Straight Outta Compton is a biographical drama directed by F. Gary Gray, with a screenplay by Jonathan Herman and Andrea Berloff. The film tells the true-life story of one of the most controversial, yet inspirational groups in the history of music: N.W.A.
From the moment I found out that a project was in the works to bring the story of N.W.A. to the silver screen, I was captivated. The preeminent gangsta-rap group, which was founded in the mid-1980s, was more than just a fivesome of rappers (I say “five” because credited member Arabian Prince only appeared on one song from the Straight Outta Compton album and was hardly featured in the film); it was a collective of youths, determined to convey to the world the story of the dangers of growing up in the hood. Despite being met with critical and commercial success, the group’s eponymous debut album was subjected to stark criticism from an abundance of powerful groups, including the US Senate and Federal Bureau of Investigation. 
The lyrics were incredibly profane, derogatory, and aggressive towards the police; it was this content that garnered the group and its debut album such disparagement. In fact, one of the premier tracks on the group’s debut album was titled, “Fuck tha Police,” which featured lyrics that addressed police brutality and racial profiling. Although the “authorities” were not fans, this song epitomized the political message behind N.W.A.’s existence as artists: People need to know what really goes on—what you do not see on the news. As relevant as this message was at the time—nearly thirty years ago—the film’s release has an analogous significance now, as in 2016, we are still battling significantly hostile race issues. N.W.A. was more than a rap group that ultimately crashed and burned—it was the voice of a generation.
Director F. Gary Gray and his team of filmmakers have crafted in Straight Outta Compton more than another cliché biopic—this film is flat-out incredible. I have become so sick of most biopics because they simply pander and bore, delineating nothing more than the fact that filmmakers can follow a strict template of melodramatic, insincere, and unaffecting drivel. Straight Outta Compton is so great because it takes this monotonous formula and flips it on its head with vivacity. The film features numerous “action” scenes of police hostility and brutality, and the ways in which Gray and his cinematographer (Matthew Libatique) portray these atrocious images is unrelenting—they make you feel as if you are living these cruel moments along with the characters. 
I also loved the scenes of the group’s creative process. As a fan of rap music, and especially N.W.A., it was an unexplainable treat to watch legends like Dr. Dre, MC Ren, and Eazy-E artistically craft of the greatest albums in the history of music. The camerawork is always visually appealing, and Libatique and Gray captured the group’s chemistry with dynamism.
The acting in the film was superb—I am not sure the filmmakers could have created a more cohesive group. Although it was great to see Ice Cube’s very own son—O’Shea Jackson, Jr.—portraying him, the stars of the picture were, without a doubt, Paul Giamatti and Jason Mitchell. Giamatti portrayed Jerry Heller, a notorious music manager and businessman who co-founded Ruthless Records with Eazy-E. Heller was hired by Eazy-E to manage N.W.A., and he was a key figure in the group’s initial success. However, much controversy surrounded Heller’s tactics, as members of the group viewed him as a guy who was truly only looking out for he and Eazy-E’s best interests (and in the end, his devotion to Eazy-E was suspect). 
Heller was an angry and vicious man at times, but he also had a lighter side, especially regarding his heartfelt relationship with Eazy-E; Giamatti, as a veteran actor, absolutely nailed this portrayal. Giamatti’s deftness for his craft is undeniable, and, considering the film’s cast was mainly a group of young, up-and-coming actors, it was the perfect set of circumstances for Giamatti to make his mark. The film’s best performance, however, came from Jason Mitchell as Eazy-E. The story, although about the rise and fall of the group in general, revolves around his character. Eazy-E is the true beginning, middle, and end of the group’s story. He is the one that funded the group’s upstart and acted as the “lead.” He is the one who ultimately was at the center of the group’s demise, due to his relationship with Heller. And his HIV-diagnosis and subsequent death is what ended the chances for a potential reunion of the group.
Eazy-E’s story arc is incredibly dynamic, and it was a tall task for Mitchell to take on—Mitchell took on the challenge and succeeded beyond measurability. Mitchell portrays his character as an incredible complex guy—one who has lived the “thug life” and puts on a hard exterior, but who also has a wildly sensitive/emotional side. Jason Mitchell’s delineation of this larger-than-life figure was amazing, and I truly believe he was absolutely snubbed by the Academy in the Best Supporting Actor category.
