Best:
1 - SPOTLIGHT (Tom McCarthy) - For triggering me and setting me free; for nailing big city-small town Boston; for reportage, writing and cast
2 - UNCLE JOHN (Steven Piet) - For both bleakness and incandescence, downright Shakespearean; for the gift of John (Ashton) and being a bona fide heartbreaker
3 - BLACKHAT (Michael Mann) - For bravely cutting through pretense and expectation; for strong women, swoon-inducing scenes of adult intimacy, quotable dialogue and brief but bravura, exquisitely designed, intensely visceral, ground-zero-level bursts of violence; for a provocative, ferocious, insurgent attempt to invigorate the medium; see also #4
4 - MAD MAX: FURY ROAD (George Miller) - For fire and blood and chrome; for redemption and resurrection; for women empowered, Junkie XL and hope; see also #3
5 - LOVE AND MERCY (Bill Pohlad) - For illustrating the frustrating and gorgeous madness of process and the process of frustrating and gorgeous madness
6 - STRAIGHT OUTTA COMPTON (F. Gary Gray) - For history
7 - THE DEAD LANDS (Toa Fraser) - For mysticism, cannibalism, knockout New Zealand vistas and a Michael Mann-ish score; for being the best film since Sayles' 1996 LONE STAR about an individual's personal quest forever altering global history
8 - IT FOLLOWS (David Robert Mitchell) - For earnestly reenvisioning Carpenter and Craven, and for Detroit kids
-and-
UNFRIENDED (Levan Gabriadze) - For slyly and subversively deconstructing the 'found footage' film, and for being socially relevant besides
9 - EX MACHINA (Alex Garland) - For Kubrickian cerebral pulp, gender politics, and grrl robot power
10 - SPY (Paul Feig) - For being the anti-ENTOURAGE in its proactive progressiveness
2 - UNCLE JOHN (Steven Piet) - For both bleakness and incandescence, downright Shakespearean; for the gift of John (Ashton) and being a bona fide heartbreaker
3 - BLACKHAT (Michael Mann) - For bravely cutting through pretense and expectation; for strong women, swoon-inducing scenes of adult intimacy, quotable dialogue and brief but bravura, exquisitely designed, intensely visceral, ground-zero-level bursts of violence; for a provocative, ferocious, insurgent attempt to invigorate the medium; see also #4
4 - MAD MAX: FURY ROAD (George Miller) - For fire and blood and chrome; for redemption and resurrection; for women empowered, Junkie XL and hope; see also #3
5 - LOVE AND MERCY (Bill Pohlad) - For illustrating the frustrating and gorgeous madness of process and the process of frustrating and gorgeous madness
6 - STRAIGHT OUTTA COMPTON (F. Gary Gray) - For history
7 - THE DEAD LANDS (Toa Fraser) - For mysticism, cannibalism, knockout New Zealand vistas and a Michael Mann-ish score; for being the best film since Sayles' 1996 LONE STAR about an individual's personal quest forever altering global history
8 - IT FOLLOWS (David Robert Mitchell) - For earnestly reenvisioning Carpenter and Craven, and for Detroit kids
-and-
UNFRIENDED (Levan Gabriadze) - For slyly and subversively deconstructing the 'found footage' film, and for being socially relevant besides
9 - EX MACHINA (Alex Garland) - For Kubrickian cerebral pulp, gender politics, and grrl robot power
10 - SPY (Paul Feig) - For being the anti-ENTOURAGE in its proactive progressiveness
Honorable Mention:
Christopher (son of Michael) Landon's THE SCOUT'S GUIDE TO THE ZOMBIE APOCALYPSE, for being unpretentious retro fun (even despite zombie rape gag)
Christopher (son of Michael) Landon's THE SCOUT'S GUIDE TO THE ZOMBIE APOCALYPSE, for being unpretentious retro fun (even despite zombie rape gag)
Worst:
MAGGIE (Henry Hobson) - For being ridiculously amateurish in both its filmmaking and self-conscious faux-pretentiousness; those interested would do better to rewatch Cronenberg's THE FLY - the film MAGGIE's makers think we're too young or too dumb to remember.
MAGGIE (Henry Hobson) - For being ridiculously amateurish in both its filmmaking and self-conscious faux-pretentiousness; those interested would do better to rewatch Cronenberg's THE FLY - the film MAGGIE's makers think we're too young or too dumb to remember.
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