My 2015 in Film

This year I saw 17 new releases (US release in 2015), mostly action blockbusters and animated family films, with a few outliers. As always, I didn’t see nearly enough to offer a comprehensive ranking (as subjective as those things are to begin with), but I can at least point to some of my favorites. (Also, I’m terrible at ranking things, so this could easily change tomorrow, and in fact has already undergone changes since I started drafting this.)

Duke_of_Burgundy

5. The Duke of Burgundy
I loved a lot about this movie, the story of a troubled dominant-submissive lesbian relationship. Director Peter Strickland’s appropriation of a 1970s European soft porn aesthetic, all soft focus and chanteuse-style pop music, is right in my postmodern wheelhouse (one of the opening credits, after “Dress and Lingerie” is for “Perfume by Je suis Gizella“). And there is a surprising streak of dry humor amidst the angst-filled meditations on control and the rigid boundaries we set for ourselves and each other. However, too many of the visual and auditory flourishes were straight out of David Lynch, particularly a sequence that felt uncomfortably indebted to Mulholland Drive, crossing the line beyond “homage.” I still liked the movie, but it may have been a victim of my high expectations.

Crimson-Peak

4. Crimson Peak
After Guillermo Del Toro’s previous film, Pacific Rim, Crimson Peak was a welcome return to focus on human characters and their problems, while still featuring the director’s trademark grotesque monsters (this time the bloody ghosts that haunt the titular mansion). A gloriously gloomy gothic romance, it starred a perfectly cast Tom Hiddleston and Jessica Chastain as siblings with a dark secret, and Mia Wasikowska as the innocent caught in their web.

she-devils

3. Mad Max: Fury Road
I was as surprised as anyone to see the post-apocalyptic Mad Max series come roaring back after a thirty year absence from the screen, but director George Miller had clearly spent the time away thinking about the logistics and meaning of his future-primitive setting. Tom Hardy is fine as the title character, but it’s really Charlize Theron’s show as the bad-ass Furiosa. In addition to updating the setting in light of concerns about environmental collapse and climate change, Fury Road gives a fiercely feminist reading of the traditionally testosterone-filled “road warrior” genre (here’s what I thought immediately after seeing it).

Inside_Out_(2015_film)_poster

2. Inside Out
A return to the daring conceptual heights of Ratatouille and Wall-E, Inside Out is simply the best Pixar film in years. Unsurprisingly, Inside Out was written and directed by Pete Docter, who also created Monsters, Inc.: there’s a similar fascination with factory-like spaces and a unique “backstage” interpretation of Pixar’s usual “secret life of ______” formula. Although the focus is on Joy, Sadness, and the other personified emotions inside eleven-year-old Riley’s head, the film benefits from the animation studio’s increasing confidence in creating expressive human characters that don’t resemble creepy dolls. I doubt it would work as well as it does if Riley and her parents didn’t hold up their end of the story in their scenes.

what_we_do_in_the_shadows

1. What We Do in the Shadows
I already talked up this one as the funniest movie I had seen all year when I saw it in October, and in the two months since I haven’t seen anything to topple it from my top spot. In addition to its humor, however, What We Do in the Shadows is as tightly-plotted as an Edgar Wright film while appearing as off-the-cuff as a Christopher Guest mockumentary or The Office. It also turns out to have some clever (and often poignant) observations about family, friendship, romance, and ambition (the last represented by Jackie van Beek, a “thrall” who hopes to ascend to vampirehood, a process that resembles an unpaid internship and virtual slavery to her vampire “master”).

AntMan

Honorable Mention: Speaking of Edgar Wright, like many I was disappointed when Wright left Marvel’s Ant-Man, citing creative differences. But the movie we got, directed by Peyton Reed, still has Wright’s fingerprints all over it, from the fast cutting and clever narrative tricks to the visuals, which play with scale in a number of humorous and dramatic ways. In general I’ve enjoyed the free-standing Marvel movies more than the big team-ups: as exhilarating as it is as a comic book fan to see stories overlap and interact on screen just as they do in the comics, there’s a limit to how many characters and plot lines can comfortably fit in a feature film before I stop caring about any of them.