Much controversy has surrounded the Oscars again this season for its lack of diversity in major categories. Although I disagree with a lot of the hype, I do firmly believe that Straight Outta Compton is a film that deserved much more award praise. This film should have definitely been a Best Picture nominee, and, as mentioned before, Jason Mitchell deserved a nomination for his incredible performance as Eazy-E. Straight Outta Compton is rated R for sequences of language throughout, strong sexuality/nudity, violence, and drug use.
Straight Outta Compton trailer: https://www.youtube.com/watch?v=rsbWEF1Sju0
Academy Award nominations for Straight Outta Compton:
Best Original Screenplay (Jonathan Herman, Andrea Berloff, S. Leigh Savidge and Alan Wenkus)
Previous movies on the countdown of the Top 15 Films of 2015:
- Kingsman: The Secret Service
- Steve Jobs
- Creed
- ’71
- Room
- Star Wars: The Force Awakens
- Beasts of No Nation
- The Martian
Director Matthew Vaughn is the filmmaking genius behind one of my favorite comic-inspired action films of all time, 2010’s Kick-Ass. That film was filled with non-stop action and hilarious banter, not to mention a superfluity of profanity-laced dialogue. Vaughn adapted Kick-Ass from a comic series of the same name by author Mark Millar. In addition to creating the Kick-Ass series, Millar has penned the comic series Wanted (which was adapted into a film starring Angelina Jolie) and The Secret Service, the latter of which served as the source material for Kingsman. In his latest film, Vaughn has delivered his greatest filmmaking achievement yet—in fact, Kingsman grossed over $414 million worldwide, which made it Vaughn’s most commercially successful film. This film is obviously not one that is contending for any major accolades, but I assure you, it is some of the most fun you will have watching a movie!
Kingsman always knows what it is as a movie, and it thrives off never taking itself too seriously. Much like 2015’s Spy (starring Melissa McCarthy)—but done so far more magnificently—Kingsman straddles the line between the James Bond film series and Austin Powers. The film is never so serious as to be a real Bond thriller, but it also never completely sells itself out as a full-blown parody—Kingsman strikes a happy medium between the two. In one scene, Eggsy is asked how he would like his martini prepared, and he replies, “With gin…stirred for ten seconds while glancing at an unopened bottle of vermouth.” The line is entertaining, as it puts a cheeky twist on Bond’s infamous “Vesper Lynd” drink. Aside from the film’s sidesplitting repartee and vintage spy reverences, the action is out of this world. 
As the film progresses, its action sequences get more and more over the top—yet, it works, simply because the film never takes itself too seriously. One of the biggest set pieces is one of the most epic brawls/massacres you will ever see in a movie, all triggered by the villain’s lethal SIM-card plot. The scene is bloody, filled with blockbuster combat, and takes place in a church, nonetheless. It is madly exaggerated, yet it is one of the best things I saw all year—pure entertainment at its finest.
Kingsman boasts a wildly impressive cast, which is one of its most noteworthy feats. Colin Firth stars as Harry Hart (codename Galahad; all the Kingsman agents have knights-of-the-round-table names), and at first glance, the character is as archetypal as it gets for Firth. He wears a nice suit, speaks in proper English, and does not appear to have a violent bone in his body—and then the action starts! I was quite impressed with Firth’s portrayal of his character as one of the biggest badasses in the film—in one scene, he defeats an entire gang of hooligan-like gentlemen in a bar…with only an umbrella! In addition, newcomer Taron Egerton (who will star in Eddie the Eagle in 2016) fills the role of the snot-nosed, temperamental young recruit quite well. He has a certain charisma about him, and he holds his own next to the Oscar-winning Firth. 
The film also features solid supporting performances from the legendary Oscar winner Michael Caine, Mark Strong, Sophie Cookson, and Sofia Boutella. However, the best supporting performance comes from Samuel L. Jackson. In his role as the film’s villain (Valentine), Jackson plays the character brilliantly. Valentine wears flat-billed hats cocked to the side, has a vicious thirst for blood, and hilariously speaks with a pronounced lisp—Samuel L. Jackson nails it! Kingsman: The Secret Service is rated R for sequences of strong violence, language, and some sexual content.
