Spotlight (2015) Movie Review

In 2002, the Boston Globe ran a feature piece on the Catholic Church within Boston, uncovering that there had been an unreal amount of priests that had been molesting children and getting away with it. What this story did was create a domino effect that resulted in numerous parishes all over North America being uncovered as having similar atrocities happening and being swept under the rug. But how, exactly, did all the information about the molestation's get withheld for so long? And how did all the information finally see the light of day? That is what Spotlight, the latest film from Tom McCarthy, aims to uncover.

Robby Robinson (Michael Keaton) runs a section of the Boston Globe, known as Spotlight, which is a team of reports that will work together to write a single story, but that could take months to properly investigate and gather all the information. Robby's team consists of Mike Rezendes (Mark Ruffalo), Sacha Pfieffer (Rachel McAdams), and Matt Carroll (Brian d'Arcy James), and his supervisor Ben Bradlee Jr. (John Slattery). When the Globe gets a new Chief Editor named Marty Baron (Liev Schrieber), who urges the Spotlight team to look into the story of a priest being accused of molestation, the investigation unravels to show this cover up runs very deep.

The entire ensemble of Spotlight is fantastic. While most of the praise and awards will be in the direction of Keaton and Ruffalo, and deservedly so, the work done by the whole cast helps to elevate this film. McAdams, d'Arcy James, Slattery and Schrieber are all fantastic in supporting roles of varying lengths. As are Stanley Tucci, as a lawyer handling the molestation cases, and Billy Crudup, as a lawyer who has previously dealt with molestation cases. All the characters in the film feel like three dimensional people as opposed to characters presented in a film to advance the plot. They have interests and motivations and feel like people you would actually meet. You see them come to terms with the fact that these molestation's hit a lot closer to home than they knew, and how that shapes how they approach the investigation.

Tom McCarthy is a very interesting filmmaker to me, because he's made some underrated gems (Win Win, The Visitor, The Station Agent), and one truly awful film (The Cobbler). Typically, however, his films were small scale about the individuals in the film and how they deal with their circumstances, and I feel like that approach in his previous films lends itself perfectly here. We spend time with the Spotlight team and see how they investigate and uncover the facts in their story, and how it changes how they view things within their lives. McCarthy shoots the entire film with a subtly that never pushes you to conclusions or realizations before the characters themselves have experienced them. His ability to set the pace and let the reveals come to you is a big part of why the film works so well, and why he should be seeing his name come awards time.

The script from McCarthy and Josh Singer is smart, heartbreaking, and, often times, humourous. Despite the tragic events that the film talks about, the injection of humour really helps to alleviate the tension and nauseau you feel when you find out the things these poor children go through. Adding to this, the score by Howard Shore and the cinematography Masanobu Takayanagi are great, never trying to outdo the events being portrayed on screen.

What Spotlight does so well is it draws you into its world, where the idea that a representative of God could not do something so horrifying, especially to defenseless children. It makes you come to terms with the fact that this is a real problem, and that those directed effected by this are still dealing with the actions of these priests till this day. By the time you are able to fully comprehend what you are learning, you'll be left with a knot in your stomach and a lump in your throat. Spotlight is a remarkable film about truly heartbreaking events.

Grade: A

Creed (2015) Movie Review

The Rocky franchise has seen some high highs and some low lows. As far as I’m considered, the original Rocky holds up and is one of the true great sports movies of all time. Then we’ve also seen the mediocrity of the franchise leading to Rocky V, which is horse shit personified. There was also the totally decent, nothing special Rocky Balboa. And after that, we assumed that the franchise was over. Then I heard about another Rocky movie, but with Apollo Creed’s son. And I felt like it could be fun, but it would probably be average. But my expectations were absolutely shattered by Creed, the latest film from writer/director Ryan Coogler, a film that pulls you in and refuses to let you relax until it’s all over.

           

Adonis (Michael B. Jordan), or Donnie as everyone calls him, is the product of an affair between his birth mother and Apollo Creed (previously played by Carl Weathers), arguably the greatest boxer of all time. When Donnie is adopted by Mary Anne Creed (Phylicia Rashad), Apollo’s widow, his childhood of group homes and detention centers is replaced by a mother who raises him as her own. However, despite her warnings, Donnie wants to box, like his father, though refuses to use his name, going by Johnson instead. It’s once he commits to the life of a boxer that he meets an old opponent and close friend of his fathers, Rocky Balboa (Sylvester Stallone), who helps to guide him and provide a mentor as well. Yeah, I realized I’ve done kind of a piss poor attempt at giving you the plot of this film. But I tried. And that’s what counts.