Surprisingly Good: Home did very well for itself at the box office and mostly got decent reviews. But unless you saw it you wouldn’t know how visually inventive it is and how its sense of humor is frequently a lot weirder than the clips of Jim Parsons as an overly-literal alien shown in the trailers suggested. (I’m willing to believe that the film’s stranger touches are drawn from the book it was based on, The True Meaning of Smekday by Adam Rex, but I haven’t read it.) I also appreciated the film’s emotional stakes and the revelation that Inside Out wasn’t the only family movie this year to stress the importance of empathy and accepting that sadness and grief have their place as healthy emotions. Finally, props for the good use it made of Steve Martin, who should really be considered more often as a voice actor.

star_wars_buddies4LIFE

Best Reboot (non-Mad Max category): I was pretty high on Star Wars: The Force Awakens after I saw it, and even after cooling off there’s still a lot I like about it. Under the new management of corporate owner Disney and director J. J. Abrams, The Force Awakens feels like a Star Wars film, visually and aurally. The return to largely practical effects is appreciated, and the new characters and their stories have some compelling hooks. As a passing of the torch to the new generation, it’s much more successful than, say, Indiana Jones and the Kingdom of the Crystal Skull, which did little to make me care about Jones’ son Mutt. In fact, I liked just about everything about The Force Awakens except the plot, which is just too much of a rehash of the original 1977 film (especially considering the Death Star had already been redone in 1983’s Return of the Jedi). Considering that The Force Awakens‘ planet-sized Starkiller follows Star Trek Into Darkness, which used the same ploy of “like the Enterprise, but bigger” for its bad guy’s ship, I’m glad Abrams will be stepping aside for the next installment of the Star Wars saga. After the much-maligned prequel trilogy, however, this was probably just what was needed to right the ship and get audiences excited again.

Most Forgettable: Fortunately, this year I haven’t seen any new releases that I really hated, so I don’t have a pick for “the worst.” However, at the bottom of my list is Jurassic World, which delivered the big dinosaur action it promised but was lackluster in all other respects, both derivative and lazy. I also didn’t get much out of Avengers: Age of Ultron (see my above comments about team-ups), but unlike Jurassic World it at least had compelling characters and the advancement of the ongoing Marvel plot going for it.

2015 was also another big year for catching up on movies from the past. In addition to the second summer of exploring serials in my Fates Worse Than Death series and my successful attempt to take in 31 horror films in October, I took advantage of repertory screenings, DVDs, TCM, Netflix, and YouTube to watch a variety of older films throughout the year.

wickedlady

First-time non-2015 movies that I liked were (in no particular order) El Hombre y el Monstruo (a Mexican riff on Jekyll and Hyde featuring a classical pianist who has sold his soul to the devil: whenever he plays a particular piece he transforms into a murderous wolfman), Polyester, The Man Who Laughed, The Thing, Repo Man, The Wicked Lady (1945), and the double feature Grindhouse (particularly Planet Terror, Robert Rodriguez’s half, but I appreciated the spirit of the whole project). I also caught up with a few movies from 2014 that I had missed the first time around, among them The Babadook, Under the Skin (a film I respected more than loved, but which isn’t looking for my approval anyway), and Edge of Tomorrow (aka Live/Die/Repeat), which did something I wouldn’t have thought possible: delivered a military sci-fi movie that both held my interest and made me care about its characters.

conquest

Worst non-2015 movie: This is easy. After seeing Lucio Fulci’s City of the Living Dead last year, I wasn’t exactly a fan: the movie was pretty hard for me to take, both extremely gory and nerve-wracking in its disregard for conventional plotting. Still, that’s one way to make a memorable horror movie, and although I didn’t love it I was willing to explore Fulci’s filmography further. Unfortunately, the next Fulci movie I watched was 1981’s Conquest, a dismal sword-and-sorcery picture that was clearly made in work-for-hire mode. It has some stylish character designs and graphic fight scenes, and the trailer puts enough cool moments together that I expected a passable Conan the Barbarian rip-off. Alas, those moments are doled out in an extremely stingy manner and the rest is filled with walking and talking scenes that have almost no energy, resulting in a dull, lifeless slog. (As far as Fulci goes, I also ended up seeing The House by the Cemetery recently, and while I didn’t care for it much, it was a lot better than Conquest.)

That’s about it for my look back at 2015. Happy New Year, and see you in 2016!

Advertisements

My 2015 in Books

20151206_144709.jpg

As the year draws to a close, it’s time for another post to summarize my activity in the past twelve months. As I did last year, I kept track of the books I read this year (I’ll look back on films I watched this year tomorrow). As before, I’ve only listed books I read from beginning to end (that’s why only one of the Robert E. Howard collections I wrote about in October is listed, the others having been read before). All were first-time reads (although I know I had read parts of American Humor before, but apparently not the whole thing), and I managed to keep my resolution to read more than I did last year, including some classics (hey, it turns out Moby Dick is a pretty good book!).

How does one summarize a year of reading activity? I don’t read by working through a list: I have books in mind that I want to get to, and I own a lot of books I haven’t read yet, but in general I let the last book I finished help me decide what to read next. Sometimes I continue along a certain track (several threads appeared in my reading this year, including books about the art and craft of writing; Wonder Woman and the fascinating behind-the-scenes story of her creator, psychologist and sex researcher William Moulton Marston; non-fiction on a variety of subjects; and several novels and collections of fiction).

