Most Gangster Movie Ever: Field of 64

A note from the Selection Committee: In order to avoid any personal bias that may have influenced the seeding of these films, I devised a very sophisticated and complex formula using both the  Tomatometer of Rottentomatoes.com, which represents the critics’ consensus, and the website’s general audience score, with more weight being given to the latter because it’s all about the fans. 

Concerning the selection of the sixty-four movies, that was the result of a combination of personal knowledge and a little research.  There are always snubs during the March Madness selection process and I’m sure this one will be no different. 

To fill the 64 slots with competent flicks, I stretched the traditional understanding of a gangster movie to include those that may be less mob or gangster-centric but still contain traditional elements of those films such as hitmen, narcotics, criminal activity by close-knit groups, etc.

 

There were only two deal-breakers for the selected tourney participants: 1) No westerns and  2) No film that predates 1972.  Though there are many notable gangs and gangsters in the Old West cinema, westerns are a completely different genre and feel like a totally different kind of “gangster,” with all due respect Mr. Holliday.  There are no movies on this list release before 1972 because it’s when The Godfather whit the cinematic scene, which changed the game for this type of film.  And while there are plenty of worthy movie mobsters that proceeded the classic flick, most people don’t care about them.

No need to fret though.  There are plenty of gangster flicks left to fill our bracket.  And here they are…..

(In alphabetical order)

25^th Hour (2003) It’s Spike Lee and Edward Norton.  The late, great Philip Seymour Hoffman, Barry Pepper and Rosario Dawson.  It’s an F-you rant that’s one of the best scenes in the tournament.      

                                                

Above the Rim (1994) A story about G’s under the guise of a basketball flick.  Make no mistake, Birdie and his crew make this movie as gangster as any.  All naysayers will be subject to carzy hard, scar your tail bunks! 

       

American Gangster (2007) Famed film critic Devin Faraci said of American Gangster that it would someday be remembered in the same light by its generation as Goodfellas is remembered by its own.  Frank Lucas and family are prepared to “blot” out the rest of the competition to prove Faraci right.  

         

American History X (1998) Not your traditional gangster film but gang-related nonetheless.  Is it Edward Norton’s best performance?  It’s definitely his most gangster.  

            

Amores Perros (2001) The Mexican film intertwining three intriguing tales of dogfighting, a horrific car crash, and gangster sicarios.

Animal Kingdom (2010) Australia’s answer to Goodfellas, complete with its own terrifying, Pesci-esque character Uncle Pope.  Yes, it’s that legit.

           

Belly (1998) No other movie in this tournament has a bigger discrepancy between critics’ and movie-goers’ opinions (13% to 88%, respectively).  With a middle finger to the man and a faithful following behind it, Belly enters the field of 64.  

           

Black Mass (2015) Johnny Depp embodies the chilling spirit of Boston’s most notorious gangster, Whitey Bulger.  

Blow (2001) To win any tournament you need a little luck.  Maybe in this particular tourney we can call it “being connected” as opposed to being lucky.  Having said that, small-timer George Jung is connected all the way to the top of the Columbian drug cartel and one Pablo Escobar.    

          

Boondock Saints (1999) Before Norman Reedus  was Daryl Dixon and knocking off zombies on The Walking Dead, he was Murphy Macmanus head-hunting mafia gangsters in Boondock Saints. 

         

Boyz N the Hood (1991) A classic in its own right, the boyz from South Central L.A. will have no problem going toe-to-toe with mob legends.

A Bronx Tale (1993) Chazz Palminteri has never been more gangster with iconic lines like, “I did this to you!” and “Now yous can’t leave.” 

Carlito’s Way (1993) Carlito Brigante is a legend in el barrio and an even bigger legend on the silver screen.  Props for putting Puerto Rico on the gangster grid.

Casino (1995) Don’t insult this film by calling it “Goodfellas 2”, or you may get buried alive in the desert after being beaten within an inch of your life with aluminum baseball bats.    

      

                                                       

City of God (2003) Lil’ Ze is one of the most ruthless gangsters you’ll ever see on film.  The movie is one of the best you’ll ever see in your life.

Clockers (1995) Spike Lee gets another nod in the tournament with Clockers, an underappreciated film about a young drug dealer navigating the projects of Brooklyn.  

