NUTS4R2's Best Movies of 2015

NUTS4R2's
Best Movies of 2015

Well this has been a mixed bag of a year for movies. I thought it was better but looking over my many cinema trips over the past year, I am forced to conclude that it wasn’t as positive a year for movies as I thought it would be. For the soundtracks in them, it was a fantastic year... but more on that when I do my review of the year’s best scores, coming up in a couple of weeks, which I’m expecting will be looking quite different in comparison to what I have in this list.

I feel I should offer a brief word or two of explanation on certain movies found here, by way of clarification as to what is and isn’t in the list.

All of the films on here came out in the UK in some capacity in 2015. A couple of them only had one or two solitary screenings and one didn’t even play at any cinemas in this country, as far as I know. But this list is, as I feel it should be, based on the date of when they were able to be seen by people in my country fro the first time. So, as an example, I know some people have included Birdman (reviewed here) in their 2015 lists but in London, it was released at the end of December 2014, which is when I saw and reviewed it. If you check back to my review of last year here, you’ll see I included it in my 2014 list. Luckily, I didn't have this problem with High Rise (reviewed here) because, as it turns out, that wouldn’t have made the list anyway.

There are, however, three oddities here. For starters, my number one pick of best movie of the year is from Mexico and it came out over there in 2014. However, as far as I know, it screened only once (the performance I caught at this year’s Raindance Film Festival) and it’s not going to be getting any kind of release or home video distribution in this country anytime soon (according to the producer who I asked after the screening)... although I’m hoping that will change and I believe it may be getting a home video release in the US at some point.

My number three pick this year is a film that screened twice at the London Film Festival and I’m, frankly, hoping it gets some kind of wider release here next year because it’s just an awesome B-movie horror. My number eight pick is kinda interesting because its primary release was via streaming, downloading and DVD/Blu Ray. I understand it had a few screenings in the US but, as far as I remember, it got nothing over here. It's very much a 2015 movie though.

And that’s that. Not much more to say other than how disappointed I was that the new Star Wars movie didn’t make it anywhere near the number one spot on this list. How did that happen? I really wanted it to get right up there but, alas, it didn’t quite do it for me.

So, anyway, here’s my list with links to my reviews. Hope you like and, if you don’t agree, feel free to vent in the comments section. It won’t change my mind about anything but it will promote discussion, right?


20. American Ultra
Well this was just a fun little movie which I would have absolutely put at my number one spot if I’d had still been a teenager. I reckon this is the Heathers equivalent of the current early to late teen generation and I hope they realise this is out there. My review is here.


19. The Theory Of Everything
This biopic of Stephen Hawking is way better than I was expecting and Eddie Redmayne turns in an amazing performance here. Not something I could probably sit through again but certainly something to be admired. My review here.


18. Crimson Peak
Phenomenal film by Guillermo Del Toro that was much less enthusiastically received by the general public at large than I expected it to be. As for myself, I loved it and it’s definitely a movie which needs to be appreciated on a Blu Ray release as soon as possible. My review is here.


17. Paranormal Activity - The Ghost Dimension
Another movie which wasn’t well received but I feel this was a real return to form for the franchise and it even, against my expectations, had a reason in terms of the plot, to be shown in 3D. I’m just a little disappointed that it’s probably also going to be the last in the sequence as I feel there’s still a few more story beats to hit before the whole tale is told. My review here.


16. Krampus
Hooray. A Christmas movie actually gets into my listings this year. Pleased about that. This Christmas horror is more like a bitter and less optimistic version of Gremlins and, supported by a superb score, is a real seasonal confection to be savoured by horror fans who are usually let down by their Christmas horror movies being... well... somewhat rubbish. It’s not straight out horror... it’s not particularly scary for example but, then again, not many horror films are... and it is a little crude in places but it’s certainly entertaining and I’m looking forward to revisiting this one on Blu Ray next December. My review here.


15. Ant-Man
This was a slow burn with me and I probably didn't praise it that highly in my review. However, it grew on me really quickly and I love the way it manages to slot into the current Marvel universe movies. Can’t wait to see the direct sequel in a couple of years. My review here.


14. Tomorrowland
This is another one that people didn’t exactly champion when it came out but it’s a real strong contender, as far as I’m concerned, for being repeated constantly over the Christmas and Easter holidays as a future staple of family entertainment by any TV channel that has it. The trailer is quite misleading and it’s got a lot more going for it than most people would realise, or be able to tell, from its marketing, I suspect. Plus it has the best of Michael Giacchino’s scores for this year. My review here.