I’m really happy that Michael B. Jordan has this film to help us forget that he was in the Fantastic Four reboot, because he’s simply outstanding here. His previous collaboration with director Coogler, Fruitvale Station, snubbed him of an Oscar nomination, and I think he is equally deserving this year. Jordan makes you understand everything Adonis does, from the reason he wants to box, his fears, angers and resentments, and his connection to Rocky. His delivers a raw, emotional perform that is immensely aided by his clear physical transformation, looking like he could really be a boxer.

And just as good as Jordan, Sylvester Stallone gives, possibly, the performance of his career. Gone is the Stallone who is gonna flex out of his muscle tee, and instead there is a man who doesn’t quite know what he’s living for anymore. Adrian and Paulie are long gone, his son is off building his own life, and he simply lives every day closed off. Stallone gives Rocky a vulnerability that the character hasn’t had since the first film, showing the heartbreak and deep sadness that fills him. His chemistry with Jordan is evident, and is a big reason the movie feels as smooth as it does, and could be a reason both actors see themselves garner some serious, well deserved awards talk.

The supporting performances are all solid as well. Rashad has a small amount of screen time, but makes it work, as does Ritchie Coster, who plays Rocky’s old friend from the neighbourhood, and Tony Bellew, a real life boxer, who plays boxer “Pretty” Ricky Conlon. However, it’s Tessa Thompson who I really ended up enjoying as Bianca. Yeah, she’s the love interest, but she’s also a fully realized character who has her own motivations and concerns, and Thompson, who I loved in Dear White People, gives a fantastic performance.

Ryan Coogler does damn near everything right with them film. He gives you a reason to believe that Rocky Balboa is as relevant now as he was 40 years ago. Clearly, Coogler is a very talented director that knows how to get a film to make you feel. A lot of credit also has to go to the cinematographer Maryse Alberti, who makes each fight feel unique and different and makes them feel as real as any fight you will see in a film. The score, by Ludwig Göransson, is excellent, giving Creed a unique electric feel that gets you going, and once you hear that iconic Rocky theme, it feels so fucking earned.

In the end, Creed is simply a film you should not miss. It’s a boxing movie that wears its heart on its sleeve and dares you not to applaud. By the end of the film, I had a big stupid grin on my face and had wiped away a tear or two (unlike Justin who cried like a bitch the whole movie), and could not wait to see it again.

Grade: A

Watch What I Said 6

IMDb: 7.7/10

Rotten Tomatoes: 85%

My Grade: A+

So as part of adding content to this increasingly shitty blog, I've decided to include a weekly segment detailing a movie-a-week that people should check out. I know anyone that reads this blog does so primarily for my reviews, but I'm lazy and don't want to review anything right now. This weekly segment may also contain suggestions from other members of the Public Nerdity Podcast from time to time.

As I said, I'd have a second recommendation for this week. And it's a film I recommend to most people I talk to. If you've been paying attention to Jake Gyllenhaal the last several years, you'll notice he's been quietly doing the best work of his career. Snubbed last year for Nightcrawler, he's also been phenomenal in Prisoners and Enemy. However, the film that really kicked off this excellent stretch was End of Watch. This cop drama thriller from David Ayer, who directed Fury and the upcoming Suicide Squad, mixes traditional filming with a found footage, first person style. It follows two LAPD officers, Mike Zavala (Michael Pena) and Brian Taylor (Jake Gyllenhaal), who are partners as well best friends. We follow Mike and Brian as they deal with the aftermath of a drug bust, and the fallout it ensues. Both Gyllenhaal and Pena are brilliant, making you believe they are the first to bust each others balls, as well as take a bullet for the other. The rest of the cast is great too, boasting the likes of Anna Kendrick, Frank Grillo, Natalie Martinez, America Ferrera, Cody Horn and David Harbour. I tend to dislike the found footage shooting style, but I really love this film.

