Trevor's Top Ten Films of 2015

by Trevor Kirkendall

I didn't see as many movies this year as in year's past, maybe even almost half of what I usually see. Still, I found a way to see some very inspiring movies. Not "inspiring" like stand-up-and-applaud kind of movies. But "inspiring" in a sense of wanting to get me up and try my hand at making movies again. Many of the movies this year would have encouraged me, at age 10 or 11, to go out and make movies with my parents' camcorder. You hear filmmakers talk about what movies made them do that; it usually begins with "Star Wars." And this year even saw the release of another new "Star Wars" film. (Not listed here, despite being a very solid film from JJ Abrams, but will no doubt serve as inspiration for the next generation of filmmakers.)

This year was also a great return-to-form for the studios. Normally, only one or two studio pictures end up on my list. This year, it's six films. The studios finally figured out that risky stories end up making great films and shouldn't be cast aside for the indies to pick up and win tons of awards. 

10. Bridge of Spies

Mark Rylance and Tom Hanks learn to trust each
other in "Bridge of Spies"

Steven Spielberg returns to form with “Bridge of Spies,” a masterful work of filmmaking in a very classic style of cinema. The film can be a bit of a slow-burn throughout, but the story is never diminished. A lot goes on throughout the film thanks to a detailed, but exceptionally polished, screenplay from Mark Charman and the Coen Brothers, but Spielberg proves he’s still a master of telling stories despite taking his time to crank out films in more recent years. Tom Hanks provides a solid leading performance, a hero of the silver screen the likes of which we haven’t seen in a number of years. Mark Rylance steals the show as the Russian spy Hanks is tasked with defending and getting home. It’s one of the year’s best supporting roles. The film is a classic from its storytelling, to its look, to its heroes. It looks and feels like a product of the time from which it takes place. Spielberg was an inspirational storyteller for me back in my youth, and continues to provide that same type of inspiration today.

9. Spotlight

The Boston Globe Spotlight team uncovers
scandals in "Spotlight"

“Spotlight” may be one of the very best films about journalism since “All the President’s Men.” The film depicts members of the Boston Globe looking to uncover the sex scandal of the Catholic church in the early 2000s. Director Tom McCarthy's masterful direction brings us through many peaks and valleys of numerous emotions throughout the screenplay written by himself and Josh Singer. But the highlight of this film is the incredibly solid acting ensemble assembled. Michael Keaton leads the way, but Mark Ruffalo and Rachel McAdams steal the show alongside Liev Schreiber, John Slattery, Brian d’Arcy James and Stanley Tucci. This is an important film detailing an enormously taboo subject. It should not be overlooked. And it should help to guide journalists into an area where they need to report the issues exactly as they occur without regard to any kind of political or social agenda.

8. It Follows

Horror follows Maika Monroe in "It Follows"

Low budget indie horror films seem to be hitting their stride now, and David Robert Mitchell’s “It Follows” was the cream of the crop for 2015. If I’m an aspiring horror filmmaker, something like “It Follows” is going to be where I draw my inspiration for my film. It largely avoids the clichés that harm so many other modern horror films. There may appear to be some cheesy elements on the surface, but everything fits with the tone of the film. There’s so much to love here, and nothing to dislike, including a star-making performance by Maika Monroe. The film has many moments of organic tension created by the imagery on screen, the music score, and the situations, rather than relying on jump scares. This is how horror films moving forward should be made.  

7. Steve Jobs

Michael Fassbender is "Steve Jobs"

Aaron Sorkin’s razor sharp dialogue is on full display in “Steve Jobs,” a fictionalized account of the interactions behind the scenes at three major product releases during Steve Jobs’ career. Director Danny Boyle holds back on some of his trademark styles and instead lets Sorkin’s screenplay and the fierce performances of his cast take center stage. Michael Fassbender and Kate Winslet are magnificent in their portrayals of Jobs and Joanna Hoffman. Outstanding supporting performances are also delivered by Seth Rogen (in a rare dramatic role), Jeff Daniels and Michael Stuhlbarg. But it’s Sorkin’s impeccable script, that plays out over three acts like three movements in a symphony, that ends up being remembered the most. Sorkin’s dialogue is unmatched and brought to life with such ease by Boyle that make this a truly remarkable film.

