Mark Barber
The Worst Movies of 2015
Addison Wylie 2015 cranked out a lot of great movies. I was actually able to form a “best of” list before even thinking of those cinematic duds. However, that doesn’t excuse the following films. These frustrating films put my patience to the test, even so far as to push me out of the movie altogether. Don’t worry though, I returned to finish that defeating film. And, yes, it was the worst film I saw all year.
Pride and Prejudice and Zombies
Burr Steers’ Pride and Prejudice and Zombies arrives at an awkward time for horror mash-ups.
The Best Movies of 2015
Addison Wylie 2015 was a great year for movies, and I hope returning readers will see those results on the lists below. However, I understand if my favourites at the tip of the iceberg aren’t surprising – they haven’t changed since the mid-year report. A couple of excellent documentaries, and an army of dogs set the bar astronomically high. On another note, I hope people will consider checking out the films that flesh out the…
Stonewall
Stonewall quickly came and went. It was played at TIFF last year, and screened in the U.S. markets for a short time. Critically and popularly reviled, Roland Emmerich’s pet project is completely different from his usual disaster films like Independence Day and The Day After Tomorrow. Indeed, Stonewall is a heavily whitewashed take on the famous New York riots that played an integral part in formalizing the LGBTQ equality movement.
The Hateful Eight
The Hateful Eight is, fittingly, Quentin Tarantino’s eighth film, and by far his weakest.
Youth
By: Mark Barber Youth is Paolo Sorrentino’s follow-up to his Academy Award-winning film The Great Beauty, and his first English feature. I have not seen The Great Beauty, but the constant praise for its Felliniesque style makes sense, given that Youth is just as self-reflexive and oneiric as famed Italian filmmaker Federico Fellini’s films.
Carol
By: Mark Barber Carol is a difficult film to describe without context. I have occasionally found myself at odds with contemporary representations of queer identity, as it refuses to abandon elements of tragedy that have dominated for so long. As Vito Russo points out in his celebrated The Celluloid Closet, queer characters rarely receive a happy ending. Same-sex relationships were taboo for much of the 20th century, which was then reflected in their filmic representation….
Trumbo
By: Mark Barber Jay Roach’s Trumbo resembles so many “awards season” films. It’s a mildly politicized, star-studded historical drama that wants you to think it’s more important than it is. Ultimately, Trumbo lacks ambition and relevance, and feels little more than a weak attempt to pander to Academy voters.
Blood in the Snow 2015: ‘The Dark Stranger’
By: Mark Barber Chris Trebilcock’s The Dark Stranger understands that the power of horror is derived in part not from its tonal seriousness but from its ability to confront the issues in ways that are creatively charged. Taking on the issue of depression, The Dark Stranger might take some flak for what at times feels like a facile exploration of depression. However, Trebilcock deserves praise for creatively literalizing the demons we face as a means…