13. Maggie
The name Arnold Schwarzenneger and zombies in the same pitch certainly conjures up a specific type of movie in peoples minds and that’s why I think the very small audience who were in attendance at the screening I went to had a couple of walk outs. As it happens, this is a small and dramatic role for Schwarzenneger... not an action epic in any shape of form and, as such, the main star handles himself exactly as I would have expected him to in a straight and somewhat downbeat role of a father trying to accept the fact that his daughter is slowly turning into one of the undead... absolutely magnificently. He really reminds us just how great an actor he can be in this one... not just an action man. My review of this superb movie is here.


12. Mr. Holmes
This one took me by surprise. Thought it was going to be a bit rubbish and dull and, instead, it’s sensational. Especially pleasing is the fictional Holmes at the cinema in the movie, within the fiction of the ageing Holmes watching a film at the cinema based on one of his cases, with his big screen version being played by the same actor who portrayed Holmes himself, decades ago, in Young Sherlock Holmes and the Pyramid of Fear. A very special treat which I reviewed here.


11. Mission Impossible: Rogue Nation
Possibly the best of the Mission Impossible films. This one kept me riveted and, although it kinda side steps certain issues about the history of the main character portrayed by Tom Cruise in this franchise, it’s extremely entertaining. My review here.


10. Kingsman - The Secret Service
Of the many 1960s spy movie parodies launched into cinemas this year (Mission Impossible, Mortdecai, The Man From UNCLE, SPECTRE), this is probably the best of them. They may have a problem bringing back a certain character for the sequel but... we shall see what we shall see. Reviewed this one here.


9. Sicario
This is a stunningly beautiful film but it’s all the shades of darkness that you can think of when it comes to content. You will leave the cinema totally depressed, more than likely, and it’s not one I think I could probably sit through again. It is quite devastatingly haunting and powerful, however. Reviewed here.


8. Ned Rifle
Yay! My favourite living director continues to be brilliant with the third installment of his Henry Fool trilogy. Much better than the second movie, Fay Grimm, and a real return to form for the characters. You can read my review of this one here.


7. Star Wars - The Force Awakens
I wasn’t too happy with this when I first saw it but, now that I’ve been to take another look and I’m not constantly waiting for what I thought was going to happen to happen (which it did), I can relax into it a bit and enjoy it more for the homage to the classic films that it is (to an extent). John William’s score for this movie really knocks it out of the park and it’s probably the best score he’s done in quite some time. My review here.


6. Avengers - Age Of Ultron
This was another one I was probably a little over harsh with in my review, after my first watch, but it grew on me fairly quickly after I took a couple of other people to see it. I really enjoyed the hell out of it on subsequent performances and it’s something I’ll probably hold up now and say this is one of the better Marvel movies in recent years. Review here.


5. A Girl Walks Home Alone At Night
This movie has some special, personal connotations to it for me but, above its special importance in my life, it’s a really great little vampire movie which is, perhaps, more similar to the cinema of Jim Jarmusch than anyone else I can think of right now... although it’s nothing like Jarmusch’s own vampire movie. A nice, gorgeously photographed piece of art that ambles along at its own pace and doesn’t outstay its welcome. Definitely a keeper. Reviewed here.


4. Ghost Theatre
Stupendously cool Hideo Nakata movie about a possessed doll which is like watching Mario Bava on acid in terms of its shot design and use of bright, primary colours. I just hope it gets some kind of release over here next year because, like Crimson Peak, it’s one of those films which is a ‘must own’ on Blu Ray. Reviewed by me here.


3. It Follows
When this came out I was pretty sure that this was going to be my number one movie of the year. A cool American horror movie which is formulaic but which looks, sounds and feels like a classic 1970s US horror film. The fact that it’s not in my number one slot shows that I had at least a slightly better year at the cinema than I at first thought. I reviewed this one here.


2. Carol
Beautiful film about a 1950s lesbian relationship which is lovely to behold and, with its pseudo-Philip Glass score by... um... by Carter Burwell... it sounds as good as it looks. Truly gorgeous movie making with a certain sense of subtlety to it and the kind of thing I would like to see more of playing at our cinemas. My review here.