Ever since Steve Jobs’s untimely death in 2011, the film industry has become exceedingly saturated with Jobs-related material. In addition to the numerous documentaries about the head of Apple, Ashton Kutcher gave us an unbelievably subpar portrayal of Steve Jobs in Joshua Michael Stern’s 2013 feature Jobs. I mention this recent history of Jobs-related media to highlight that I understand the public’s hesitation to go see another movie about Steve Jobs. But if you have not seen this yet, I desperately urge you to rent this immediately—this movie hits the mark in nearly every way possible!
The real geniuses behind Steve Jobs are director Danny Boyle and screenwriter Aaron Sorkin. Danny Boyle is the filmmaker behind award-winning films like Slumdog Millionaire and 127 Hours, but for me, Steve Jobs is his best work yet. In this film, Boyle taps into his veteran directing style to carefully craft each scene and get the best performances out of his actors and actresses. Despite Boyle’s own brilliance, Aaron Sorkin is the single piece to this puzzle that is most imperative. Sorkin’s credits as a TV writer include heavyweights like The West Wing and The Newsroom, and his movie résumé is just as impressive, boasting scripts like A Few Good Men, Charlie Wilson’s War, The Social Network, and Moneyball. Sorkin is known in industry circles as a preeminent screenwriter due to his rapid-fire technique, and in Steve Jobs, he has provided us dialogue that I have not seen done so masterfully in years. 
The movie lasts for 122 minutes, and, as I mentioned, features only three scenes—this makes Sorkin’s work even more remarkable. The story is supposed to track in real time behind the scenes of these launches, which does not leave Sorkin much time to execute his oral interchanges—he feeds off that pressure. The film (evocative of a play, which Sorkin has penned many of) thrives off conversation, and with every line, Sorkin delivers hard-hitting discourse. Although the actors execute his plans via Boyle’s direction, Sorkin is at the heart of this film’s success for me, and it is an absolute abomination that the Academy snubbed him for Best Adapted Screenplay.
The acting performances in this film are exquisite; both Michael Fassbender (as Jobs) and Kate Winslet (as Joanna Hoffman, Apple’s marketing executive) were nominated for Oscars, and rightfully so. Michael Fassbender is by far one of the top five actors currently working in the film business. He has garnered immense praise for roles in Hunger, Inglourious Basterds, Shame, Prometheus, and 12 Years a Slave, and in Steve Jobs, Fassbender has killed it again. Steve Jobs was a once-in-a-generation kind of innovator, but the skeletons in his closets were always present, feeding off his stressful life. 
Jobs’s professional and personal lives often intersected, and Steve Jobs fiercely examines the crash course that resulted. Fassbender was always the best actor for the role, and with dexterity and intricacy, he owns the many personal and professional faces of his character. Kate Winslet additionally delivers an amazing performance, for which she has already won Best Supporting Actress at both the Golden Globes and the BAFTA Awards. 
Throughout Jobs’s many personal/professional-life debacles in the film, Winslet’s Joanna Hoffman is always the voice of reason that settles these issues. Winslet perfectly articulated Hoffman’s accent (a product of English mixed with her Polish and Armenian origin), and she portrays her as an incredibly strong, independent woman. It is by far one of my favorite Winslet performances of all time. Steve Jobs is rated R for language.
I am a committed fan of the Rocky franchise, and in Creed, my love for the series lives on. Stallone’s original Rocky (1976) was a flawless film with a beautiful story. And although the series came to a fitting end for Rocky as a competitive boxer in 2006’s Rocky Balboa, the character itself endures—albeit in a new, supporting role—thanks to Ryan Coogler and Creed. This film is only Coogler’s second feature of his career. The 29-year-old USC alum debuted on the scene in 2013 with Fruitvale Station, a gripping tale of the real-life events surrounding Oscar Grant’s murder by a BART officer in Oakland, CA. That film, like Creed, features Michael B. Jordan as the lead character. These two guys are completely in sync as a team, and I sure hope they continue to work together in the future. 
Coogler’s direction in Creed is nothing short of masterful. He crafts a brand new, stand-alone story, but he does so in a way that pays picturesque homage to Stallone and his beloved Rocky series. In Creed, we see so many parallels between itself and Rocky, including a strikingly similar story arc—Coogler even delivers a romantic subplot that is charmingly reminiscent of Rocky and Adrian’s original affectionate connection. Additionally, one of my favorite scenes of the entire film features Donnie watching clips of his father’s infamous fight with Rocky Balboa on a big screen in his personal home theater—Donnie eventually stands up and shadow boxes with the two legends, and as the sights and sounds of the fight build with the music, I got a zillion chills. Coogler could not have drawn that scene up any better. Although this film is especially incredible to me (given that it builds upon some of my favorite sports films of all time), Coogler gives modern fans a new story that dexterously succeeds in its own individual right. I applaud Ryan Coogler for reinvigorating one of sports’ greatest tales.