Do yourself a favour and check out End of Watch. 

Watch What I Said 5

IMDb: 7.6/10

Rotten Tomatoes: 85%

My Grade: A

So as part of adding content to this increasingly shitty blog, I've decided to include a weekly segment detailing a movie-a-week that people should check out. I know anyone that reads this blog does so primarily for my reviews, but I'm lazy and don't want to review anything right now. This weekly segment may also contain suggestions from other members of the Public Nerdity Podcast from time to time.

Yes, I'm aware I haven't written one of these in a while. But I'm back now. And I have got quite a fantastic film for you. And as an added treat, I'll post a couple of recommendations. The film I decided to pick this week was one that I firmly believe was robbed of a Best Actor Oscar, featuring one of my favourite performances. This week's pick is A Single Man, directed by fashion designer Tom Ford. The amazing performance, in question, is from Colin Firth, who plays George, a man desperately trying, and failing, to find anything worth living for after the death of his longtime partner Jim (Matthew Goode). As George goes about his day, teaching his university class, while being pursued by a charming young student named Kenny (Nicholas Hoult), and having dinner with his old friend Charlotte (Julianne Moore), we hear his inner turmoil. We see him flashing back to happier times with Jim, and the life they had built together. And we see when he finds out that Jim has died, in a scene that should have won him the Oscar, because it's one of the most heartbreaking scenes you'll see. Also, Jon Hamm is the voice on the other end of the phone. Tom Ford creates a beautiful film, that relies on performance and subtlety to engage you, as well as a gorgeous visual asthetic.

With a score of 7.6 on IMDb, and 85% on Rotten Tomatoes, you should do yourself a favour and check this film out. Currently, it's available on Netflix.

Mission: Impossible - Rogue Nation (2015) Movie Review

Full disclosure right at the top of this review: I'm a massive Mission Impossible fan, and an even bigger Tom Cruise fan. So going into Mission: Impossible - Rogue Nation (directed by Christopher McQuarrie), I kind of already assumed I would enjoy the movie. In my opinion, there seems to be a weird witch hunt against Tom Cruise because of his religious beliefs, which are admittedly out there, and this somehow constitutes him as being a bad actor. If you hold this belief, then you're an idiot, because there's no one in Hollywood who can do what Cruise does, and remains, for the last 30 years, as Hollywood's best action hero.

Following the events of Mission: Impossible - Ghost Protocol, CIA operator Hunley (Alec Baldwin) is set to shut down the IMF, while William Brandt (Jeremy Renner) is try to keep them afloat. Ethan Hunt (Tom Cruise) has been hunting for a terrorist organization known as The Syndicate, armed with the same training as the IMF and ready to cause complete controlled chaos. When the IMF gets shut down, Ethan goes off on his own to stop The Syndicate, and their leader (Sean Harris). Along the way, Ethan gets help from old friends Benji (Simon Pegg) and Luther (Ving Rhames), and crosses paths with a mysterious woman (Rebecca Ferguson). Listen, this is all plot stuff. You wanna know if Tom Cruise runs really hard at something. AND YOU'RE GOD DAMN RIGHT HE RUNS SO HARD. STRAIGHT HANDS, HIGH KNEES, CAN'T LOSE.

Yeah, I enjoy the hell out of these movies. Mostly because Tom Cruise is just so damn committed to showing you he does his own stunts. He's great again as Ethan Hunt, really tailoring the role to his strengths as an actor. Pegg, Renner and Rhames also bring back what has made them stay in the franchise, all doing solid work. Though I wish Renner had more to do. Harris is superbly menacing as the leader of The Syndicate (I'm not revealing his name since it's a mystery for a lot of the movie), and there is good work from Baldwin, Simon McBurney as the head of the MI6, Atlee, and from Tom Hollander as the British Prime Minister. However, it's Ferguson that really steals the show here, as a female member of these movies is given more to do than look attractive and occassionally do a couple of fight scenes. Here, she shows she is just as game as anyone to lay down an ass whooping. Side note: Can someone write me a part for a movie like Ving Rhames has here? Just wearing a crooked fedora and saying sassy things?