1. The Incident (El Incidente)
This movie is like watching a drawing by Escher come to life. It’s elliptical, confusing, needs decoding and is, very occasionally, completely impenetrable. Since this has no release in this country and is not likely, as far as I can make out, to get one, I am in somewhat of a quandary because it’s definitely one of those films you need to watch again and start to look out for the bits you missed in the hopes it’ll make more sense in places on subsequent viewings. Still, a truly great film and my number one pick for the year. I reviewed this here.

Ghost Theatre

Oh Hell, Dolly!

Ghost Theatre (aka Gekijô Rei aka Ghost Theater)
2015 Japan
Directed by Hideo Nakata
Seen at the London Film Festival 10th October 2015

“Wow. Just saw the new film from the director of the original 
Ringu and Dark Water at London Film Festival. Just wow!”
 Tweet from NUTS4R2, 10th October 2015

I think I’ve only seen three Hideo Nakata movies before this one... the original Ringu and its sequel (not the one based on the second book, Spiral, but the sequel called Ringu 2... which is actually a better film than Spiral, I think), plus the original version of Dark Water. I’d enjoyed them all and they really got me into the whole, modern Japanese Horror genre (or J-Horror as it’s bizarrely known) at the time of their release.

When I saw his name pop up again in this year’s London Film Festival programme with the UK premiere of his new movie Ghost Theatre, I expected another dark and terrifying horror film from a man who really knows how to scare the pants off his audience. So I took a punt on it and, to be honest, although the film really isn’t that scary compared to the illustrious works I mention above, what we have here is something far better...

The film opens strongly with an alley and two buildings on a night during a heavy rain storm. The scene looks like it might have been shot in a studio but that just adds to the whole look and feel of the thing, to be honest. As we look in a room we see a teenage girl staring into the eyes of a life sized mannequin. When we are taken further into the scene, we realise the mannequin, which seems to have very human eyes behind the hollowed out sockets, has fixed her in its stare. We then follow the girl’s sister, who is looking for her. After she finds her sibling dead on the ground, she looks around at the mannequin, which shifts its position slightly, also fixing her in it’s deadly stare. Then the father turns up, finds his two dead daughters and rushes the mannequin back across the alley and into his workshop... for it is he, it transpires later, who made this classic abomination. He starts to dismember his creation, finishing by severing the head. However, before he can end his work, as he is about to light the gasoline he has poured all over the dummy, the police stop him and this prologue, which the audience will return to later in the movie in a couple of different flashback formats, is finished for the time being.

We then jump twenty or so years into the future to the present day and catch up to the lead character, a young actress whose name I can’t remember (and the IMDB is of absolutely no help with movies like this). She is fed up with playing the equivalent of “second corpse on the left” in a string of J-Horror movies, so she goes to see her agent, who promptly sends her off to audition for a new play by an acclaimed director which... and classic horror fans will love the introduction of this element... is about the original ‘Countess Dracula’ herself, Elizabeth Bathory. Most horrorphiles will know the story of the real life Countess who was supposed to have murdered a fair few teen girls in her time (she did) and bathed in their blood to prolong her own life (more debatable). She’s inspired many film-makers and there have been probably a dozen films about her at least, over the years (two of them that include her as a character are reviewed by me here and here).

So our teenage heroine goes to the audition and wins a minor role. The main role goes to a more well known, bullying actress and, yeah, we then get the usual jealousy of the new talent and rivalry going on before the director has to replace the lead with our heroine... at least for a while. Here’s the thing though... in the play, Elizabeth Bathory is struggling with her acts of violence and being influenced or acting against the wishes of the voice of a lifesized mannequin which she hears in her head... her madness imbuing the doll with her own evil. Now, when the props people in the movie were looking to find a decent head to buy to go on the dummy they have made... well, guess which mannequin head they happen to stumble across? Death ensues as various people in the cast and crew are killed by the unsettling mannequin in its new body and, luckily, our heroine's unwillingness to sleep with her new director means she’s fired before the third act... so she and her new romantic interest in the form of a prop boy can go and find out the back story behind the mannequin and try to make it back to a full dress rehearsal in time before the un-living doll can kill everyone in the theatre.

The deaths inflicted by the dummy in question actually harken back to the deaths in this director’s Ringu in some ways... in that the dummy doesn’t have to actually do anything other than be fairly close to its victim in order, as it it transpires here, to suck out the living energy and leave her victims as dead, waxy husks of corpses... each stolen soul getting her closer to being a flesh and blood creature rather than the hollow shell she starts out as. And that’s the basic plot of this one... without, I hope, revealing too much. The nice thing about that, of course, is that the murderous shenanigans of the creature are also a metaphor for the Elizabeth Bathory character, in essence, so it’s a neat little trick the writer has performed here. Perhaps it’s a case of... I never metatextual I didn’t like.