      

Collateral (2004) Tom Cruise as a grey-haired hitman running roughshod all over L.A.?  And I get wolves too?  Yes, please.                                                 

Colors (1998) A look at Crips and Bloods relations in 1980’s Los Angeles, in which Don Cheadle plays a soulless, ruthless Crip leader named “Rocket.” 

 Dead Presidents (1995) Normally you’d think that having one of the best soundtracks ever wouldn’t help a film’s street cred. But with names like Isaac Hayes, Barry White, Aretha Franklin, and Al Green, this gangster compilation is an exception to the rule.  Plus, that armored truck hit alone is worth a spot in the tourney. 

            

The Departed (2006) Perhaps the most re-watchable gangster flick in the tourney, The Departed is one of those rare instant classics. 

               

Donnie Brasco (1997) Nothing fugazy about this flick.  It’s as real as any mob movie in the tourney.  No, I mean it’s literally based on a true story. 

        

Drive (2011) Imagine a movie so gangster it only needs a pretty boy turned “about-that-life” boy Ryan Gosling and a few lines of dialogue.  It’s “all about that action, boss.” 

      

Eastern Promises (2007) You know you’re a “G” when you get into a knife fight to the death butt-naked in a Russian sauna. 

Gangs of New York (2002) About as old school as it gets when it comes to gangs in this country.  The Dead Rabbits were about that life before the 20^th century, and Bill the Butcher probably wrote the book on how to be a “G.”  

        

The Godfather (1972) The quintessential mob movie, the standard and a heavy favorite.  But is it more name than substance?  Is it time for a new boss? 

The Godfather II (1974) Arguably better than the original, and the original is one of the greatest films ever made.

The Godfather III (1990) The red-headed stepchild of the iconic trilogy is more gangster than suckers give it credit for.  It’s still Corleone.  

Gomorrah (2008) Writer Roberto Saviano received death threats from the Neapolitan mafia for exposing their activities in the novel and movie and is now permanently under police protection.  Gangster.   

  

   

Goodfellas (1990) Scorsese’s take on the New York mob did what no other gangster flick before it could do: hold a candle to The Godfathers. 

   

Gotti (1996) HBO’s production depicting the rise of the most beloved mafia boss in America’s history is spot-on and a must for mob film lover.    

                   

Heat (1995) Heat may lay claim to the best shootout scene in the tourney.  Now that’s saying something!

A History of Violence (2005) This overlooked, thought-provoking gangster movie is violent enough to hold its own against any of the top dogs in the syndicate.

Ichi the Killer (2001) Bizarre, disturbing, Japanese, and gangster as all get-out.  Ichi is one “G” you’ll never forget. 

   

Infernal Affairs (2002) If it weren’t for Infernal Affairs, there’d be no Departed.  It’s also widely considered to be better than its predecessor.  

King of New York (1990) Christopher Walken is the most lovable type of gangster, a Robin Hood mentality allows this fresh-out-of-prison drug lord to lay waste to his competition and distribute the spoils to those less fortunate.  Aw.

Lawless (2005) The only entry in the field of 64 that stars Shia LaBeouf.  That’s gangster enough.  

       

Layer Cake (2005) The G’s across the pond are making a splash in this year’s field.  Here it’s Daniel Craig and Tom Hardy, a more than formidable gangster combination.

        

Leon: The Professional (1994) Leon is maybe the best hitman in a tournament full of some of the greatest to ever do it.  A true professional “G.”  

Lock, Stock and Two Smoking Barrels (1999) Don’t get it twisted: London’s East End is home to some of the game’s most notorious gangsters.  At least they can make you laugh while they break your fingers one by one.

El Mariachi (1993) The little-known prequel to Desperado.  Don’t think it has a chance?  This movie was made for $10,000; it can do anything.   

           

Mean Streets (1973) De Niro’s Johnny Boy in Means Streets is not unlike O-Dog in Menace II Society.  Unbalanced and unpredictable always make for the scariest gangsters.         

      

Menace II Society (1993) Quotable lines abound in this Boyz N the Hood-companion piece that may be a colder, grittier, and more accurate depiction of life in South Central Los Angeles. 

      

  

Miller’s Crossing (1990) The Coen brothers try their hand at the mob film genre and the end result is one underrated gem of a movie about made men. 

