There will be few motion pictures released to domestic theaters in 2015 that are better than Clouds of Sils Maria.
A stunning piece of cinema, It Follows is a darkly bleak sojourn into adulthood that’s more than just your run-of-the-mill genre entry, Mitchell crafting a modern American masterpiece of disaffected youth dealing with the repercussions of their revolt that will undoubtedly stand the test of time.
A Best Foreign Language Film Oscar nominee, this deliriously entertaining, confidently composed satire of cultural, gender and class politics and mores is astonishing, deftly moving from one story to the next with freewheeling enthusiasm. While each segment is unconnected from those surrounding it, they all manage to convey common themes eviscerating the status quo, showing while catharsis and vengeance can go hand-in-hand, the price extracted for revenge is almost always worse than the cost of turning the other cheek.
All I really want is for people to experience the glories and the monumental achievements of A Most Violent Year for themselves sans too much input or explanation from me.
Subtle and beautifully heartfelt. Selma is an important movie, yes, but it is also a great one.
There’s no denying Birdman is impossible to take your eyes off of. From the opening image of a meteor careening across the sky, to its final moments when an actor combines insanity and inspiration into some form of creative euphoria, the movie is a vital, rhythmically alive character study looking at creation in all its complexity.
Boyhood is remarkable stuff, filled with drama, intrigue, suspense, laughter, tears and all the rest that comes with that.
Make no mistake, Obvious Child is a stunning debut. More than that, it’s also a terrific piece of cinema I’ll be thinking about and extolling the virtues of for a heck of a long time to come.
In many ways Locke is the thriller of the year, a real time, ticking clock masterwork of tension and suspense that’s as unrelenting and unmerciful as anything likely to see a release in all of 2014. In others, it is nothing more than a quickly paced melodrama of responsibility and regret, focusing entirely on a single character, the choices he has made and the price he is forced to pay when the bill for his self-centered actions come tragically due.