The plot is not what makes the film a really good time at the movies, however. It’s the way the material is treated. For starters, we have a really strong lead teenager demonstrating a startling amount of screen presence in her performance. It doesn’t hurt that she’s really cute but the character is also shown to be fairly intelligent (about as much as you can get away with in these kinds of movies, anyway, if you need to play by ‘horror rules’) and she is a positive force on the narrative drive, giving the audience someone they can identify with.

Perhaps more important than that, though, is the way the movie is shot. It looks just like an old Italian giallo in the way it’s been presented and you can almost feel the ghost of Mario Bava lurking just off to the side of the sets. The colour schemes used are all bright and Bavaesque with some seriously beautiful purple lighting moments in the movie... especially near the start. The compositions make a lot of using vertical lines to split up the space into sections and to physically separate people and elements in a shot but Nakata also utilises a load of diagonal lines throughout the film and pairs these with the verticals. Quite often he will shift or accentuate the perspective within a shot by having, say, the bare frame of a theatrical set in the mid-ground and slanting backwards diagonally... then using the placement of people both in front and behind that diagonally protruding frame to direct the eye into the focus of the shot and... well it’s all just really spectacular. I’ve always liked Nakata to a degree but my respect for him as a filmmaker has gone up even more after seeing what he does in this movie. It’s truly spectacular.

How he shoots the mannequin is interesting too. He starts off quite subtly by just showing the ‘alive’ eyeballs and a few shifts of movement when we see the full body of the original dummy. Later on, when the second incarnation of the dummy starts causing trouble for the human characters in the film, he pulls back for a long time from showing the full figure of the dummy moving and, instead, just concentrates on a stare, a hand of maybe just a shot of the feet walking. This works quite well because, by the end of the film he shifts into high gear, showing everything for a sustained period of time, and it feels a little more climactic in contrast to the way he’s held back over the course of the build up.

There’s not a great deal of blood and gore but when the director does feel the need to deliver he certainly gives it a go, such as when the main protagonist is left alone with the mannequin’s head at one point and the head starts bleeding, covering a whole table top in crimson. And right near the end of the movie, after the director has really let rip on the larger than life element of the concept, just when you think you’ve seen it all, he offers up one character stabbing the dummy and he resorts to a good old Japanese standard... started off by Akira Kurosawa in the end scene of Sanjuro and leaving an indelible mark on the history of violent, Japanese cinema ever since... the big arterial spray of blood. I think it’s done pretty much tongue in cheek here too, to be honest... after a lot of good taste shown throughout the movie, this final stab and bleed shot is so over the top in its intensity, covering the face of the lead actress almost completely, that it’s pretty much treated like the punchline to a joke which the audience to this kind of genre offering are all in on. It did get a big laugh at the screening I was at, I can say that much.

The whole feel of the ‘over the top-ness’ of the final act, coupled with the Elisabeth Bathory theme and the beautiful colours and rich compositions, reminded me a lot of the whole grand guignol type of entertainment of the end of the late 19th/early 20th Century. Indeed, the theatricality of the milieu and even the subject matter also lends itself to the original translation of Le Théâtre du Grand-Guignol to some extent, which translates literally as The Theatre Of The Big Puppet, it would seem. I’m guessing the whole look and feel of this allusion wasn’t lost on Nakata and he played up to it in this movie... at least I hope he did. Whether he did or not, though, it’s a masterpiece of that kind of turn of the century chicanery as filtered through such cinematic artists as Mario Bava and the direct lineage through to Dario Argento in terms of its giallo like vibes... even though it’s not a giallo in itself and is firmly a horror movie.

And that’s really about all I’ve got to say about Ghost Theatre. Great performances, inventive sets and shot designs, editing which doesn’t confuse and an appropriate score all make up a truly rich visual feast of a horror movie which, while not scary in any way, is truly a masterpiece of the genre... at least, as far as I’m concerned, it is. The director wasn’t here for the screening and I don’t know if this is going to be getting any kind of distribution in this country either as a cinema release or on home video. However, I will be hunting this one down to watch again because the idea of a Blu Ray of this movie is pretty mouth watering. If you’re into horror movies and have an appreciation of the history of the genre, then you should really seek this one out and give it a look. I’m so glad I did.