    

Mystic River (2003) The mob movie experience makes its way to Boston again where Sean Penn is cold and calculated and cares nothing about childhood friendships when it comes to revenge.       

       

New Jack City (1991) Nino Brown is as bad as they come.  And he and his crew will have no problem taking other would-be gangsters flicks out in broad daylight.  “Rock-a-bye, baby.”

No Country for Old Men (2007) Anton Chigurh is like that really special player for that unknown team that makes a splash once the nation sees him on the big stage.  That’s not to say that no has ever seen No Country, but in terms of a “gangster film,” it’s not really what you’d consider a household name.  I present to you the Steph Curry and Davidson of this year’s big dance.  

          

Oldboy (2005) Oldboy will knock you on your wire-tapped, rat-smelling arse, then pull out your teeth one by one until you acknowledge it as one of the most gangster movies ever!   

               

Once Upon a Time in America (1984) Underappreciated to say the least.  It’s De Niro and James Woods in the story of a Jewish gangster in Prohibition-era New York, and it’s worthy of a mention among the greats.   

 

A Prophet (2010) The fact that A Prophet hasn’t been seen by so many is perhaps the biggest crime in any of these films.  It’s legitimately as good as any of the tourney favorites. 

Pulp Fiction (1994) Tarantino’s most beloved film has some of history’s most memorable, impressionable gangsters.

Reservoir Dogs (1992) Quentin’s first film is probably his most gangster, ending in classic Tarantino Mexican standoff style.  And if I just spoiled the ending of Reservoir Dogs for you, you’re in the wrong tournament.

Road to Perdition (2002) Tom Hanks as a hitman: check.  Legendary Paul Newman as a mob boss: check.  Inevitable intense showdown by the two in the pouring rain: check.  Ticket to the Big Dance: cashed.

Scarface (1983) The very definition of “crowd-favorite.”  Tony Montana does it for the fans.  And probably for the money.    

    

Set it Off (1996) They’ll be no underestimating these women by other tourney participants.  These ladies have knocked over enough banks and “put in enough work” to earn a spot among the most notorious of cinema’s gangsters.   

Sexy Beast (2000) Ben Kingsley was nominated for an Oscar for his performance as unhinged and brutal yet sometimes comical gangster Don Logan.  He didn’t win, so he’s out to claim another piece of hardware: the Most Gangster Movie Ever title!  

     

        

Sin Nombre (2009) Real talk: most people need to watch more foreign flicks.  These gangsters south of the border ain’t nothing to play with, as evident by the feeding of a rival member’s insides to dogs…..    

Snatch (2001) “Franky Four Fingers,” “Bullet-tooth Tony,” “Boris the Blade,” “Turkish,”….. these gents to G’s name-game is off the chain.  But these Brits ain’t all show and Brad Pitt is golden as an Irish gypsy who’ll knuckle up on anyone in the brackets.         

   

Straight Outta Compton (2015) Don’t scoff at the new kids on the block.  And don’t tell them I called them that either.  Compton may be a new film, but its subject is as gangster as any other entry in the tourney.    

             

The Town (2010) Boston is representing, this time from the neighborhood of Charleston, which churns out small-time gangsters like Kentucky churns out one-and-done’s. 

            

                              

Training Day (2001) I don’t care if they’re cops.  Alonzo Harris and company are cut from the same cloth as other cinematic crime crews.  Don’t think they can win it all?  They’re the Po-lice!  These other thugs will be playing basketball in Pelican Bay before it’s over. 

       

True Romance (1993) So what’s gangster about a Tarantino script directed by Tony Scott?  How about Christopher Walken as a Sicilian drug dealer and Gary Oldman as some sort of Rastafarian pirate pimp named Derxl Spivey.

The Untouchables (1987) Who are the real G’s here?  Capone’s crew or Ness’s custom crew of killers?  Doesn’t matter.  Movie’s gangster.

The Usual Suspects (1995) Not many names strike fear in the hearts of snitches like that of Keyser Söze.  And that ending may be the most gangster in cinematic history!

The Warriors (1979) The Warriors “bopped” their way from Brooklyn to Coney Island, wasting the best gangs New York had to offer along the way.  No other squad is more prepared for a knockout style tournament.     