I was a little hesitant when I heard that Christopher McQuarrie was going to be writing and directing this, mostly because I loved what Brad Bird did with the previous installment. But McQuarrie holds his own here, delivering a satisfying movie full of big set pieces, action packed chases and a solid cat-and-mouse spy element that makes all these movies great. Yes, there are issues with the film, such as the pacing not being the greatest, and an underdeveloped villain. But overall, I shouldn't have worried about a guy who has written The Usual Suspects and Edge of Tomorrow.

Ultimately, Mission: Impossible - Rogue Nation is a nice addition to a franchise that clearly has staying power. While not quite as good as the recent installments by Brad Bird and JJ Abrams (you're never gonna get a better villain in this franchise than Philip Seymour Hoffman), it is very enjoyable and leaves you waiting for the next film.

Ex Machina (2015) Movie Review

This is how actors keep looking so young.

How far are we from truly intelligent artificial intelligence? Are we a decade away? Or a couple of decades? Or have we already begun to experience it, just one major announcement from it being an essential part of our daily lives? ANSWER ME SIRI, YOU ICE QUEEN ROBOT BITCH. These are questions I tend to ask myself whenever I haven't eaten for several hours. Regardless, these are also questions I began to think about after seeing Ex Machina, the directorial debut from Alex Garland.

Caleb Smith (Domhnall Gleeson) is a coder at Bluebook, the worlds most popular search engine. When he wins a special lottery at work, he is given the opportunity to spend a week with the company's president and founder, Nathan Bateman (Oscar Isaac). Nathan is young, brilliant and a fun time to be around. However, Nathan has something much more interesting in mind. See, Nathan, being a genius billionaire, has been attempting to create intelligent AI, and he may have cracked it with the creation of Ava (Alicia Vikander), a robot with the figure and face of a beautiful woman. He tasks Caleb to interact with this AI and see how well it functions and if she is really as intelligent as Nathan hopes. Caleb takes an instant liking to Ava, and begins to evaluate her. But is there more to Ava, and Nathan, than we initially believe?

The cast are all universally excellent. Gleeson plays Caleb with a sense of naivete that slowly begins morphing into suspicion and distrust. He draws your attention towards him despite being the most quite aspect of a scene, giving a performance along the caliber of his father, Brendan Gleeson. Vikander holds her own opposite Gleeson, as she plays Ava, a robot who knows she is a robot, but yearns for so much more. You can hear the thought and emotion in her voice, despite the fact that she may not be sure what they are. She effortlessly glides between innocent, sexual, cunning and intrigued, covering a range of depth most actors want. And Isaac is in typical fantastic form here as Nathan. I've been a big fan of his since I saw Inside Llewyn Davis, believing that he deserved a lot of love for that. He plays Nathan in a way that feels like Nathan believes in his own hype about being some kind of tech god among men, yet clearly is able to back it up. Nathan comes across as a wildcard, never quite clear about what his motives actually are. He continues to prove he's one of the best young actors in Hollywood. All three actors give performances that deserve to be seen.

Alex Garland, who also wrote the film and whose previous writing credits include 28 Days Later, Sunshine, and Dredd, has created a taut, intelligent thriller that is one of the best science fiction films I've seen in recent memory. It shows that good sci-fi doesn't need all the bells and whistles of ballooning budgets and James Spader being a smarmy voice. Instead, he crafts a believable world that instantly draws you in, and makes you question whose side you are on throughout the film. Nothing is quite as it seems.

The score feels like if David Fincher decided to make a science fiction film not about aging backwards. It elicits a tension and urgency in each scene that makes you want to keep moving forward. Similarly, the cinematography is fantastic, giving gorgeous frames and allowing us to feel as the characters do. When we need to feel enclosed and claustrophobic, we feel it. And when we need to feel as though we are seeing things from a new perspective, we have that as well. Strong work from cinematographer Rob Hardy, who I assume is Tom Hardy's less talented and less handsome troll brother. 

Ultimately, Ex Machina is one of 2015's best films, and I highly doubt that will change. It's smart, stylish, urgent and well made. More films should aspire to greatness the way this film does. A definite must-see for science fiction and movie lovers alike.