As far as acting, the obvious starting point is Sylvester Stallone. In the modern age of cinema, Stallone is a household name because of his many action-packed, macho-man movies, such as The Expendables, Escape Plan, and Grudge Match. Most simply do not respect Stallone anymore as a credible performer, at least in a critically acclaimed manner—that all changes with Creed. The original Rocky (1976) garnered Stallone Oscar nominations for both Best Original Screenplay and Best Actor (the film was additionally nominated for eight more Oscars, winning three for Best Picture, Best Director, and Best Film Editing) and rightfully so.
Stallone showcased his immense acting abilities in the original film, and I was as pleased as anyone to see him steal the show in Creed—he reminded us just how good of an actor he really can be (this is a huge credit to Ryan Coogler for getting the best out of Stallone). His character’s attitudes, facial expressions, and mannerisms are vintage Rocky Balboa; yet, the character is more lonely and broken down than we’ve ever seen him. It is in his delineation of these downhearted emotions that Stallone succeeds. Hard to believe that 40 years after the original Rocky was released, Stallone will (most likely) be snagging an Oscar for his portrayal of Rocky Balboa.
With Rocky Balboa taking a more backseat role in Creed, Michael B. Jordan emerges as the story’s new lead, portraying Apollo Creed’s son Adonis. Jordan is a fantastic up-and-coming talent in Hollywood, and in Creed, he gives an incredibly gifted performance. Some have argued that Jordan was snubbed by the Academy. I do not believe this is true; even though Jordan delivered a brilliant portrayal in the film, the Academy’s five choices for Best Actor were simply too good this year. This fact does not lessen the importance of Michael B. Jordan’s performance, however. Adonis is a young, confused kid. He does not quite know who he is as a man, and this is visibly evidenced by his outward frustration and anger. Jordan nails these nuanced emotions to a tee, and in Adonis Creed, he has given film fans a new boxing hero. 
In addition to Jordan, Tessa Thompson gives a radiant performance as Donnie’s love interest Bianca, a hearing-impaired musician. As mentioned earlier, the romantic subplot of Donnie and Bianca mimics that of Rocky and Adrian from the original film, and Thompson’s beautiful acting is the fulcrum that holds this on-screen couple together—much like her performance in 2014’s Dear White People, Tessa Thompson delivers tenfold. Creed is rated PG-13 for violence, language, and some sensuality.
Luckily, director Yann Demange (this is his debut feature film) focuses instead on the Jekyll-and-Hyde-nature of the civil discord. It was incredibly difficult to know whether someone was truly on the side he/she purported to support or not—one minute Gary comes across someone who is sympathetic to his plight, and the next minute it appears those motivations were traitorous. With help from Gregory Burke’s thrilling script, Demange depicts the double-crossing conspiracy of the Troubles masterfully. The cinematography is kinetic, in all the best ways, and Demange provides enough screen time to characters on all sides of the conflict in order to best delineate the inherent untrustworthiness of all parties involved.
Although the film features some fantastic supporting performances from actors like Sean Harris, Richard Dormer, and Barry Keoghan, the star of the film is Jack O’Connell as Gary Hook. O’Connell is one of the most prominent up-and-coming actors in world cinema, and I am quickly becoming a huge fan of his work. In 2014, O’Connell shined in films such as Starred Up (which I ranked as my No. 4 film of the year) and Unbroken, and in ’71, he has added another award-worthy performance to his filmography. Gary Hook is both tough and sensitive, and O’Connell skillfully portrays this personality dichotomy in much the same way as he did with a similar character in Starred Up. The film truly places you on the edge of your seat throughout, and in every gripping moment, we fear for Gary—O’Connell nails this trepidation with a unique dexterity. ’71 is rated R for strong violence, disturbing images, and language throughout.
