Anomalisa (2015)

This is a highly unusual stop-motion animation. The content is funny and then a little strange. The figures were 3D printed. The range of emotions is vast. I think it is hilarious that there is no effort to hide the lines where the face detaches from the head. Especially around the eyes, it sometimes looks like glasses. The figures walk pretty naturally, if a little bit slow. We aren't used to such realistic animation. They actually look like humans, not cartoons. It is actually a little disturbing, in my opinion.

I love the title: in reference to Lisa, who is an anomaly. She is an anomaly because she has a unique voice. Tom Noonan voices all of the non-main characters, male and female. At first, it is slightly confusing. This is an adaptation from a play, in which there are only three actors and this effect was able to be recreated in animation. That would not have been believable in a live-action movie.

Concussion (2015)

This is a pretty solid and predictable movie. No frills or surprises, just exactly what you'd expect from a sports movie--or a football game.  The movie is about Dr. Omalu, a Nigerian medical examiner living in Pittsburgh where the Steelers are king. He is good at what he does, and does his job with care and respect. When his job only asks him to find the "how" he also searches for the "why" to understand the patient as he was in life. At its heart, it is a movie about a skilled immigrant (who does the job better) trying to become an American. He does what he thinks Americans do, by "faking" it. Soon he comes to realize that Americans care about one thing only: football. And corporations care only about money.

The movie is very Will Smith-centric. He plays the man with many degrees very convincingly. He sounds smart, nailing the scientific terms. He keeps the accent on the whole movie. Apparently, he doesn't sound quite Nigerian, but he certainly sounds African. It's a singing kind of accent; his voice goes up and down a lot. There is a scene in which Omalu tries to convince the man from the NFL to "tell the truth" and he his passion for his work shows honestly. It is his best performance in a while. 

Youth (2015)

I didn't really get this comedy-drama from director Paolo Sorrentino. Maybe I am not old enough to appreciate youth or Youth. There are lots of metaphors and I just couldn't follow all of them. I'm not sure what to make of the ending when Fred conducts his "Simple Song #3." The music and lyrics are both quite simple, but it is a delightfully beautiful song. Soprano Sumi Jo gives a dazzling performance. All of the main actors give strong performances. They get to speak their minds in monologues that allow them to shine. Jane Fonda gets just one scene towards the end but she plays up her inner diva.

The film has some dazzling images. Filmed on location at Waldhaus Films hotel in Switzerland, the scenery is breathtaking. The garden has a circular turntable that hosts nightly performances. The movie opens with a song (reminiscent of Florence and the Machine) filmed while rotating. One of the more memorable images is of a performer creating a large bubble. And there's a great scene in which Caine imagines conducting a herd of cows as he sits on a rock atop a hill. 

The Big Short (2015)

The Big Short succeeds in explaining economic concepts to the average viewer in an accessible way. A Jenga demonstration by Ryan Gosling makes perfect sense. There are hilariously placed cameos by Margot Robbie, Selena Gomez, Anthony Bourdain and economist Richard Thaler. They use analogies to explain economics and break the fourth wall, as do many of the characters. It is like a well-made documentary at some points. The style of the movie is so unconventional that it makes you laugh. The picture freezes to allow the narration come in, and there are rapid cuts of historic/cultural images to show passage of time. The movie nicely balances comedy with drama. Steve Carrell and Brad Pitt bring some conscience to heartless Wall Street.

The movie simultaneously follows three groups who separately short the housing market, depicting the greatest economic collapse of our time from the point of view of the only people who benefited from it.  We watch them as they separately come to the revelation that would cripple the world economy. The ensemble cast is excellent, and I think Steve Carrell does exceptionally well in a role that I would not have picked him for. It falls somewhere in between the ridiculousness of The Office, and the dark drama Foxcatcher. There is nuance in his role as he comes to the realization that we are all doomed.

The film is a searing indictment of the whole system at every level from the banks to the rating agencies to the regulators. It really brings meaning to the phrase "If you're not outraged, you're not paying attention" (Portlandia). You root for the protagonists who awaken and bet on the seemingly impossible. But then you realize that their bet is against the American economy, actually the world economy. They could be seen as villains, but they're really not at fault for reading the fine print. But nor are they heroes. There are no heroes in the economic crisis, just varying degrees of villainy. At the end, it all comes together when Carrell comes to the greatest, move devastating and tragic and cynical realization: it's not stupidity, it's not a matter of paying attention, it's a lack of care knowing that that'll get away with it and the less fortunate will suffer for it.

The Martian (2015)

This movie is perhaps the best advertisement for NASA and STEM. If this doesn't inspire you to pursue a STEM field, nothing will. It makes science cool. The characters are true experts in their fields, quickly solving complex problems with innovative out-of-the-box solutions. I think this movie will inspire a generation to pursue careers in astronomy, physics, and....botany. The script is well-written, fast paced, and sounds mostly scientifically accurate to someone like me who doesn't know (But to my credit I did follow some of it!).