6. Inside Out

Pixar is back on top with "Inside Out"

Pixar storms back to life with “Inside Out,” a movie that takes place within the emotional headquarters of a young girl’s brain. We haven’t seen something original from Pixar in several years and the company seemed to be losing some steam, but “Inside Out” is the type of animated masterpiece only the brilliant storytellers at Pixar can deliver. It’s the perfect blend of humor to keep the kids invested and heart wrenching sadness to make grown adults weep. Again, only Pixar seems to be able to pull both of these strings with such ease when they’re allowed to think up original content. There’s far more human emotion conveyed here than any other film that came out this year and it’s entirely animated. It’s the best animated film to come out in recent memory and ranks in the upper echelon of Pixar’s decorated filmography.

5. The Revenant

Leonardo DiCaprio is out for revenge in
"The Revenant"

Alejandro González Iñárritu follows up last year’s Best Picture winning film “Birdman” with another contender for the same award. “The Revenant” is a beautifully brutal frontier film of revenge. The film is anchored by the best performances by actors this year: Leonardo DiCaprio and Tom Hardy. Iñárritu continues his impressive career with his most ambitious project to date. Each and every one of his films – from 2000’s “Amores Perros” to last year’s “Birdman” – has appeared in my Best Ten lists. It’s safe to say he’s the best director working today. He knows how to pull out so much depth and emotions from his actors no matter how brutal the subject matter (or maybe in the case of “Birdman,” how weird).

4. Ex Machina

Domhnall Gleeson, Alicia Vikander and Oscar
Issac in "Ex Machina"

One of the most inventive screenplays in years is Alex Garland’s sci-fi tale “Ex Machina.” The film is a subtle cautionary tale centered around how much power we allow technology to wield in our everyday lives. The story revolves around Domhnall Gleeson’s Caleb being invited to the home of Oscar Issac’s Nathan in order to help him text out a new robot he’s built with advanced artificial intelligence. That robot is Ava, played by Alicia Vikander in one of the most outstanding performances by an actress this year. Garland’s film takes place in essentially one location that feels much more claustrophobic as time goes on. It’s a sharp screenplay and brilliantly executed by all those involved. In an era where big budget films seem to be familiar, science fiction is one genre where the writers still have a lot more fun in coming up with crazy stories and plot lines. “Ex Machina” ranks up there among the best sci-fi films of at least the last 10 years. If not, more.

3. Room

Jacob Tremblay and Brie Larson pass the time
in "Room"

Sometimes you hear that a movie is emotionally powerful and you can mentally prepare yourself for what’s coming. “Room” is indeed an emotional roller coaster, and no amount of preparation can get you ready for what you witness in this film. Director Lenny Abrahamson takes the dark nature behind this story and tells it through the innocence of a child. Newcomer Jacob Tremblay plays that child, and he’s an absolute revelation. To pour out the kind of depth and maturity into this performance at such a young age is astonishing. While Tremblay is spectacular, Brie Larson is even more sensational. After her turn in my pick for best film of 2013 “Short Term 12,” I wondered if she’d ever be able to match the intensity and dynamics of that performance. The answer is still no, but she sure did come close. She’s a fierce actress full of more talent than any of her peers. She’s not the focal point in this film, and she knows it. She never tried to be the person out in front, but she ends up there anyway. This is the absolute best performance by any actor or actress this year. And the film is pretty damn good too.

2. The Big Short

Steve Carell and Ryan Gosling debate the
housing market in "The Big Short"

If there’s one movie that came out of nowhere this year, it’s Adam McKay’s cautionary dark comedy “The Big Short,” which chronicles the collapse of the American housing market in 2007. This film is a true original and unlike anything I’ve ever seen before. The subject matter is serious and important, but McKay approaches it in a rather lighthearted kind of way. Not in the same comedy style as some of his movies with Will Ferrell like “Step Brothers” and the “Anchorman” movies, but more of a real-life humor. What’s happening throughout the duration of the film is so unbelievable that it’s funny. Only this stuff actually happened. And when an actual event is altered for creative purposes in the film, the actors break the fourth wall and tell you it’s been changed. At times it plays almost like a documentary, and others a straight narrative. Other times is both at the exact same time. It’s almost impossible to describe the tone of the film. Yes, it’s funny, but there’s something more to it that I can’t quite put my finger on. It’s irresistibly entertaining which is why it’s on my Best Ten list, but it’s that level of uniqueness and originality that puts it all the way up at number two. I didn’t know McKay had it in him, but he directed one of the sharpest and wittiest movies in recent memory. It probably could have been number one this year if it weren’t for something else truly innovative and inspiring.