Abrahamson’s greatest feat, though, is his ability to command two of the greatest acting performances from the entire year. Brie Larson as “Ma” is by far the best performance from any actress in all of 2015. Larson portrays “Ma” just as Donoghue always intended: she is an incredibly nurturing mother to Jack, and her devotion to protecting him from the horrors of the “real world” is both venerable and heartbreaking. Not knowing when or if she and Jack will ever escape the dreadfulness of “room,” “Ma” creates an entirely fictional understanding of the world in order to shelter her son from their circumstances. 
However, in every passing moment of Jack’s ever-so-curious life, we see cracks in her armor. He is curious; he wants to know more and begins questioning the entire concept of life inside and outside of “room.” In these heartrending and frustrating times for “Ma,” Larson shines; as adults, we feel her pain and want to cry with her, if not for her. Larson is unrelenting in her portrayal of “Ma,” and her beautifully crafted performance will most surely earn her an Oscar.
Jacob Tremblay delivers a performance as Jack that is absolutely unbelievable considering his young age. His nuanced adeptness is evocative of other critically acclaimed performances from young actors in recent memory, such as Hailee Steinfeld in True Grit (2010) and Quvenzhané Wallis in Beasts of the Southern Wild (2012). Although those two actresses were nominated for Oscars, somehow Tremblay was not. 
I believe Tremblay delivered the best performance by a child actor since Haley Joel Osment in The Sixth Sense (1999) or Abigail Breslin in Little Miss Sunshine (2006), who were, just like Steinfeld and Wallis, nominated for Academy Awards. With all the talk of Oscar diversity (or lack thereof) and snubs, I truly believe Tremblay is the one with the most worthwhile beef—his performance was one for the ages. His depiction of Jack’s frustration, curiosity, and love for his “Ma” was perfect—absolutely perfect. Although the Academy snubbed him, Tremblay did end up taking home the Critics’ Choice Award for Best Young Performer, in addition to being nominated for Best Supporting Actor by the Screen Actors Guild. Room is rated R for language.
Full disclosure: I saw all seven Star Wars movies over a two-week period during Christmas break; thus, I am not a lifelong fan of the franchise like the traditional Star Wars sycophant. However, after watching both the original and prequel trilogies, I became enraptured by the series and could not wait to watch Episode VII. 
This anticipation for the newest film was two-fold: (1) I had become a genuine fan of the franchise; and (2) I was stoked to see if JJ Abrams could reinvigorate the famed series after its creative genius, George Lucas, nearly drove it into the ground with Episodes I and II (Episode III is actually pretty genius in many respects from a filmmaking standpoint—so get over yourselves, Star Wars nerds). Abrams’s take on Star Wars did not disappoint. But before I get to that and the rest of my review, I have decided to announce my own personal ranking of each film in the Star Wars franchise: (1) The Empire Strikes Back; (2) The Force Awakens; (3) Revenge of the Sith; (4) A New Hope; (5) Return of the Jedi; (6) Attack of the Clones; and (7) The Phantom Menace.
I really only have one beef with The Force Awakens, and it is the fact that JJ Abrams will not be returning for future films in the trilogy; Mr. Abrams batted nearly 1.000 in his one-and-only Star Wars appearance. For starters, in terms of storytelling, the script is both reminiscent of the original trilogy and polar opposite of the prequel trilogy—in all the best ways. Abrams and his screenwriting team give us humor, snappy dialogue, action, and thrills, all which evoke the greatest moments of the past Star Wars films, all without much input at all from George Lucas—that is impressive. 
Abrams clearly knows his Star Wars history, and he gives us plenty of callbacks to the past six films; the truly remarkable part is that he does so without bordering on schlock, which would be easy to do. We get the classic duo of Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew), a prominent cameo from the Millennium Falcon, a melted Darth Vader mask, and appearances by Princess Leia (Carrie Fisher), Luke Skywalker (Mark Hamill), C-3PO, and, my personal fave, R2-D2. Despite the eminence of so many vintage Star Wars figures, Abrams’s real triumph stems from his creation of a wealth of new characters that are more than worthy to carry on this historic film franchise.