            

                                    

                                   

                                                               

     

  

                                                       

        

                                                

        

                                       

                       

                           

  

  

                         

                        

                        

                                                                  

     

     

                                    

                      

                                                     

         

                                                  

                       

              

                                                       

                                          

                                     

            

  

                  

                                                                   

                                                

                                      

          

My Favorite Movies of 2015

I don’t normally spend too much time on honorable mentions, but I had an unusually difficult time narrowing down my top ten for 2015 and wasn’t entirely convinced I’d made the right choices once the list was finalized.  So I figured I’d take a few lines to tell you about some of my most memorable movies of the year that didn’t quite make the cut for one reason or another.

Truth be told, and I said this last year, these films could find themselves in my top ten on any given day depending on which side of the bed I wake up or whether I go Joe Clark on a kid in class for forgetting his reading log.  Besides, I’m all for any opportunity to squeeze in some extra commentary on movie that, as a direct result, may end up on someone’s radar. 

Enough with the obligatory, and in this case slightly forced, opening banter.  Let me take you to the movies!  (Shout out to Bangs on YouTube). 

2015 Honorable Mentions

Straight Outta Compton

Look, it’s really good.  Probably even great.  It may be the most fun I had in a theater last year.  The cast is electric and the music nostalgic.  You can’t help but bob your head and rap along to “We Want Eazy” or get chills when Eric Wright finally nails the opening line to “Boyz N the Hood.”  But it’s also a biopic.  And for whatever reason, I just don’t vibe with that genre.  Granted it’s my favorite biopic in recent memory, but if I’m being honest, I don’t have a strong desire to revisit it anytime soon. 

Spotlight

This was the final leg of my now famed birthday movie celebration, after about eight hours of movies.  That’s in one day.  So forgive me if I missed some of the details and subtle nuances that garnered so much love from the critics.  What I did catch was a tight, patient script executed by one of the most impressive ensemble casts you’ll see onscreen.  I saw four great movies that day, and if I had to choose, Spotlight would be the one I’d watch again today. 

Bridge of Spies

I think the thing I love most about this movie is that I didn’t love anything about it at all.  Much like Spotlight, it lacks the seat-clenching action scene and over-the-top, Oscar-baiting dramatic monologue, which is a bit unexpected given that it was directed by Spielberg.  Not that the great director is so blatant and typical in his direction, but normally Spielberg has his Midas-esque fingerprints all over his films.  They’re harder to find here.  And that’s intriguing to me.  Tom Hanks and academy award nominee Mark Rylance are low-key and fantastic, especially Rylance who deserves his spot in the most loaded category on the Oscar ballot.

About Elly

I’m cheating somewhat with this one.  It was first released in 2009 in Iran, but it wasn’t released in the U.S. until last year.  I’m counting it though based on the fact that it’s great.  Director Asghar Farhadi has mastered the art of placing "ordinary people in extraordinary situations." That's my line. And it's a good one. It's also balls-on accurate. What a treat watching it all unfold, then engaging in the most challenging yet enlightening of exercises: asking yourself what you would do under the same circumstances. Imagine films that good. That when you finish them you know something about yourself you may not have known before. All while potentially gaining new perspectives along with an appreciation for said perspectives, though you may not even agree. That's pretty freaking priceless. That's film at its best.