1. Mad Max: Fury Road

Tom Hardy in "Mad Max; Fury Road," the Best Film of 2015

The best film of 2015 is George Miller’s “Mad Max: Fury Road.” Faithful readers are probably wondering how in the world a big budget Hollywood summer blockbuster topped my list when I continually blast Hollywood for putting out way too many of these films year in and year out. While “Fury Road” has the big budget of a major movie studio, it’s far from a studio blockbuster. Everything about this film is an absolute masterpiece and could very well go down as one of the greatest action movies ever made. It’s a little early to be throwing around that title, but I can’t wait to see how the next generation of filmmakers are inspired to make their own action movies. If we start seeing more films in this style, then yes, it’s safe to say this will go down as one of the best action films ever. The rapid-fire editing style is nothing new in summer blockbusters, but still being so cohesive and understandable is something we’re not used to seeing. Credit is given to director Miller for conceiving this film as a complete visual narrative. You could watch this film on mute and still follow what’s going on. But then you’d miss the gorgeous wall of sound that accompanies the film, including the spectacular score from Junkie XL that helps propel this movie forward. And it’s always in a constant state of motion. It’s not bogged down by boring exchanges of dialogue only set up to provide you – the audience – with exposition. Instead, Miller puts this word and all its mythology in front of you and says, “Here it is in all its glory; now watch,” without providing a whole lot of back story. And it works perfectly. His stars, Tom Hardy and Charlize Theron, are asked to read very few lines and instead deliver fiery performances in the middle of a desert on horrific looking Frankenstein-automobiles.  Miller’s use of visual effects is done with a majority of practical effects and using the computers to enhance the shots instead of leading them. This entire approach is against the grain of everything Hollywood filmmakers are doing nowadays. “Fury Road” is almost the antithesis of a studio picture. And finally, a film from a major studio comes out and shocks everyone with just how brilliant movies produced with big budgets and non-artist producers can actually make a film the way it’s supposed to be done.

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Trevor's Individual Awards-- (not my Oscar Predictions)

Best Film of the Year: Mad Max: Fury Road

Best Director: George Miller (Mad Max: Fury Road)

Best Actor: Leonardo Dicaprio (The Revenant)

Best Actress: Brie Larson (Room)

Best Supporting Actor: Tom Hardy (The Revenant)

Best Supporting Actress: Alicia Vikander (Ex Machina)

Best Screenplay (original): Ex Machina

Best Screenplay (adapted): The Big Short

Joe's Top Ten List 2015

Well, here we are at this time of year again... (and sorry for the delay, but Trevor and I were hoping to catch Son of Saul just to see if our lists required last minute tweaking, but that was not allowed to happen due to the distributors)

This year I had no quirky topic for the movies that ended up on my list, rather I allowed myself to think about all movies that I had seen over the year and which were the movies that elicited  an intense emotional responses from me—movies that I would be able to see more than once.  So this year, my top ten list is composed of Movies that Touched My heart…a few of these movies actually moved me to tears (in particular my number one movie of the year). I don’t care if you judge me as a grown man blubbering…it was an AWESOME film and it is 100% my favorite film seen this year.

10. Room

Brie Larson shields Jacob Tremblay from the true horror of his situation.

 Brie Larson has been on both Trevor’s and my radar for the past couple of years as is evidenced on both of our top ten lists—and especially for Short Term 12. Nevertheless, in Room, directed by the multi-faceted Lenny Abrahamson, Brie has achieved what many actresses aspire to…and she’s done it rather quickly. She has proven to be a stand-out in the crowd of this newly emerging young generation of twenty-something actors. Granted, the haunting story written (and scripted) by Emma Donoghue, as well as the supporting set of actors (most notably Jacob Tremblay and Joan Allen) “supported her” in achieving this status in Room, but the underlying poise, talent, and joie de'vivre is all her own. In telling the story of a young girl, abducted, raped and locked up after becoming pregnant, Brie Larson pulls us into her world of care, deprivation, despair, pity, growth and re-emergence artfully. Even the most cynical person watching this movie will leave with a new appreciation for a mother’s love, and how far people will go to protect their children from harm—unconditionally. Only to be saved herself, in the end!

9. The Big Short

Ryan Gosling attempts to get Carrel's character on board with his gamble.

