, it seems as though, had it had a bigger budget, it could have starred Melissa McCarthy (see my assessment of Tammy above).
A Million Ways to Die in the West: Admittedly, I don’t exactly understand the appeal of Seth MacFarlane. And while his latest big-screen comedy does have a few clever moments, it’s mostly just a bunch of self-conscious, adolescent gags within a rambling, uneven story. MacFarlane can definitely be funny; he just needs someone to rein in his comic ADHD.
300: Rise of an Empire: With its endless back story, its bland hero, and its overabundance of stylized CGI blood, this follow-up to 2007’s 300 is the typical sequel: more of the same but nowhere near as good (and considering that I didn’t love 300, that’s saying something).
Sabotage: Whenever you sit down to watch an Arnold Schwarzenegger film, you can expect a few things: over-the-top action, questionable dialogue, and a pretty high entertainment factor. But while most of the former governor’s films are guilty pleasures, his latest is just plain guilty. It’s dark and dreary, and it takes itself way too seriously.
In Secret: Anyone who’s ever been to Paris can tell you that it’s a beautiful, magical city. And if a film is set in Paris—even if it’s set in the less beautiful parts of the city during less magical time periods—you can expect its beauty to shine through. But that’s not the case here for this moody, miserable period drama.
Dumb and Dumber To: Though I’ve never been a big fan of bumbling idiot comedies, this long-awaited sequel is more than just another idiotic comedy; it’s more of the same idiotic comedy. It’s just the same old characters cracking the same old jokes—definitely not a film that needed to be made 20 years after the original.
Men, Women & Children: There was a time when I loved Jason Reitman—when I eagerly awaited each of the director’s new movies. In fact, just a year ago, I was eagerly awaiting the release of his shockingly sappy Labor Day, which was then followed by this dry and depressing drama about the dangers of all things digital. I pray that this year’s releases don’t mark the beginning of a new trend for the formerly witty filmmaker.
Need for Speed: The high-speed adventures of the Fast and Furious franchise have consistently made a killing at the box office. So why haven’t more films followed in the franchise’s footsteps? Well, take this video-game-inspired car-racing thriller as an example of how the formula can go horribly wrong. The cars may be cool, but the rest of the movie is about as painfully ridiculous as it gets.
The Other Woman: I’ll admit that the average chick flick tends to present its female characters as little more than flighty, lovesick puppies who (whether they realize it or not) are desperately in need of a man to love, support, and validate them. But The Other Woman goes above and beyond the call of chick flick duty, reducing a trio of female characters into whiny, brainless children who spend most of the film in childish hysterics. I’m pretty sure that my two-year-old can handle the disappointments in life with more maturity (or at least more humor).
And there you have it: another year of cinematic highs and lows, of surprises and disappointments. As I scramble to make it to the finish line of yet another award season, though, I’m also looking ahead with excitement and anticipation. For years, I’ve been looking forward to the releases of 2015—a year full of superheroes, promising adaptations, a new outer-space sequel, and so much more. So take a few weeks to catch up on some of the best of this year’s award season—then be sure to join me for the twists and turns and big-budget thrills of another year at the movies.
Happy New Year, everyone! Wishing you a year of great movies, perfectly salted popcorn, and moviegoing experiences that are free of talkers, texters, and other unruly audience members.
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