Brandon’s Top Films of 2015


1. The Duke of BurgundyPossibly the least commercial movie about a lesbian couple in a BDSM relationship possible. Equal parts an intentionally-obfuscated art film & a tender drama about negotiating how to balance romantic & sexual needs in a healthy relationship, The Duke of Burgundy isn’t for everyone, but it is the most beautifully-shot film of the year and a surprisingly poignant portrait of a timeless romance. If you have the patience for its languid pacing & reliance on repetition, the rewards are rich & plentiful.

2. What We Do in the Shadows In a year when a surprisingly limited number of American comedies hit the mark, this gem from New Zealand geniuses Jemaine Clement & Taika Waititi was an easy pick for best comedy of the year, if not the decade. You’d think that a mockumentary about vampire roommates in modern times would be the last breath of a dying genre, but What We Do in the Shadows is readily-available proof that the stake hasn’t been driven into its heart quite yet. This is a hilarious film that only improves upon repeat viewings, with a wealth of quotes waiting to make their way into your daily vocabulary. Now leave me to do my dark bidding on the Internet.

3. Ex Machina – Just really solid, well-constructed sci-fi. I can’t think of a film from this year that got a bigger effect out of so few, subtle moving parts. A lot of what immediately stands out about Ex Machina is the incredible talent of its three lead actors, but the film also has an intense, well-curated visual language to it that can make your blood run ice cold with the most minimal of efforts.

4. Tangerine The movie from 2015 I’d most like to watch/discuss with (the greatest human being walking the Earth) John Waters. Tangerine is a raucously fun, poorly behaved whirlwind of an adventure through Los Angeles’ cab rides & sex trade. For a movie shot entirely on iPhones it’s got a surprisingly intense cinematic eye & despite leaning hard towards over-the-top excess there’s a very touching story at its heart about the value of friendship & makeshift family.

5. Mad Max: Fury Road – Probably the most intensely weird & go-for-broke action film of the past decade. George Miller may be in his 70s, but this is the work of a youthful spirit grinding the gas peddle hard to the floor, hands off the steering wheel. In a time where CGI is casting an insufferable blandness across most action properties, Fury Road is a practical effects masterwork that feels like a breath of fresh air, despite the chokehold it takes on your senses.

6. Magic Mike XXL – The first Magic Mike film is a somber, reflective drama that just happens to be centered on a gaggle of male strippers. XXL, on the other hand, is an over-the-top road trip comedy where said strippers act like an over-aged boy band: horny, sassy, and high on drugs. One of the most unashamedly fun movie-going experiences of the year, not to mention the lagniappe of its intense cinematography.

7. The Diary of a Teenage Girl – An incredibly uncomfortable coming-of-age drama about a young girl in 1970s San Fransisco exploring her sexuality in wildly dangerous ways. Its comic book art visual palette works like a major asset instead of a gimmick & relative newcomer Bel Powley delivers what might be the best lead performance of the year.

8. Star Wars Episode VII: The Force Awakens – Interstellar was the most hilariously over-complained about movie of 2014. The Force Awakens easily earned that distinction in 2015. It’s a genuinely fun, intricately detailed return to form for a franchise that hasn’t been nearly this satisfying since 1980’s The Empire Strikes Back. If you need insight into just how much the movie bends over backwards to please its audience, just take a look at the beyond-adorable BB-8. What a little cutie.

9. Straight Outta Compton – As far as its historical accuracy as an N.W.A. biopic goes, Straight Outta Compton might be shooting about 20%. All of its self-congratulating indulgence aside, it’s a 100% awesome (or “dope”, if you will) late-80s/early-90s pastiche with a killer soundtrack and some stunning visual work from regular Aronofsky-collaborator Matthew Libatique.

10. Felt – A hazy, disconnected portrait of a visual artist coping with a past, vaguely-defined (but likely sexual) trauma. Felt is an unforgivingly intense gaze into a super-specific form of art therapy, even before its meandering pace crashes in a grandly violent display at the film’s conclusion.

11. White God – As most revenge movies tend to go, the endless parade of abuse in this film’s early storylines are not nearly as fun or as easy to watch as it is when shit hits the fan. It just so happens that in this case the revenge is carried about by a massive herd of stray dogs that have a very good list of reasons to tear down an entire city. It’s an incredible, one-of-a-kind spectacle.

12. Appropriate Behavior – Writer/director/actress Desiree Akhavan brings an impressive amount of authenticity to a genre that’s been a little too popular to feel truly distinct lately: the drama-comedy about the 20-something New York City woman who just can’t seem to figure her shit out. This a dark, but hilariously raunchy work & for my money its far more satisfying than its most (financially) successful comparison point from the same year – Trainwreck.