I never wanted to like this movie. I hate almost everything that Adam McKay has ever directed (Anchorman, Talladega Nights), but even I cannot deny the awesome genius of this film. It piqued my interest as a natural pragmatic. Based off the book by Michael Lewis, and scripted by both McKay and Charles Randolph, this movie is a powerhouse of espresso and Metallica all at once. Based around the collapse of the stock market and the shady underhandedness of bank securities and hedge-fund managers for the past 40 years, The Big Short inspires us to hope that not all people are blind to the goings-on of the “big boys” who manage our money. Christian Bale plays Dr. Burry who (while analyzing trends for the hedge-fund he was managing) stumbles onto one of the biggest scams of banking history when he realizes “numerically” how the housing bonds are (in a sense) robbing Peter to pay Paul at multiple levels of a grand Ponzi scheme for lending execs to stay wealthy. Ryan Gosling portrays Jared Vennett, an up-and-coming player who happens to catch a snippet about what Dr. Burry was trying to keep quiet as he “played the market” betting against housing. Vennett enlists hedge-fund guru Mark Baum’s (Steve Carell) help in securing his own claim to the market shares bet against the housing market. Just when all seems like Dr. Burry was incorrect in his assessment, the bubble bursts and vindication occurs—all to the detriment of the American people…as we all remember this bursting back in 2006-7.  Watch this behind the scenes portrayal of a grand scam of the American Banking system that we all had hope is over…but is it really?

8. Brooklyn

Saoirse and Emory allowing themselves to realize the joy of young love.

This was a movie that topped my list to see in the Christmas season, and it surely did not disappoint. I loved this film on multiple levels as it is perhaps the most true-portrayal of all of the auspices of family dynamics that I have seen in a long while. This film touches on love, responsibility, death, self-discovery, and defiance all from a young woman’s perspective while emigrating to the Unites States in the 1950’s. Eilis (Saoirse Ronan) moves to Brooklyn thanks to the gentle urging of her friend Rose (Fiona Glascott). She leaves her sister and mother behind to discover herself and face an adventure. While in Brooklyn she is placed into work at a local department store, and attends night classes at a community college to become a bookkeeper like her sister. In the midst of her self-discovery, she falls for an Italian immigrant’s son, Tony (Emory Cohen) who shows her what she truly needed to feel alive. And just when you think the film is all happy and one-dimensional, tragedy strikes and Eilis is forced to return to Ireland to face her past demons and deal with all levels of what not being honest to your family and yourself bring. John Crowley directed a masterpiece in this beautiful tale of love. The cinematography by Yves Belanger (Dallas Buyers Club, Wild) is as spot on in this film as it was in those top ten listed movies from last year. The script by Nick Hornby and Colm Toibin is so true-to-life, that you leave the theater wanting to do nothing more than kiss your wife, call your mother, and telling everyone you care about that you love them.

7. Me, Earl, and the Dying Girl

Mann, Cylers, and Cooke sitting on a stoop discussing college.

I have a big soft spot for all things Sundance, so this should not be a surprise for anyone who knows me that this Sundance Big Winner (Audience and Grand Jury) made my cut. I cried after this movie was done. Directed by relative new-comer, Alfonso Gomez-Rejon, this is a VERY unique coming of age story of a young man, Greg (Thomas Mann), and his hilarious dry-witted side-kick, Earl (RJ Cyler) who make low-budget remakes of their favorite films. Greg goes through life sliding into the background of high school attempting to be the guy who fits into all cliques without really fitting into any clique. That all changes when his mother forces him to befriend Rachel (Olivia Cooke) who has been diagnosed with cancer. What unfolds is a tongue-in-cheek romantic blundering that makes the viewer laugh and cry and remember what it’s like to be in high school all over again. Jesse Andrews wrote the book and the screenplay and did himself proud. The characters are realistic and remind me of the multitude of students I have taught over the past 15 years in my real-job as a high-school/community college instructor. I laughed until I cried…then I cried a little more when the time was right. I love originality and youthful direction.

6. Spotlight

The Spotlight crew discusses the legality of their story and the aftermath.