Speaking of those new characters, we had a bunch of worthwhile rookies. Golden Globe-nominated actor Oscar Isaac stars as Poe Dameron, an X-wing fighter pilot for the Resistance that is heralded as the best in the galaxy. Emmy-nominated Adam Driver plays Kylo Ren, a commander of the First Order and an aspiring successor to the Darth Vader legacy. Newcomers Daisy Ridley and John Boyega star as Rey and Finn, respectively—Rey is a scavenger from Jakku in search of her family, and Finn is a First Order stormtrooper who decides to abandon his position. Despite being a big fan of Oscar Isaac, I admit that I did not connect much with his character—he was kind of boring to be honest. 
Luckily, the rest of the cast carried the film with ease. I absolutely love Adam Driver as the newest bad boy of the Star Wars universe. His character is incredibly complex, possessing evil and torturous, yet anxious and sensitive qualities—Driver nails the nuances of each and every trait. Kylo Ren is also a downright badass character because of (1) a mask that rivals that of Darth Vader; and (2) one of the greatest light sabers anyone has ever seen.
Ridley and Boyega also impress in their respective roles. Ridley’s Rey may or may not be the daughter of Luke Skywalker (the film sure does imply that, yet, maybe it is a red herring), but she definitely occupies many of Luke’s behavioral traits, not the least of which is her affinity for inherent Jedi powers—the force is definitely strong with this one. In addition to seeming much like Luke, she also at times seems like the new Han Solo—she is completely self-sufficient and is as rogue as they come. 
Boyega’s Finn was one of my favorite characters from the new film. Finn’s personality is evocative of C-3PO, in that he is incredibly worrisome and always the first to panic when danger arises; it is in these ways that Finn is the funniest character of the movie. Luckily, Abrams brilliantly ensures that Finn’s character never becomes a mere caricature. I also loved R2-D2’s successor, the charmingly unique droid BB-8. BB-8 is a spherical droid with a free-moving domed head, and he is the perfect addition to a long history of classic droids in the Star Wars franchise.
The latter will first feature Rogue One, set just before the events of A New Hope, and after that two stand-alone “origin” films about both Han Solo and Boba Fett. Starting this year, the Anthology films will be released every other year, which is meant to complement the sequel trilogy’s same every-other-year schedule. Although it will be great to get so much new Star Wars material, I am cautious because it makes the series more susceptible to people getting completely burned out, considering a Star Wars movie will be released once a year between 2015 and 2020. Only time will tell. Star Wars: The Force Awakens is rated PG-13 for sci-fi action violence.
The stars of the film are its main actors: Idris Elba as The Commandant and Abraham Attah as Agu. The character arcs for both Agu and Commandant are incredibly diverse, but they both share a like-transformation in many ways, too. Agu watches his family murdered by African militants. In a matter of moments, his innocence is stripped from him. He runs terrified, sobbing all the while. What was seen cannot be undone, and those experiences shaped who Agu would become throughout the rest of the film. When he meets Commandant and his “warriors” (which we quickly learn are more like “war criminals”), he finds natural replacements for those that he lost. 
The brooding Commandant becomes his father figure. The young Strika, a boy who does not speak, becomes his new best friend. In this new circle, Agu finds trust again. And it is that trust that convinces Agu it is okay to kill and terrorize upon Commandant’s orders. Atrocities are committed, but luckily the film never loses focus of the fact that these soldiers are still, at their very core, children—Attah’s brilliant performance delineates Agu’s complex journey with dynamism.
Idris Elba’s Commandant, however, is the best part of the film for me. Stringer Bell (Elba’s character from HBO’s The Wire) and DCI John Luther (his character from the BBC series Luther) are two of my all-time favorite TV characters, and a lot of that has to do with Elba’s first-class acting abilities. Few actors can give you chills with simply a look—Idris Elba can and does often, especially in Beasts. When we meet The Commandant, we view him just as Agu does—a charismatic, but menacing leader. 
He is scary, but he is caring; he is sickening, yet he is insightful. Commandant is a larger-than-life figure, but the film hits its emotional stride when we learn that this character is simply a pawn in another’s game of chess. I felt for Commandant at times. In masterful, although rare, instances, we see a vulnerable side to Commandant; a side not readily accessible to his fellow soldiers. Yet at other times, I despised him—he is a predator and a master manipulator. No matter the point in the movie and no matter the circumstances, Idris Elba portrays his character so perfectly that you have to feel something, whether good or bad. Elba’s performances require a unique gravitas, and in Beasts of No Nation, he shows us what power can do to a man.