Grade: A+

Watch What I Said 4

IMDb: 7.1/10

Rotten Tomatoes: 85%

My Grade: A

So as part of adding content to this increasingly shitty blog, I've decided to include a weekly segment detailing a movie-a-week that people should check out. I know anyone that reads this blog does so primarily for my reviews, but I'm lazy and don't want to review anything right now. This weekly segment may also contain suggestions from other members of the Public Nerdity Podcast from time to time.

Another week, another Netflix recommendation. I know I'm a couple days late on it this week, but it's not like anyone is reading this anyways. But I digress. As many people know, I have an affection for George Clooney that I reserve for only the finer things in life, like good cheesecake and velvet jackets. The reason I enjoy Clooney so much is because he's able to balance his pretty boy looks and charm with interesting projects that show off a lot of his interests. That's why my pick for this week is his 2011 directorial effort The Ides of March. Clooney plays the supporting part of Mike Morris, a presidential candidate, who has to deal with one of his top campaign specialists hiding secrets. That specialist is played by Ryan Gosling, in one of his best performances in recent memory. The cast for this movie is stacked, with Philip Seymour Hoffman, Marissa Tomei, Paul Giamatti, Evan Rachel Wood, Max Minghella and Jeffrey Wright all being in this film along with Gosling and Clooney. The stand outs are really the two leads, and Hoffman, who commands the screen every second he's on it. Clooney proves he's quite excellent at crafting a deft political drama like few others can.

Boasting a 7.1 score on IMDb and an 85% Rotten Tomatoes score, you'd be foolish not to check out the film, especially if you are a fan of Clooney, Gosling or Hoffman.

Watch What I Said 3

IMDb: 7.7/10

Rotten Tomatoes: 94%

My Grade: A+

So as part of adding content to this increasingly shitty blog, I've decided to include a weekly segment detailing a movie-a-week that people should check out. I know anyone that reads this blog does so primarily for my reviews, but I'm lazy and don't want to review anything right now. This weekly segment may also contain suggestions from other members of the Public Nerdity Podcast from time to time.

So, by now, we know that Ben Affleck has truly capitalized on his career resurgence. He's going to be playing Batman, he's won an Oscar and has gone from a mediocre actor to a Hollywood heavyweight. Some people may say he started this turn around with his role in Hollywoodland, where he played TV's first Superman George Reeves, in which he was fantastic and got a Golden Globe nomination. Personally, I think he really kick started all of this with his feature film directorial debut, and my pick for this week, Gone Baby Gone. With his directorial efforts, most people will have seen Argo or The Town by now, as both films are quite good, but Gone Baby Gone is damn near a masterpiece. It's a tightly wound crime drama, centering around a little girl being kidnapped, and the manhunt to find her. Affleck assembles a phenomenal cast, including his brother Casey, Michelle Monaghan, Morgan Freeman, Titus Welliver, Ed Harris and Amy Ryan, who was nominated for an Oscar for her role here. Casey Affleck shines in this film, giving a performance rivaling anything he's done before. And Ben crafts an expert film, one that I would call one of the best of the decade, and among my favourite films of all time.

With a solid 7.7 on IMDb (which is way too low), and a sparkling 94% on Rotten Tomatoes, Gone Baby Gone is a film you should actively seek out to watch. It's currently available to stream on Netflix.

Watch What I Said 2

IMDb: 7.1

Rotten Tomatoes: 88%

My Grade: A

So as part of adding content to this increasingly shitty blog, I've decided to include a weekly segment detailing a movie-a-week that people should check out. I know anyone that reads this blog does so primarily for my reviews, but I'm lazy and don't want to review anything right now. This weekly segment may also contain suggestions from other members of the Public Nerdity Podcast from time to time.

You'd be forgiven if you have no idea who J.C. Chandor is. He's not exactly a household name, nor does he make big budget movies you're clamouring to see. However, in the past couple of years, he's made All Is Lost (with Robert Redford) and A Most Violent Year (with Oscar Isaac, Jessica Chastain and David Oyelowo). So what I'm saying is that he makes damn good movies. So my pick for this week is his feature film debut, Margin Call. This film follows the 24 hour period before the 2008 financial meltdown that saw the economy flushed down the toilet. What this film does is take that giant mess and turn it into a tightly wound drama, featuring excellent performances from everyone in the cast. And, boy, what a cast Chandor got. This movie has Kevin Spacey, Zachary Quinto, Jeremy Irons, Paul Bettany, Penn Badgley, Demi Moore, Simon Baker, and Stanley Tucci. Quinto, in particular, proves he can hold his own opposite heavyweights Spacey and Irons. The film was also nominated for a Best Original Screenplay Oscar. This is a film that everyone should make time to see.