13. Spring – Part of what makes Spring so fun is that it’s such a difficult film to pin down. Is it a tender romance drama or a modern version of a natural horror? What’s more important: its central doomed-to-be-seasonal romance or the horrific nature of its shape-shifting sci-fi beast? Let’s just split the difference & call it the most interesting answer to Linklater’s Before Sunrise/Before Sunset series to date.

14. It Follows – In a lot of ways it feels like John Carpenter’s entire aesthetic is making a (much deserved) cultural comeback. Weirdo action films like The Guest & Drive have at least incorporated his distinct soundtrack work into their highly-stylized worlds, but It Follows takes the homage a step further and constructs more or less what a modern John Carpenter horror would look and sound like. It isn’t as successful as Carpenter’s masterworks like Halloween or The Thing, but its haunting sexually-transmitted-curse premise & killer synth soundtrack make for some remarkably weird & memorable moments.

15. Driving While BlackPresented on the surface as a laid back stoner comedy, this film actually packs a surprisingly powerful (and unfortunately timely) political punch in its depiction of “the extra layer of bullshit on top of regular life” that black people have to face daily in modern America. Detailing the public harassment & personal violation of being constantly persecuted by the police on the receiving end of racial profiling, Driving While Black walks an impressive tightrope of feeling like an important movie, but never losing track of being consistently funny.

16. Creep/The Overnight – Writer/director Patrick Brice just had a pretty incredible year. His first two feature films, Creep & The Overnight, earned wide distribution withing months of one another and both stood as darkly funny, often hilarious reminders of how much of an impact a director can pull from a great script, a limited set, and just a handful of actors. Although one is a found footage horror (Creep) and the other is a twisted play on the traditional sex farce (The Overnight) they pair nicely in their lean towards minimalism & in their collective declaration of Brice as a talent to watch.

17. Queen of EarthThe two minute trailer for Queen of Earth might be the best short film of the year, but the movie itself is a lot more delicate & detached than the psychological horror that the ad promises. It’s difficult to pin down exactly what transpires in this film (I personally see it as a vicious, yet subtle tale of revenge through drawn out emotional torture), but the seething hatred mounting between its two leads is bound to bore a hole into your memory no matter where you land on its plot.

18. Predestination – Predestination is neither a wholly unique work nor an exercise in good taste. It is, however, an example of the virtue of sincere, traditional acting & storytelling and how those elements can elevate ludicrous material into something special. Although its major twists & reveals may occasionally be telegraphed, it’s fascinating to watch the film reach those conclusions in its own time and on its own terms. There’s a sci-fi tradition to its sincere, pulpy sense of tonal balance, but it’s a vintage tradition that’s unconcerned with the new territory that sci-fi cinema’s been exploring in recent years.

19. Goodnight Mommy – There’s a major twist at the core of Goodnight Mommy that most discerning folks will be able to catch onto within minutes of the film beginning, but that withheld reveal in no way cheapens the ugly brutality of its horror imagery or the delicate beauty of its art film surreality. Goodnight Mommy is not looking to outsmart you with its plot, but rather to tie you down & torture you with its relentless horror film intensity. As a bonus, it also functions like cinematic birth control the same way that great works like The Bad Seed, The Babadook, and We Need to Talk About Kevin have in the past. It’s a very specific genre that I’m always a sucker for.

20. Mistress America Noah Baumbach’s latest pulls an incredible trick of not only exposing the harrowing emptiness behind a know-it-all, creative-spirit Millenial’s Everything Is Perfect & So Am I facade, but also making you feel sort of bad for her when the illusion crumbles. Like the film’s protagonist who looks up to this human anomaly, we want to believe that someone so free & so in tune with The Ways of the Universe could actually exist, but by the end of the film you’re left with the feeling that the very idea of someone living that impossible lie on a daily basis is not only far from admirable, it’s also deeply sad.

H.M. Girlhood – Despite what you might expect from a film about roving packs of French girl gangs, Girlhood is far from an on-the-nose melodrama with explicit messages about the powder keg of poverty & puberty. Instead, it’s a brutally melancholy slow burner about an especially shitty youth with dwindling options for escape. It’s far more open-ended & hazy than I was anticipating, opting more for a gradual unravelling than a grand statement. It’s that aversion to closure & moralizing that makes the film special when it easily could’ve gone through the motions of rote Lifetime Movie schmaltz. Besides, its mid-film, impromptu music video for Rihanna’s “Diamonds” easily ranks among the year’s most uplifting moments in film.

