I estimate I watched between 500 and 600 films in 2015, but every year I miss a ton of new movies, so this article needs to include an appropriate disclaimer: this is NOT a comprehensive list of the year’s ‘best films’. It’s a short list of those new or revived films I saw for the first time in 2015, and enjoyed (and/or appreciated) the most, so please don’t be upset if I omitted your favorite – I probably haven’t seen it yet!
In real life, the well-to-do have servants to help them count their money, weigh gold bullion, and keep the other servants in line. In the movies, the rich also have domestic help – but in films like The Servant (1963) and La Nana (The Maid, 2009), the ‘help’ quite often turns out to as much hindrance as anything else. Such is also the case in Que Horas Ela Volta? (The Second Mother), a Brazilian drama (albeit, with faint comedic overtones) opening at Landmark’s Shattuck Cinemas on Friday, Sept. 4.
When I was a wee lad, my grandfather would describe taking a long journey as ‘going to Timbuktu’. I had no idea where Timbuktu was – in fact, I didn’t realize it was a real place – but I can remember thinking that it was an awfully funny name. Every time Grandpa said Timbuktu, he got a chuckle out of little me.
Mansplaining: it’s something us guys do, sometimes completely unawares – heck, though I’m still not entirely clear on what it is, I’m probably doing it right now. So at the risk of mansplaining something to female readers that they already understand, I do declare that She’s Beautiful When She’s Angry (opening at Landmark’s Shattuck Cinemas on Friday, February 6th) is a pretty decent documentary about the history of the modern feminist movement.
It’s time once again for me to thoroughly embarrass myself by incorrectly handicapping this year’s short subject Academy Awards, which open this Friday, Jan. 30 at Landmark’s Shattuck Cinemas. I think I have a perfect record over the last few years – let’s see if I ruin it by actually picking a winner for a change!
Because of a seemingly never ending litany of technical problems, I almost gave up on watching a screener of The Duke of Burgundy (opening at Landmark’s Opera Plaza Cinemas in San Francisco on Friday, Jan. 23). For whatever reason, though, I stuck with it – and I’m glad I did.
When it comes to leading ladies, I’m apparently a bit of a cad. I have no trouble telling my Alan Ladds from my Errol Flynns, but put headshots of (for example) Merle Oberon and Joan Fontaine in front of me, and, despite decades of intense movie watching, chances are no better than 50:50 that my ingénue identification skills won’t let me down.
Sadly, I won’t have the opportunity to include Seth Rogen’s The Interview in this year’s list. Of course, as I find Mr. Rogen about as funny a case of shingles, it probably wouldn’t have made the list anyway. Thanks, Guardians of Peace and/or the Democratic People’s Republic of Korea, for sparing us all. Here, then, are my favorite films of 2014 (click on the title if it’s hyper-linked to read the full review):
Is A Girl Walks Home Alone at Night (opening at Landmark’s Shattuck Cinemas on Friday, Dec. 5) truly ‘the first Iranian vampire western’, as its promotional material claims? Sadly, no – but that doesn’t mean it’s not worth seeing, assuming you can forgive the untruthful tagline.
Tbilisi is the capital city of the republic of Georgia – one of the pawns in what is now being touted by some (including Mikhail Gorbachev) as a ‘new cold war’. Previously known as Tiflis, Tbilisi was the 1903 birthplace of Soviet filmmaker Mikhail Kalatozov and the youthful stomping grounds of one Ioseb Besarionis Dze Jugashvili, also known as Joseph Stalin.
Are you an admirer of Terrence Malick? If so, you’ll definitely want to make time for The Better Angels, a black-and-white tone poem reflecting the best and worst of the director’s style opening at Landmark’s Shattuck Cinemas on Friday, Nov. 21. If, on the other hand, you don’t have much time for his frequently meandering efforts, you can probably give it a miss.
I’ve never cared much for country-western music, but there are exceptions to every rule — even this one. Consider the recordings of Glen Campbell: though deeply rooted in country (and reflecting that genre’s frequently melancholic tint), Campbell’s recordings were melodic enough to tickle my fancy and (more importantly) crossover to the pop charts. His recording success allowed Campbell to become a national television and film personality, with his own small-screen variety hour and a significant role opposite John Wayne in True Grit (1969).