With a 7.1/10 score on IMDb and a strong 88% on Rotten Tomatoes, you're doing yourself a disservice to not, at least, give it a chance. Margin Call is currently available on Netflix.

Watch What I Said

IMBd: 8.0

Rotten Tomatoes: 99%

My Grade: A+

So as part of adding content to this increasingly shitty blog, I've decided to include a weekly segment detailing a movie-a-week that people should check out. I know anyone that reads this blog does so primarily for my reviews, but I'm lazy and don't want to review anything right now. This weekly segment may also contain suggestions from other members of the Public Nerdity Podcast from time to time. 

So without further ado, this weeks selection that people should check out is a little film that I absolutely adore called Short Term 12. The basic premise revolves around workers at a juvenille detention facility and the stories of neglect and abuse that follow. If it sounds like a downer, that's because it can be at times. But it also tells a beautiful story, with rich, fully formed characters. The performances from the likes of Brie Larson, John Gallagher Jr and Keith Stanfield are all outstanding, and there will be numerous times throughout the film that you'll have a lump in your throat and will be fighting back tears. Larson, in particular, delivers an Oscar caliber performance that was so unfairly overlooked in 2013. In truth, this was a movie that stuck with me long after I saw it, and one that I mananged to get Pasan and Justin to check out.

Boasting an 8/10 score on IMDb and an astounding 99% on Rotten Tomatoes, this is simply a film you must check out. Currently, Short Term 12 is available on Netflix.

Exodus: Gods and Kings (2014) Movie Review

Christian Bale when he was in the NWA

I really had no expectations when I decided to sit down and watch Exodus: Gods and Kings, the latest loud, nonsensical film from aging filmmaker Ridley Scott. Let me make it clear from the get go: I used to be a huge Ridley Scott fan. He's made masterpieces like Blade Runner and Alien, and Gladiator was the movie that made me want to start acting. So it makes me really kind of sad to see him Exodus: Gods and Kings, which is a stupid title, and should have been titled Excrement: Farts and Poops. I'm a comedian.

We begin with the tale of Moses (Christian Bale) and Ramses (Joel Edgerton), two young men in Egypt who have been close friends since they were children. Ramses is the heir to the throne as pharoah, a title currently held by his father Seti (John Toturro). So when Moses goes to a town to oversee something, and speaks to Gandhi...err.. Nun (Ben Kingsley), he finds out he is Hebrew, and is then banished from the kingdom, when one of Ramses allies named Hegep (Ben Mendelsohn) tells him of this. And so begins the story that has the first act doing a sub par knockoff of Gladiator and the other two acts functioning as a fart cannon to your senses.

A lot was made of the fact that the cast is predominantly white, but honestly who cares? Christian Bale, who is arguably one of the best actors alive, and Joel Edgerton give fine performances in the lead roles. Same with pretty much the entire cast. They are all good actors and don't give you any reason to question why they were cast. Except for Sigourney Weaver, who has like three lines in the whole movie, and Aaron Paul, whose character Joshua is nothing more than a character inserted to ask plot forwarding questions the audience is probably thinking like "But how come Moses?" It's truly riveting stuff that shows why he has three Emmy awards. Just kidding. It explains why he agreed to do Need For Speed.

It's not to say that Ridley doesn't try to make them look more Middle Eastern. Little things like dirtying them up when they are outside to give the appearance of darker skin are tactics that he assumed people wouldn't catch because they'd be too busy trying to get refunds for this turd sandwich. But I caught it all Ridley. I caught everything. Because my crippling loneliness wouldn't allow me to look away from the screen.

Ultimately, Exodus: Gods and Kings does a lot more wrong than it could possibly do right. A muddled plot, weak character motivations, sloppy pacing, dialogue that even the Bible would have edited out and a third act so bad that it made me laugh harder than anything so far this year. Audible, loud, angry laughter at my laptop til I wrote this review.