Beasts of No Nation is movie-streaming giant Netflix’s first venture into the exclusive distribution of feature films. Although it was a bit odd to watch this movie on its worldwide release date from the confines of my own personal couch, I liked the experience. I still value seeing a lot of films in theaters because I believe that is the medium by which we were always meant to see them. For many comedies or basic dramas, a home viewing as an initial viewing is perfectly fine for me. But war and action films still have a place in the theater. So although I applaud Netflix’s endeavor into exclusive film distribution, and although I believe this is the direction the industry is headed into some time in the near future, it cannot solely replace a film lover’s live, in-seat experience at his or her local movie theater. Beasts of No Nation is not rated.
Back in August, I ranked The Martian #7 on my list of most-anticipated films for the fall movie season. Rightfully so—this movie did not disappoint. Director Ridley Scott is one of Hollywood’s kings of science fiction (having directed Alien, Blade Runner, and Prometheus), and The Martian could be his best yet. Last year’s Interstellar was a science-fiction film that I greatly enjoyed, mainly because filmmaking genius Christopher Nolan was behind it. However, my only beef with it was that it was a bit too convoluted and highbrow—understanding the science was unfathomable. That complexity is what makes The Martian work. Ridley Scott did not reinvent the wheel (I mean, this movie is basically Interstellar on Mars), and yet it works on a level that most science-fiction films can never reach. That is due to the brilliant filmmaking combination of the legendary Scott and screenwriter Drew Goddard. Goddard’s script is at times thrilling, but all the while humorous; it delves into scientific intricacies but keeps the tone light with constant wit. The Martian is a tasty concoction of comedy and drama, and Scott and Goddard hit this one out of the park.
Matt Damon received an Oscar nomination for Best Actor for his performance in The Martian, and the Academy could not have gotten this one more correct. Despite an ensemble cast, Damon rarely spends any time on screen with any of those actors and actresses; his performance is as “solo” as Harrison Ford in Star Wars (bad joke, I know). In order for a movie to work where its main character spends 90% of the film alone in solitude, it has to have a remarkable performance from its lead—Matt Damon, a seasoned veteran, supplied just that. Over the course of the film, we watch him display a wide variety of emotions: he moves from scared, to humored, to terrified, to hopeful, to exhausted, to thrilled, and Damon does so with skill and radiance. He is obviously one of the better actors of his generation, and I am hard-pressed to find any performance in his film arsenal that rivals his acting in The Martian—he gave us the perfect blend of comedic and dramatic acting.
In the previous paragraph, I mentioned the film’s ensemble cast; this stellar group of actors aided in the movie’s success. When we are not with Watney on Mars, we are in one of two places: (1) with Watney’s crew as it travels back towards Earth, or (2) with NASA staff back on Earth as they plot a way to rescue Watney. Those respective segments of the film work flawlessly because of the performers assembled. Watney’s crew includes Jessica Chastain and Kate Mara, and both of these stunning actresses shined in their limited screen time. Back on Earth, we see some outstanding performances from Jeff Daniels, Chiwetel Ejiofor, and Kristen Wiig. 
However, my favorite supporting performance was from Donald Glover (also known as “Childish Gambino,” one of my favorite rappers in the game). Glover portrays an astrodynamicist that masterminds the plan to bring Watney home, and he hilariously and charmingly portrays his character as a socially awkward savant—a genius with some fumbling eccentricities. Glover definitely stole the show in each of his scenes. The Martian is rated PG-13 for some strong language, injury images, and brief nudity.
Legend is a British crime thriller written and directed by Brian Helgeland. The film tells the true-life story of Reggie and Ronald Kray, identical twin brothers who headed the preeminent organized-crime gang in London’s East End in the 1950s and 60s. Full disclosure: the story and direction as a whole lose focus two-thirds through the film, which is what prevents this movie from being much higher on my list of 2015’s best films. However, Legend still stands tall as a worthy leader of my Honorable Mentions because of Tom Hardy and Oscar-nominated cinematographer Dick Pope. Tom Hardy plays Reggie Kray. 