Tangerine

I watched this movie that was shot on an iphone on my Samsung.  That’s ironic and kind of cool.  As I write this I’m second-guessing its absence on my top ten list.  It’s so full of life, perhaps more than any other I saw last year.  It’s not for the conservative audience. (That’s “conservative” in the general sense, not politically.  Though I doubt most right-leaners would go for the film either.)  It’s the story of two transgender (See, I lost some of you already) girlfriends who have just reunited after one’s recent release from jail.  Together again, they set off across Los Angeles on Christmas Eve in search of the newly-freed Sin-Dee’s boyfriend/pimp. (I just lost most of the rest.)  Before it’s even out of the gate, Tangerine has a couple of things going for it: 1) It takes place in La La Land.  Last year around this time in my review of my 2014 #4 movie of the year Nightcrawler, I wrote about how I enjoy seeing L.A. as a backdrop in a film.  I won’t go back into what I like about the setting (just read my blog), but I will add that about two years ago I watched a documentary called Los Angeles Plays Itself which has been more appropriately described as a video essay.  It’s nearly three hours analyzing not only the city’s role as a setting in film, but also as a character and a subject.  It’s packed with clips from some of L.A.’s most recognizable as well as obscure movies.  It’s also one of my favorite films I’ve seen in the last ten years, and I believe Tangerine would fit perfectly in its script as an effective illustration of any of the three categories the documentary explores.  2) It takes place over twenty-four hours.  I want to say I’ve also written about this cinematic aspect somewhere on my blog but I can’t be sure.  So I’ll just say that the day-long story is a personal favorite of mine.  Movies like Friday, Glengarry Glen Ross, 12 Angry Men, 25th Hour and, Reservoir Dogs are engrossing and entertaining stories that are only enhanced by their relatively short on screen time lapse.  The same goes for Tangerine.  Out of the gate, the film still has a lot to offer, but most notably may be its charm.  That may sound strange to some given its premise.  However, I think the movie qualifies as one of those lovable nontraditional Christmas movies like Lethal Weapon, Better Off Dead, and the king of said movies, Die Hard.  Although it’s certainly not a central theme, the Christmas spirit is definitely palpable throughout.  Finally, the flick is legitimately funny.  I’m not the type to laugh much during films, but there were plenty of laugh-out-loud moments in this.  At the center of most, if not all, of those moments is Sin-Dee played by Kitana Kiki Rodriguez.  She’s really magnetic and her performance was one of the best I saw all year. 

Mission: Impossible – Rogue Nation

I liked it. Not quite as much as I wanted to but it’s a fun time nonetheless. I was a little annoyed by the movie's unwillingness to let go of a lot of the action flick clichés (i.e. Cruise's hand dramatically and slowly dropping in the smoke filled glass; all the impossible security check points and clearances and retina scans that will ultimately be made possible). However, it's hard to beat the action and Cruise is a machine, a pure entertainer. The opera scene was fantastic! And kudos to the series for getting better – something so many series can’t brag about.  I think Simon Pegg has a little to do with that.

THE LIST.....

10.  The Big Short

Film Critic Tasha Robinson said of The Big Short, “It takes a serious issue and turn it into cotton candy in order to get it into people’s mouths.  It’s not until it’s in their mouths that people realize how sour it is.”  That has to be one of my favorite summations of a movie I’ve heard in quite a while.  The movie is funny and entertaining and at the same infuriating and horrific.  That’s a pretty impressive stunt to pull off.  I’ve seen a number of movies about our most recent economic collapse, and at this point most of them just run together.  The Big Short easily distinguishes itself from the pack with sharp editing, comedy, and engaging performances from a star-studded cast.  But make no mistake: it’s a maddening topic, and despite all the likeability, it still leaves you with a residue of nausea in your gut.

9.  Mad Max: Fury Road

Visually, Fury Road accomplishes sequences I’ve never seen before.  A film will always get points from me for that!  The scenes in which the war parties are looming off in the distance in pursuit of the rogue Furiosa are nothing short of beautiful, as are those of the tense encounters that follow once the pursuers inevitably catch up, despite their brutality.  In addition to the stunning visuals, Max’s action is some of the best you’ll ever experience.  And there’s no shortage of it.  I compare it to Las Vegas.  I love Vegas for its over-the-top-ness.  It’s almost unnecessary.  The details are meticulous and overblown, from the post-apocalyptic war machines to the explosions and utter destruction they cause.  It’s a marvelous mesh of madness.  The film slams its foot on the gas within a couple of minutes of the first shot and rarely taps the brakes.  Even the film’s heavy metal score is unique in its implementation and is the perfect accompaniment for the cinematic anarchy.  I’m sure that someone more educated than me on the subject could write for days on its technical brilliance.  What I can tell you is that Mad Maxis a monumental achievement and should be rewarded handsomely for its efforts come Oscar Sunday.

8.  What We Do in the Shadows

There are plenty of funny and memorable moments in this New Zealand gem, a mockumentary about four vampires living together in a flat. Even as I write this, several months removed from the film, the encounter with the werewolves (“not swear-wolves”) remains vividly etched in my brain. There’s no shortage of gore either. The film could ultimately become a must for all vampire flick fanatics. And there isn't another one quite like it in the genre.