One of the most controversial, and most talked about movies of this post-season of films has been Spotlight, directed by Tom McCarthy. This ensemble cast is spot-on in their delivery and their acting prowess in this tell-the-truth film revolving around the Catholic Church scandal of the 90’s. Yes…that scandal that rocked the Vatican to its core.  The scandal centering around the multitudes of priests who were molesting young boys and girls for years. Josh Singer and McCarthy did a wonderfully masterful job detailing the story BEHIND the exposing of this story by the Boston Globe Spotlight News Crew—portrayed by Mark Ruffalo, Michael Keaton, Rachel McAdams, Brian d’Arcy James, and John Slattery. Marty Baron (Live Schreiber) is the new (Jewish) editor who barges into Boston from Florida and tells the crew to go after the Catholic priest story. This doesn’t set well at first as most of the reports are catholic, yet as the story unfolds, the lies, deception and disgust set in. Mike Rezendes (Ruffalo) is the legal investigator who gets to the heart of the legal deception quickly, allowing Robby (Keaton) and Sacha Pfeiffer (McAdams) to track down and talk with all of the big players in town (and the victims) that have been pulling the strings for well-over 40 years. As a Catholic myself, this film was gut-wrenching to watch and truly sickened me to my core. I left the theater 100% happy that many were held accountable, and then still disillusioned that many victims still did not have their vindication. I am glad that this SPOTLIGHT was illuminated on this subject to provide hope for those who were unable to speak out against these atrocities.

5. Beasts of No Nation

Attah and Elba in a heated exchange about the rules of warfare.

Many people do not seem to be on board with companies the likes of Amazon and Netflix producing movies direct to the internet—they feel that this cheapens “cinema.” Well from what I have been seeing from Hollywood the last few years, if this is cheapening cinema…BRING ME MORE!!  Beasts of No Nation, written and directed by Cary Joji Fukunaga (co-written and based off of the book by Uzodinma Iweala), is nothing short of a mind-blowing experience about the torments and savagery occurring in many third world countries being fought over by dictators and war-lords alike. While the film does not specify a location, it could be realatable to many African nations under constant civil war. As their village as it is being ravaged by soldiers who kill all captured families claiming them traitors to the cause. Agu (Abraham Attah)’s father intervenes and in the melee he and his brother attempt to escape—well Agu manages to escape. As he wonders through the jungle in hiding, he is picked up by a rag-tag group of bush-fighters lead by the Commandant (Idris Elba). Agu is put through the ropes of survival and quickly realizes that he is no longer playing hide-and-seek, but he has to become a man at the age of 12 or perish in the struggle for existence. When all is said and done, if he ever reunites with civilization…will there be anything left to save? This movie is graphic and a true homage and amalgam to the ideals first proposed in Lord of the Flies and Heart of Darkness. A beautiful and haunting original story all its own, it provides a stark look into third world problems…one that was so vivid I have had many an introspective moment digesting what I was shown.

4. The Revenant

Tom Hardy attempts to silence Leo but for good.

What can I say, Alejandro Inarritu!!  I love his films. I love his direction. I love this man’s love of filming. Coupled with the stunning cinematography of Chivo (Emmanuel Lubezki), how could this movie NOT be on every top ten list of every film critic this year. I mean there’s almost nothing that hasn’t been said about this film…WOW.  That pretty much sums it up. Based on the novel by Michael Punke, scripted by Mark Smith and Inarritu, this is the awe-inspiring tale of Hugh Glass (Leo Dicaprio) and his body sacrificing, soul-crushing, hunt to find the man, John Fitzgerald (Tom Hardy), who killed his son in cold blood. Killed his son who was attempting to stop the same man from killing him while he was injured. And--he had to watch his son die while incapacitated. While this movie is minimal on dialogue, what is lacks in verbalization, the cinematography and depth of feeling expressed in Leo’s eyes make up for it 200%. I went into this film with extremely high expectations, and (unlike with Avengers 2) I left the theater speechless and mind-racing that this may finally be Leo’s year for an Oscar! Hopefully anyway. And Chivo and Inarritu have perhaps the best chance to both get back-to-back Academy Awards that we have seen in a long while. Yes…the film is THAT good.

3. Ex Machina

Vikander and Gleeson in deep debate about what defines the feelings of life.

Written and directed by the prolific storyteller Alex Garland (writer for Danny Boyle’s 28 Days Later and Sunshine), Ex Machina­ takes its roots/name/theme from the Greek tragic event known as dues ex machina (or ‘god from the machine’) wherein an impossible task is suddenly made possible through extreme and sudden intervention of a new idea/plot/character. And if you think that just the title has depth….wait for the story-line. Caleb (Domhnall Gleeson) is a junior programmer for a company run by the enigmatic Nathan Bateman (Oscar Isaac). Caleb wins a contest to actually meet with the reclusive CEO at his mountain home; nevertheless, the meeting is not coincidence, rather he has been ‘selected’ to be a part of a Turing Test in determining whether Ava, a robot developed with artificial intelligence “AI,” (Alicia Vikander) can pass as human. The movie unfolds in a series of philosophical interplay and introspection regarding humanity, life, God, and love. What nobody could have imagined is just how life-like and self-preserving Ava would become. Original…beautiful…stunning visuals and a technical achievement of plot development, the movie will leave you more perplexed at the ending than it did at the beginning. And I am fine with that! The movie makes you question everything about everything that you think you may understand about life. Masterpiece.