-Brandon Ledet

White God (2015)



White God opens with an immediate delivery of its basic hook: a canine revolution. Our young teen protagonist Lili is shown biking down empty city streets, passing the same vacant cars & eerie urban voids that begin 28 Days Later. Before you can piece together an answer to “What happened here?” Lili meets a canine flood. Hundreds of real-life pups chase her down the road, suggesting some kind of Dogpocalypse. Even in these opening minutes you’re overwhelmed with the feeling that White God is an instant classic or, at the very least, something you’re not likely to see too many times in your life. The trick is once it has you on the hook with a taste of what’s to come, it has to earn the grand scale lunacy of that moment, which the film backtracks to accomplish with an intense tale of (somewhat supernatural) revenge.

Although Lili is first shown bracing the Dogpocalypse by herself, she’s far from alone in this world. Her pet mutt Hagen is Lili’s right hand dog, forming a strong sense of solidarity with her as the pair is passed off to her meat inspector father for a three month visit. Lili’s father is not fond of the dog, to say the least, and at first it’s tough to see his tenderness for his own daughter as well. The parallels between Lili & Hagen are established as early as when they’re being passed off to the nonplussed meat inspector at his slaughterhouse workplace. As they’re walked to his car, two cows are literally marched to the slaughter, hammering home the metaphor as much as possible in visual shorthand. As Hagen is shouted at, dragged by the collar, isolated, and abused throughout the film, Lili is similarly pushed around by the cops, teachers, and parental figures of her life. Her coming of age story poses a teenage girl’s lack of autonomy to be just as miserable & vulnerable as that of an abused street dog. As Hagen hurts his paw, Lili injures her leg. As Hagen’s filmed galloping down city streets, Lili prowls the very same locations on her bicycle, etc.

As similar as their troubled paths may be, however, it’s difficult to argue that Lili’s struggles with authority figures & indifferent older crushes are nearly as devastating as the indignities Hagen suffers. A mixed-breed street dog, Hagen is cruelly treated by every human being in his life in a gradually escalating gauntlet of abuse. After the cold beratement he suffers from Lili’s father, Hagen is abandoned roadside & left to fend for himself. A large part of the movie’s narrative takes a dog’s POV in a style that’s much more akin to the harsh realities of Baxter than it is to Homeward Bound. The confusing chaos of ducking through traffic, scavenging for puddles to drink & garbage to eat, and curiously pawing at roadkill are only the start to Hagen’s perilous journey. He initially makes enemies with animal control, a villain the film holds common with Shaun the Sheep & Babe 2: Pig in the City, but then his growing list of wrongdoers escalates to include butcher shop employees, desperate & homeless fiends, and heartless animal shelter brutes. Worst of all is an organized dogfighting ring (portrayed here in disturbing detail) that systematically abuses Hagen into becoming a trained killer instead of the sappy sweetheart he was in Lili’s protection. Speaking of Lili, even she becomes culpable in Hagen’s abuse as she gets so distracted with her own life that she gives up looking for her best friend, who’d been left to survive alone.

The good news is that as much as White God tests the strength & patience of animal lovers’ hearts (that dogfighting ring sequence is particularly brutal), it also delivers the immense sweetness of abused dogs’ revenge in a way so satisfying & so calculated that it approaches the supernatural. The final half hour of the film, which features extended sequences of Dogpocalypse mayhem & very precise acts of revenge on Hagen’s list of enemies, reaches a grand scale crescendo of chaos that rivals anything you’d see in a more well-funded natural horror film, like a Godzilla or a King Kong. White God pulls a surprising amount of pathos out of a dog’s dialogue-free journey through various forms of cruel captivity, whether he’s displaying the unbridled freedom of a leashless run, assembling a gang of dogpound miscreants (in curiously butsniffing-free exchanges), or, sadly, transforming from a kind soul to a hardened killer. Dogs really do just want to please us. They want to make us proud, asking only for love & attention in return. Even if you can see where the movie is going in its final minutes as Lili answers for her own participation in Hagen’s abandonment & resulting abuse, the climax still hits hard. Both in the sheer joy of beholding seemingly all of the world’s abused dogs exact their revenge on us human scum & in the tender intimacy of watching two wounded animals, Hagen & Lili, facing off & reconciling their pasts, White God makes every ounce of suffering that came before the climax well worth it. It’s a rare, satisfying conclusion of a genuinely strange film that gratifies both in its willingness to go over the top & in its ability to touch you emotionally.

-Brandon Ledet