7.  Bone Tomahawk

Bone Tomahawk is the most unusual film on this list.  It’s a hybrid, somewhere between western and horror.  Kurt Russell, Richard Jenkins, Patrick Wilson, and Matthew Fox set out to rescue a couple of loved ones after they’re kidnapped from the cozy little Old Western town of Bright Hope.  They learn from a local Native American that the kidnappers are a tribe of cave-dwelling murderers whose existence dates back to even before natives themselves.  The four would-be heroes willingly volunteer to journey across the unforgiving terrain to a destination that houses an enemy they know very little about.  Even though they’re warned, and we as viewers are warned along with them, we share with them the false pretense that we have an idea of the danger we’re getting into, when in fact we have none.  Despite its unorthodox plot, Bone Tomahawk maintains many of the same filmmaking attributes that more traditional films possess like some solid cinematography and sharp, funny dialogue.  Yes, the movie has its comedic moments too.  It also has one of the most memorable scenes of the year for me, and that’s not necessarily a good thing.  The scene is brutal and jaw-dropping and sneaks up on you so there’s no time to prepare.  Tomahawk also boasts the best performance of Matthew Fox’s career, an actor I’ve never really been high on.  He’s confident, charming, funny, and he draws you in during the first few moments of his screen time.  Perhaps his character is best described as a poor man’s Doc Holiday.  But I don’t want to take anything from Fox.  The character is his alone and the performance was one of my favorite of 2015.

6.  The Hateful Eight

If Straight Outta Compton wasn’t the best time I had at the movies last year, then The Hateful Eight was.  Which may sound a little strange given the film’s subject matter and violent nature.  It’s hateful for sure.  And there are undertones of America’s black-eyed past and even current struggles with race.  But so many movie-going experiences are influenced by the company you’re in when you see it.  I was in great company during Compton and likewise with Eight.  Specifically, it was the very first show of my birthday celebration, the opening act of a four part cinematic spectacle.  And showtime was at 9am.  That’s nine in the morning.  I mean it’s Quentin Tarantino!  It’s Samuel L. Jackson and Kurt Russell!  It was the opening road tour that was reserved to only a select number of theaters across the country, due in part to the fact that only a select number of theaters were equipped to handle the 70mm projection.  Normally, an event of this magnitude would be saved for the final act of my birthday film festival.  But I couldn’t make the other show times work with the daily schedule.  I was sure I’d be the only one in my party present when the curtain opened.  However, two faithful friends managed to brave the early morning commute and met me at Atlantic Station for what would be one of the best cinematic experiences I’ve ever had.  This is how movies were meant to be shown.  The five minute overture preceding the film, featuring a black silhouette of a stage coach being pulled by a team of thoroughbreds against a blood-red background.  And the music.  Oh the music that accompanied that unavoidable picture and made for such a haunting, anticipation-building few minutes!  Then there was the intermission: a brief reprieve from the world Tarantino had created that allowed my friends and I to reflect on what we’d just seen, predict what we think would happen, and quote some of our favorite lines so far.  We even received a collector’s book before we walked in.  I actually felt sorry for people who saw it online or missed the 70mm presentation in theaters.  It’s hard to imagine watching that movie any other way.  The movie itself is pretty much what we’ve come to expect from its director.  It’s funny and violent and smart and has something to say and funny.  Did I mention how funny it was?  I’ll probably watch it again on Blu-ray and not enjoy it nearly as much.  But the experience alone was well-worth a mention on this list.

