I’m dedicating the month leading up to the SF Film Critics Circle awards on 12/13 to my End-of-Year Cramfest. It’s my personal War on Xmas – I’ll be screening the awards contenders, catching up on overlooked movies, and rewatching some of my favorites from 2015. Click HERE to read Part I, and check back later this week for Part III.
FRIDAY, NOVEMBER 20
Shaun the Sheep Movie (Dir.: Mark Burton and Richard Starzack; GRADE: B+)
Energetic and playful and whimsical, with the rolling invention of a silent comedy, this blessedly anarchic and endlessly amusing stop-motion animation is one of the best animated features of the year. It comes from Aardman, based on a TV show I’ve never seen, but with a look and spirit that are kindred to Aardman keystones Wallace and Gromit. There’s no dialogue, only grunts and growls and nonsense, so this is essentially a silent film with sound effects and music. Cinephile parents – this could be your kids’ gateway drug to the Criterion Collection!
A sturdily crafted disturber based on the real-life experiments conducted at Stanford University in 1971. The experimenters hired students and randomly assigned them a role as either prisoner or guard, turning the basement of a faculty office building into a makeshift “prison.” But the experiment got out of hand almost immediately, as the guards inflicted unnecessary physical and psychological punishments, and the prisoners begged for release. Billy Crudup leads the study team, and a cast of familiar young faces (including Tye Sheridan, Ezra Miller and Thomas Mann) play the guards and prisoners. Smarter and more penetrating than the strangely overpraised Experimenter, spare but effective, with a solid, lunchpail ensemble.
SATURDAY, NOVEMBER 21
Do not open until mid-December.
Of Horses and Men (Dir.: Benedikt Erlingsson; GRADE: B-)
Less an Icelandic Wild Tales than an Icelandic Amores Perros that fancies itself an Icelandic Au Hasard Balthazar, this bold but uneven anthology centers on the nosy citizens of a remote valley village, showing the emotional horrors they inflict on each other, and the physical horrors they inflict on their horses. More bodily fluids than any other 2015 film I can recall, with some inspired moments counterbalanced by some genuinely horrific ones, all executed in the deadest of Nordic deadpans. Hard to recommend, or shake.
The Creeping Garden (Dir.Tim Grabham and Jasper Sharp: GRADE: B)
Mike Dub did an excellent job summarizing this sci-fi documentary in his review, so I’ll simply add that it feels like an episode of Nova directed by Errol Morris, pitting human obsession against primordial instinct. Slime mold wins because slime mold always wins.
SUNDAY, NOVEMBER 22
Writing day, no movies.
MONDAY, NOVEMBER 23
Tom at the Farm (Dir.: Xavier Dolan; GRADE: B)
This homoerotic Hitchcock from French Canadian wunderkind Xavier Dolan was made a year before Mommy, but it got released several months afterward. Dolan plays the lead role, a young gay man who travels to the country to mourn his closeted lover, only to find that the dead man’s dangerously homophobic brother would prefer to keep their relationship a secret. An impressive checked box for the young filmmaker, taut and kinky, easily his least exuberant effort, but I’m not ready to dub him a master of suspense just yet. Check out my updated Xavier Dolan Power Rankings HERE.
Entertainment (Dir.: Rick Alverson; GRADE: C)
Self-satisfied grotesqueness from the director of The Comedy – part Neil Hamburger concert movie, part savagely deadpan dark comedy, and part on-the-nose portrayal of the spiritual bankruptcy of life on the road, and all empty, nihilistic, fuck-you-for-giving-a-shit posturing. God bless John C. Reilly, though.
The Good Dinosaur (Dir.: Peter Sohn; GRADE: B)
A minor effort from Pixar, a weird, alternate-universe story jumble about a family of dinosaur farmers that comes into contact with a wild scavenger that looks a lot like a human boy. Visually splendid and teeming with ideas, many of them half-cooked, like the mixture of broadly cartoon-ish character designs and photo-realist landscapes. Still, I found the individual elements extremely compelling, even if the center doesn’t always hold. Check out my updated Pixar Power Rankings HERE.
Where to Invade Next (Dir.: Michael Moore; GRADE: B)
It’s so easy to blame Michael Moore for everything annoying about contemporary documentaries that we often overlook his skill as an entertainer. One good laugh from Moore is worth a million of Alex Gibney’s paranoid whispers. Where to Invade Next puts Moore back in his high-concept territory, as he “invades” foreign countries to steal their ideas for social change, such as Finnish school reforms and Portuguese drug policies. It won’t change the world, but neither will The Good Dinosaur. Check out my updated Michael Moore Power Rankings HERE.
Youth (Dir.: Paolo Sorrentino; GRADE: D)
Do not open until Xmas.
Do not open until 2016.
Ricki and the Flash (Dir.: Jonathan Demme; GRADE: B-)
How do you get a band to stop taking encores? The first hour of this Diablo Cody-scripted drama about a washed-up “rock star” (Meryl Streep) forced into responsibility by her estranged family has a relaxed, humane vibe and several interesting character swerves (e.g., Ricki’s square family are the liberals, while she’s an Obama-baiting right-winger). But the story is effectively resolved by the end of the second act, so Streep and her band run out the clock by performing uninspired karaoke cover songs for a solid half hour. Check out my updated Jonathan Demme Power Rankings HERE.
LATER THIS WEEK: End-of-Year Cramfest Capsules, Part III, with mini-reviews of Bridge of Spies, Legend, Eden and more.
Categories: e street film society