The ensemble cast is excellent. Matt Damon carries the film with his likable personality, quick thinking, and one-liners. In the face of certain death, he finds a way. There is a moment at the end that reminded me of the end of Captain Phillips, when Tom Hanks gives a masterclass in acting--in a state of shock having just been rescued. In The Martian, this moment comes before the rescue attempt, when Matt Damon breaks into tears of hope. The scene could have been elongated to let Damon play it up a bit more, but it evoked a similar feeling. The casting of Kristen Wiig in a largely non-comedic role was a little strange. And as much as I like Chiwetel Ejiofor, he is decidedly not Indian, nor is Mackenzie Davis Korean. The characters were written as Asian, and so those roles should be played by Asian actors. There are not that many roles for Asian actors, so we should give the few that do exist to Asian actors.

Ridley Scott creates a convincingly barren picture of Mars on location in Jordan. He made a crowd pleasing, visually thrilling, and thought provoking story.

Love & Mercy (2015)

Paul Giamatti is so creepy as the hack of a doctor Landy. He just does evil so well. Coincidentally, this is the second evil music producer he has played this year after Straight Outta Compton. The music is very different. It is less about lyrical genius and more about musical genius. Brian Wilson created complex layers of instrumentation. Paul Dano brilliantly and effectively plays a young Wilson who is just beginning to hear voices in his head. The studio scenes are incredible. They are shot on Super 16 handheld cameras documentary style. These are candid, intimate shots in the studio zooming in and out of Wilson instructing the musicians on the exact sounds he is trying to produce. He experiments with literal pet sounds, puts hairpins in the piano, and keeps his voice in the track. He has complete control over the studio, making sure that he achieves perfection. There is a shot of Wilson working with the cellist and the camera rotates to film the rest of the studio while the action takes place off camera. You hear it but you don't see it. This recurs in the film. The music naturally has a lot of sound mixing, and the sounds tell the story as much as the pictures do--such is the power of music.

The texture given to the young Wilson scenes contrast John Cusack's scenes of an older Wilson. The story jumps back and forth in an innovative approach to the biopic. And I like that different actors were cast to play the same man, like in the Bob Dylan biopic I'm Not There (also written by Oren Moverman). We primarily see the man under the care of Dr. Landry who has been suffering from his mental illness for many years. And in between there are glimpses of the younger Wilson, to remind the viewer of the genius that is being hidden by his illness. But here is the nuance, the illness inspires Wilson to write some of his most revolutionary and iconic music. The title Love & Mercy is a fitting one that is also one of his songs, without giving away too much. And the original song "One Kind of Love" written by Wilson for the film is very good. It was inexplicably left off the list of Oscar-eligible songs this year, though it might win the Golden Globe.

An American in Paris (Broadway) (2015)

This is a gorgeous stage adaptation of the classic Gene Kelly film. Much like the movie, the focus of this production is dance.  I have a great appreciation for dance. It is mostly ballet, but there are brilliant infusions of jazz and contemporary dance (and maybe a bit of Fosse). The choreography is so beautifully elegant and intricate. Director-choreographer Christopher Wheeldon makes an extraordinary Broadway debut. The opening number is a gorgeous dance to Gershwin's Piano Concerto in F.  It is these lyric-less moments in which the production shines brightest.  George Gershwin's jazz inspired score is great but personally I prefer the pieces without words to the songs with (no offense to Ira). The beautiful jazzy theme from the second movement of the Concerto in F recurs throughout the production. The film is well known for its 17 minute ballet sequence to the piece of the same name.  The climax of the play is a similar ballet that is simply mesmerizing.

Robert Fairchild, brother of Megan Fairchild from On the Town, plays the male lead. He is a fine singer, but a fantastic ballet dancer. We did not see the Tony-nominated Leanne Cope because we have terrible luck but her understudy was a gorgeous dancer, too. And from a distance, they actually look very similar.

The design of the musical, that is the sets and costumes, are brilliant. Fittingly, the protagonist designs a ballet. Bob Crowley designs a rather minimalist set, leaving the floor mostly open for the dancers. As you enter the theater, you see a lone piano at the center of the stage (this image comes back at the end). A projection of the Arc di Triomphe on a sheet on the back wall transforms into the French flag from which the principal dancer emerges.  The background is made of cutouts drawn at an angle for perspective, and the projections fill in the details slowly in digital pencil. One of the best scenes features a sophisticated, animated hand-drawn ballerina on the moving set pieces that have angled tops, and ballet bars for manual movement. The masquerade costumes in the Cuban Overture are delightful, and the chromatic geometric design of the ballet sets and costumes are highly original.