5.  The Look of Silence

The Look of Silence is Josh Oppenheimer's follow-up documentary to his 2012 directorial debut The Act of Killing. Silence is probably better described as a companion piece to Killing as both focus on a genocide in Indonesia in 1965. Though the subject matter is the same, it's the films' respective approaches that set them apart.  The Act of Killing was a ground-breaking gut punch of a film in which Oppenheimer asks the former Indonesian killers to reenact the mass murders of the past, a request that the perpetrators are more than happy to accommodate. Under the guise of a would-be documentary, the director films the executioners as they meticulously recreate the brutal, savage acts committed against accused "communists" and fellow citizens, all with an ease and enjoyment that's awe inspiring.  While Killing can be considered the crowd-pleaser of the pair, Silence is more deliberate and methodical in its approach.  The film follows Adi Rukun, younger brother of one of the one million people murdered during the genocide, as he interviews the killers of his sibling, killers who still hold regular jobs and respected positions within the community.  Let that whole scenario sink in for a minute.  Rukun looks as if he’s made for the camera, completely relaxed and in control and demanding of the audience’s attention (both his interviewees and the audience in the theater).  The interviews are what you would expect them to be and a little more.  They’re tense and at times you have to remind yourself to breathe.  They’re hard to digest.  Murderers recount the story of Adi’s brother with ease and an eerie sense of warm nostalgia.  They’re terrifying as some perpetrators even allude to the possibility of the whole heinous period happening again.  There is not a more important movie on this list than The Look of Silence or even The Act of Killing.  Both should be required viewing for everyone.

4.  The Martian

I remember watching The Martian just after the summer movie season and thinking to myself that play time was over in regards to film season.  The summer blockbusters were making way for more serious and higher quality pictures.  What’s cool about The Martian is that it works as both.  It’s entertaining as all get out and could hold its own with any dinosaur-themed money grab.  It also has the smart writing, dynamic performances, and ingenuitive direction of any Oscar contender.  Movies like that seem to be becoming more and more scarce.  Just check Rotten Tomatoes and you’ll see the discrepancy between critics and audience members among so many films.  Also, if you haven’t noticed, Matt Damon is a bonafide superstar.  He has zero problem carrying this story.  I don’t even like to use the word “carry” because it implies that the movie may be lacking in some way that it needs his presence in order to hold your attention.  Which is not the case.  So let’s just say he has no problem leading the film, owning the screen.  He’s fantastic.  I said this after I left the theater and I still feel the same way: this may be his best performance to date.  The movie is surprisingly emotional – I laughed and cried on multiple occasions.  The Martian has something for everyone and one of the few films on this list I can recommend to anyone who loves movies.

(Disclaimer: I’m putting my top 3 films in order due to obligation.  I don’t like punking out in these instances with the whole “in no particular order” crutch.  Having said that, I could easily see these three movies exchanging positions on any given day depending on my mood.  It’s the most difficult time I’ve had determining my favorite movie since I’ve been keeping track of these lists.  So keep that in mind and keep the opinion-bashing to a minimum.  Or don’t – my blog needs the views!)

3. Creed

There are moments in Creed when it's hard to imagine the movie-going experience being much better.  The film isn’t merely a sequel or spinoff, but rather the perfect transition from old to new.  It’s exciting to see such a beloved series like Rocky get a revived relevance in such a refreshing story.  Stallone is better than he’s been in a long time, maybe even since the original.  Michael B. Jordan is equally as good and plays an integral part in Stallone’s Oscar-nominated work.  The two’s chemistry is palpable, natural and seemingly effortless.  I bought the sincerity of the relationship from the moment Adonis enters Adrian’s to meet Rocky for the first time.  From there you just get sucked in as the two build a complex and multidimensional bond.  At the heart of it all is director Ryan Coogler who’s quickly becoming one of my favorite working today.  He’s taken on what I consider to be major challenges in his first two films and has handled both beautifully (the first being Fruitvale Station).  It has to take a lot of nerve to say you’re continuing the Rocky series and a lot of talent and skill to do so as masterfully as he did.  I think Creed is the best since the original.  A lot of people will argue that because nostalgia is a “hell of a drug.”  That’s fine and I get it.  No matter where you stand, the quality of the newest addition is undeniable.  Oh!  I mentioned these memorable moments in the movie – the kind that you’re lucky to witness once or twice in a year, let alone a few times in the same movie.  I’ll elaborate on one but be warned that me doing so may subject you to potential spoilers. 