Grade: D-

Top Ten Movies of 2014

I know, I know. When you write a Top Ten list for the best movies of the year, you're not supposed to write it three months into the following year. I got it. Who cares? I've been busy and had a lot of things to get done. So now I'm here with a list, a dream and a cardigan. So get ready for a list of tons of obvious choices. Because 2014 was honestly a real good year for movies, and plenty of people are split on their favourites. But if you've read my reviews at all, you know what I'm gonna pick. So just sit back, relax, take out some lotion and read this sexy list.

Honourable Mentions:

A Most Violent Year

Nightcrawler

The Guest

Selma
The Drop

Guardians of the Galaxy

Fury

The Babadook

Calvary

10. Edge of Tomorrow

If I've said it once, I've said it a million times: Tom Cruise running is my shit. I don't know what it is. I love watching that man run. He makes it so damn convincing. But seriously, Edge of Tomorrow may be one of the best action movies of the past decade. It's funny, action packed and features a fun premise. A guy keeps reliving the same battle over and over every time he dies, which ultimately makes him a great soldier. It's a video game. They should have marketed it as such. Regardless, Cruise and Emily Blunt have chemistry overflowing in every scene, along with great set pieces and a satisfying plot, making this a movie that should have gotten way more attention.

Whiplash (2014) Movie Review

"Get me a picture of Spider-Man, Parker!"

There are not many things worse than being humiliated in front of your peers. It's degrading, embarrassing and, somewhat, childish. Being told off or yelled at in front of people, as an adult, is like listening to Russell Crowe in Les Miserables. What I'm saying is it's super uncomfortable. And you need Hugh Jackman to sooth the pain. In both instances. But anyways. Now imagine that you're desperately trying to make it big in your dream profession, at the best school for that profession, and the most revered teacher at that program is the one ripping you apart. Alright, let the pants shitting commence.

Andrew Neiman (Miles Teller) is a jazz drummer. Or at least, that's his dream. He wants to be a big time drummer, and he's on his way towards being that at Shaffer Conservatory, the "best music school in the country". Andrew knows the only way to get anywhere at Shaffer is by being on the Studio band, run by Terence Fletcher (JK Simmons, who is not just kidding at any point). So one day Fletcher sees Andrew play, and calls him up to the Studio band, where it is trial by fire. The attitude is either play perfectly, or get ready for a new asshole. Oh, and get the fuck out too. So thus we follow Andrew desperately trying to prove to Fletcher he's the real deal, and Fletcher being the scariest motherfucker since the last time JK Simmons yelled in a movie.

Teller is fantastic as the timid Andrew, who loves music and playing, but, initially, has very little confidence, yet has the talent and drive of a star brimming from him. It's easily the best performance of Teller's career, as he, along with playing all the music in the film himself, takes Andrew through a journey of discovery and blisters that makes you appreciate your parents forcing you to go to med school. There is an inherent ease to how he plays Andrew, and has you sympathetic towards him throughout, despite some of the assholery he is guilty of.

However, the film really belongs to JK Simmons, who steals every god damn scene he's in. The beauty of the character, for me, was that I could never tell what his actual intentions were. Was he trying to make the best jazz band possible? Was he trying to push these kids to find their inner genius and reach that next level? Or did he just like shitting down some millennials throats? It's really a testament to Simmons, who is, most likely, Hollywood's most reliable character actor, that Fletcher can instantly go from berating, to charming to flattering all in the blink of an eye. I don't know if it's his best performance, but it'll bring some much deserved attention to a wonderful actor.

I also have to highlight the music in the film, as it plays out much like the third main character of the film. The songs that Andrew has to learn have a high degree of difficulty (or they may not, I never played drums) and when they are going well, the film has a free flowing jazz feel to it. It really helps to balance the extreme moments of tension. Writer/director Damien Chazelle has really brought a flair to the film that gives it life, along with strong direction and excellent writing that includes insults such as "limp dick faggot", it brings an air of discomfort yet believability to the whole film. The last ten minutes of this film had my stomach in my throat and me on the edge of my seat.

Ultimately, Whiplash is one of the best films of 2014. Carried by two amazing performances, brilliant direction and a love of music. Each scene is filled with tension, menace and jazz, making it one of the years must see films.

Grade: A