After reading so much about Wonder Woman, the opportunity to pick up a set of reprints of her contemporary Phantom Lady made for a useful comparison. For one thing, it’s interesting to observe how much bondage and role-playing is in the wholesome Wonder Woman as opposed to the supposedly racier Phantom Lady; the difference is largely in that Moulton’s Wonder Woman presents its themes of domination and restraint from a playful perspective, and Harry G. Peter’s simple illustrations don’t draw quite as much as attention as Matt Baker’s famous “good girl” art (although in Classic Phantom Lady Volume Two, Jim Vadeboncoeur, Jr. makes a strong case that Baker drew much less Phantom Lady than he is usually credited with).

At other times, after spending time in a particular headspace, I’m ready for a change: I was eager to part company with “Walter,” the narrator of the Victorian sexual diary My Secret Life, after nearly 600 pages (and the original work was published in eleven volumes!). “Walter’s” escapades are by turns titillating, horrifying, and deeply sad, the book itself a mixture of Victorian letters to Penthouse, inadvertent social history, and pre-Freudian psychosexual analysis. Even abridged, it’s “everything you wanted to know about Victorian sex but were afraid to ask.”

That made Edmond Hamilton’s The Valley of Creation, a short and breezy pulp novel, a welcome palate-cleanser. I used to read such short novels frequently; although I enjoyed most of them, I also thought of them as research, fleshing out my picture of the pulp era and stocking up on plot and character formulas for future reference. I still have many on my shelves that I haven’t gotten to (many of them were boxed up until this year, when I got some new book shelves and was able to unpack them), so perhaps 2016 will be a year to renew my acquaintance with the diverse output of the pulps.

ValleyofCreation

January
Danse Macabre, Stephen King
Ghost Story, Peter Straub
On Writing, Stephen King
Don’t Fear the Reaper: Why Every Author Needs an Editor, Blake Atwood
The Juggler, Rachilde (trans. Melanie C. Hawthorne)
Wonder Woman: the Life and Times of the Amazon Princess, Les Daniels

February
American Humor: A Study of the National Character, Constance Rourke
The Secret History of Wonder Woman, Jill Lepore

March
Moby Dick, Herman Melville

April
The Wonder Woman Chronicles Volume One, William Moulton Marston and Harry G. Peter
A Year with a Whaler, Walter Noble Burns
Wonder Woman: Feminism and Bondage in the Marston/Peter Comics, 1941-1948, Noah Berlatsky
Revival, Stephen King
The Wonder Woman Chronicles Volume Two, Marston and Peter
Cities of Dreams, Stan Gooch

May
Guardian of the Gods, Mark Rodgers

June
The Mammoth Book of Steampunk, ed. Sean Wallace
Tarzan Forever: The Life of Edgar Rice Burroughs, Creator of Tarzan, John Taliaferro
The Wonder Woman Chronicles Volume Three, Marston and Peter

July
Classic Phantom Lady Volume One, various
Classic Phantom Lady Volume Two, various
Classic Phantom Lady Volume Three, various
Ladies in Distress, Kalton C. Lahue

August
The Pentagon: A History, Steve Vogel
The Interstellar Age: Inside the Forty-Year Voyager Mission, Jim Bell
Save the Cat!, Blake Snyder
Illegal Tender: Gold, Greed, and the Mystery of the Lost 1933 Double Eagle, David Tripp

September
The Orientalist, Tom Reiss
The Haunter of the Ring & Other Tales, Robert E. Howard

November
The Log of a Cowboy, Andy Adams
All the Wrong Questions: “Shouldn’t You Be in School?”, Lemony Snicket
The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made, Greg Sestero & Tom Bissell

December
My Secret Life, Anonymous, ed. James Kincaid
The Valley of Creation, Edmond Hamilton

So, readers, I ask you: what did you read this year? Did you meet any reading goals, and what do you look forward to reading in the new year?

Wichita Symphony Orchestra: Handel/Mozart, Messiah

I had the opportunity to review the recent performance of Messiah by the Wichita Symphony Orchestra and Chorus this weekend. The version they performed was the 1789 revision of George Frideric Handel’s work by Wolfgang Amadeus Mozart. My review for The Wichita Eagle can be found here.

Messiah
George Frideric Handel, orchestrated by Wolfgang Amadeus Mozart

Wichita Symphony Orchestra
Daniel Hege, Music Director and Conductor

Janet E. Brown, Soprano
Barbara Rearick, Mezzo-soprano
Dinyar Vania, Tenor
Timothy LeFebvre, Baritone

Wichita Symphony Orchestra Chorus
Michael Hanawalt, Chorus Director