One moment I sincerely appreciated was the fighters’ ring entrances in the final fight.  I consider myself a better than average boxing fan.  I remember going over to a friend’s or an uncle’s house to watch the big pay-per-view fight.  One of the most anticipated moments of the entire night, maybe the most anticipated, was the ring entrance.  What music would they play?  Who’s coming out with them?  What were they wearing?  It was such an important part of the spectacle.  Coogler knows this and gives such careful consideration and time to the scene.  It’s a great illustration of his love for filmmaking and boxing and his dedication to get it right.  Creed’s entrance to Tupac’s “Hail Mary” was pretty perfect.  Pac’s music was very popular during the time I was describing earlier and often accompanied one of the fighters to the ring.  Plus Creed’s affiliation to the west coast and his knowledge of the history of the sport, shown throughout the film via his watching old fight footage or recalling specific rounds of certain fights based on a picture, made the song choice that much more appropriate.  I had chills bumps as the camera followed Creed and his team from the locker room through the dim and twisting corridors unseen by the fight fans.  The music was barely audible at first and became more and more apparent as he approached the entrance to the arena, where my chill bumps seemingly burst in euphoria as he emerged for the hostile English crowd to see at the same time as the unmistaken sound of Tupac Shakur’s voice spat the first line of lyrics: “I ain’t a killer but don’t push me!”  Wow!  Coogler then gives equal, if not more, attention to the champion’s entrance.  The arena goes black and the cell phones light up.  The crowd chants the name of their fighter in haunting unison, and it’s the first time in the film that I was sold on the legitimacy of Ricky Conlin.  I had not taken him seriously enough before that.  As if to mock my ignorance, a song I had never heard before initiates Conlin’s walk to the ring.  Unbelievably, the song appears to be even more fitting, more intimidating than Creed’s.  A fire breather illuminates a small area of the darkened arena, finally revealing Conlin and his massive entourage and many championship belts looming, approaching, stalking in the not-too-far distance.  It’s the first time in the film you’re concerned for Adonis Creed.  Masterful, masterful work by Coogler.

2.  Inside Out

I couldn’t think of a better way to express my love for this film than the initial review I wrote back in July of last year.  So at the risk of appearing lazy and showing a lack of creativity, I’m using that review again. 

 Inside Out will forever hold a special place in my heart.  Eleven-year-old Riley’s mind is beautiful and wondrous.  The film itself is irresistibly charming telling a familiar coming-of-age story in the most unconventional way.  Not surprisingly, it hits most of the human emotions, and while doing so, connects with a range of audiences as effectively and effortlessly as any animated film before it.  But aside from all that, it was my daughter Eden’s first ever cinematic experience, and I got to share it with her.  I kept the movie stubs.  I always do.  But I placed these in a special protective case (Ziploc) where I plan to keep them as a reminder of this special occasion.  The movie theater has had a significant influence throughout my life on everything from relationships to even who I am as a person, experiences I would love to write about someday in detail.  So I was understandably excited to add my daughter and Inside Out and July 9th, 2015, to the infinite list of other dates and films and memorable people that have made my life a sort of film in its own right.  As for Eden’s opinion, I think she loved it.  But to be honest she probably would’ve loved anything showing that day.  It was all about the experience for her: the giant screen, seats that went on and up forever, the popcorn.  And Daddy.  Hopefully she’ll never forget Daddy.

1. Sicario

I remember seeing this back in October of last year and thinking it was the best movie I had seen up to that point.  I never had that thought again so hear Sicario stands, my favorite movie of 2015.  And I’m okay with that because it’s excellent.  The genre is right up my alley so it didn’t take much for me to be hooked.  It’s about a special government task force who recruits a young and talented FBI agent to aid in the drug war against Mexico.  Likewise, the cast includes some of my favorite actors working today doing great work.  Emily Blunt may be my favorite actress in the biz and she doesn’t disappoint as the green horn FBI agent.  Josh Brolin leads the task force in his nonchalant, yet determined manner.  Benicio Del Torro, like Stallone, does his best work in years in what I thought was an Oscar-caliber performance.  The setup is simple enough but the execution is anything but mundane.  The flick easily keeps viewers engaged thanks to my favorite score of the year and some of the most intense scenes as well. (The border sequence is incredible and one of my favorites in recent memory.)  Another thing I like about the movie is its allusiveness or unwillingness to commit to a main character.  You initially think it’s Blunt’s character, which it may be.  But at one point there’s an obvious shift in the film’s focus from her character to another, leaving the viewer to wander who the protagonist is or who you should be rooting for or if it even matters in the grand scheme of things.  Those are the types of movies that stay with you long after you’ve left the theater.  Those are the types you can’t wait to watch again.