Tom Hardy plays Ronald Kray. That’s right—the most talented actor in world cinema leads the film in both main roles. His acting alone is reason to see this movie. Reggie can be violent and dangerous, but he has a softer, more romantic side. Ronald, on the other hand, is the walking example of mental instability, and his violent side is worn much more openly on his sleeves. Hardy’s performance is one of the more amazing things I have ever witnessed in film. You truly forget early on that Hardy is playing both roles—you connect with these characters on a completely individualized basis, as if two actors pulled this off. This visceral exposition was inherently complex, and Dick Pope deserves mounds of credit for making it happen from a cinematography perspective. I highly recommend this movie because of Tom Hardy alone, and it is additionally worth your time to 
Southpaw is a boxing drama directed by Antoine Fuqua, with a screenplay by Kurt Sutter. The film follows world champion boxer Billy Hope as he attempts to get his career back on track after seemingly losing everything in life: his wife is killed in a tragic shooting, and his daughter is stripped from Billy’s care by Child Protective Services. I only saw Southpaw recently, and since I saw Creed beforehand, my expectations for Gyllenhaal’s boxing movie were not high—I mean, how could there be TWO great boxing movies in one year? Boy, was I wrong. Creed (which will come up much later on my blog…wink, wink) and Southpaw are vastly different films, each with its own identity.
The Gift is a psychological thriller written, directed, and produced by Joel Edgerton. The film follows a married couple, Simon (Jason Bateman) and Robyn (Rebecca Hall), as their lives are turned upside down with the introduction of Gordo (Joel Edgerton), a mysterious acquaintance from Simon’s past. This movie went decently under the radar throughout its limited release towards the end of summer, and I was lucky to have come across it—it was one of the more surprising film experiences of 2015 for me. I have always enjoyed Edgerton as an actor, but my respect for his acting abilities has wildly intensified after seeing this movie. 
The character evokes the epitome of creepy-crawly emotions, and Edgerton nailed every nuanced look and gesture. What really surprised me was how impressive Edgerton is as a filmmaker—plus, this is his directorial debut. Wow, what a way to start off with a bang! I have seen The Gift twice at this point (once in theaters, once at home), and with a second view, the thrills and chills were still aplenty. Need a good Redbox suggestion? Here you go. You’re welcome!
Black Mass is a crime drama directed by Scott Cooper, with a screenplay by Jez Butterworth and Mark Mallouk. The film follows the true-life events surrounding one of the most notorious American mobsters: Boston-native James “Whitey” Bulger. If you like gangster movies, then this is a must-see; Cooper has created a worthy entry into one of film’s best genres. The direction is great, the story is well crafted, and the movie is thrilling, but the standout feature of Black Mass is the ensemble cast (and the performances that flow therefrom). As I pointed out in my Fall Preview in August, Johnny Depp is (despite his many flaws) at his core an incredibly talented performer—all of that talent is on full display in this movie. 
There are also wonderful supporting performances from Benedict Cumberbatch, Rory Cochrane, Kevin Bacon, Jesse Plemons, Peter Sarsgaard, Adam Scott, Dakota Johnson, and Corey Stoll. However, my favorite part of the film was Joel Edgerton as FBI agent John Connolly. Edgerton’s character had by far the biggest character arc, and Edgerton knocked every aspect of that journey out of the park. For that performance alone, Black Mass is one you need to check out.
Bridge of Spies is a Cold War drama directed by Steven Spielberg, with a screenplay written by Matt Charman and the Coen brothers (Joel and Ethan). The film follows the true-life story of James Donavon (Tom Hanks), an American attorney tasked with defending Soviet spy Rudolf Abel (Mark Rylance). Additionally, Donavon helps the CIA negotiate for and assist in the exchange of Rudolf Abel for Francis Gary Powers, an American spy-plane pilot captured by the Soviets. No one is happier than I am to see a Spielberg movie among the ranks of my favorite films from the past year. 
Movies like Jaws, E.T., Jurassic Park, Schindler’s List, Saving Private Ryan, and Catch Me If You Can are incredible, absolutely incredible. However, recent films like Indiana Jones and the Kingdom of the Crystal Skull, War Horse, and Lincoln forced me into a state of lost hope for Spiely as a filmmaker. I included Bridge of Spies on my Fall Preview because I had high hopes for the movie, considering Spielberg employed the Coen brothers to write the script. The Coen brothers are some of the most masterful screenwriters in the industry, and they brought their A-game to this movie. With a superb script, vintage directing, and skilled acting by Hanks and Rylance, Bridge of Spies turned out to be one of the year’s best—obviously the Academy agreed, as it nominated the film for six Oscars, including Best Picture.
The Reel Countdown 