2. Mad Max: Fury Road

Hardy swings between vehicles in this beautiful chase sequence.

I watched the original trilogy as a child, and loved the crazy hijinks centered on Mel Gibson’s Road Warrior. But NOTHING was to prepare me for the movie spectacular on visual effects that George Miller provided with his latest installment of the road warrior series, Mad Max: Fury Road. Early movies dealt with the world political issues of the day set into a dystopian future. When Miller and his co-writers, Brendan McCarthy and Mick Lathouris, sat down to make this latest movie a reality, they chose clean and potable water as the theme. Max (Tom Hardy) is captured and taken into the holding facility of a water overload, Immortan Joe (Hugh Keays-Burne) to be used as a blood supply for his drug-hyped warriors on their delivery missions to the surrounding areas. As the latest mission heads out with Furiosa (Charlize Theron) in the lead tanker, Max find himself strapped to the front of a guard vehicle driven by Nux (Nicholas Hoult). The caravan heads out, only to soon realize Furiosa has an agenda of her own, and it’s not delivering water! What unfolds across the desert wasteland is as gorgeous a cinematic undertaking as I have seen in a long time. George Miller and cinematographer John Seale (Rain Man, The English Patient) blocked and shot this action film like all action films should be shot. Massive explosions, thunderous booms, and gore-galore. YET…George did not allow the action sequences to detract from storyline and plot progression. They were seamlessly interwoven and the culmination is nothing short of a magnum opus for the action movie genre. 

1. Inside Out

Imaginary friend Bing-Bong is reacquainted with Joy and Sadness.

The Pixar movie about feelings personified is the #1 movie of the year—in my humble opinion. Watching this movie, I laughed. I cried. I teared up. Then I laughed. I…well, you get the picture. Pete Doctor and Ronnie Del Carmen have managed to again direct a story that takes viewers back to their childhood—or for the younger generations, reminds them about the ‘Joy’s of growing up. Aided in screenplay development by Meg LeFauve and Josh Cooley, the team turned a beautiful concept into a perfect animated feature (topped only by Pixar’s Toy Story and Up!).  Riley (voiced by Kaitlyn Dias) is born, and the JOY of birth initiates a feeling of, well, Joy (voiced by Amy Poehler). She steadfastly steers Riley through her formative years, joined eventually by the full cast of feelings as Riley grows up [Anger (Lewis Black), Sadness (Phyllis Smith), Disgust (Mindy Kaling), and Fear (Bill Hader)]. Things go wildly awry when Riley is uprooted from her suburban Midwest hometown and is moved into downtown San Francisco. During an accidental mishap brought about by an unusual bout of Sadness, both Sadness and Joy are vanquished down the memory shoot into deep memory storage. The only problem is, with Joy away, how will Riley be able to cope with all of the changes the move has brought? While attempting to make it back to central processing before Riley does she and her family irreparable harm, Joy and Sadness come to a shocking realization about emotional swings and their central role in shaping all individuals. This moving hits personally on so many levels—growing up a Navy brat and moving to 16 different schools in 12 years, and my mother constantly joking that we all had ‘little men inside us working things out.’ I was transported to my childhood and fell in love with this movie within the first 10 minutes. Bravo, Pixar!! Bravo!!

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***HONORABLE MENTIONS: (films that ALMOST made my Top Ten up until the last week)

11. Star Wars: The Force Awakens for bringing the Star Wars franchise back to to its rightful glory atop the box office lists and for killing all of James Cameron's records.

12. It Follows for being an excellent and UNIQUE (see that Hollywood) horror film. It was really great and I know why Trevor has it on his list...it almost made my cut.

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Joe's Individual Awards-- (not my Oscar Predictions)

Best Film of the Year: Inside Out

Best Director: Alejandro Inarritu (The Revenant)

Best Actor: Leonardo Dicaprio (The Revenant)

Best Actress: Soairse Ronan (Brooklyn)

Best Supporting Actor: Idris Elba (Beasts of No Nation)

Best Supporting Actress: Jennifer Jason Leigh (The Hateful Eight)

Best Screenplay (original): Spotlight

Best Screenplay (adapted): Room