Top 10 Movies of the Year 2015

4. Clouds of Sils Maria
Clouds of Sils Maria
IFC Films Clouds of Sils Maria
The clouds in the title of French filmmaker Olivier Assayas’ quietly ravishing film refer to a meteorological phenomenon that unfolds, when conditions are just right, along the Maloja Pass in the Swiss Alps. But the movie’s really spectacular weather emerges in the half-prickly, half-affectionate interplay between Juliette Binoche, as an anxious, aging actress, and her flaky-smart millennial assistant, Kristen Stewart. Tension between the two hangs in the air with a silent crackle, but the bond between them is definitive and majestic, like thunder.

3. I’ll See You in My Dreams

I’ll See You in My Dreams
Bleecker Street I’ll See You in My Dreams.
How do you know when there are no surprises left in life? The surprise is that…you don’t. In Brett Haley’s gentle but potent comedy, veteran actress Blythe Danner plays a seventy-ish retired schoolteacher, long widowed, whose staid life takes a sharp left when two men appear on the scene almost simultaneously: Pool cleaner Martin Starr is the kind of platonic friend you meet only once in a lifetime; silver fox Sam Elliott is the love interest you never could have planned for. 

2. Phoenix

Sundance Selects Phoenix
German actress Nina Hoss plays a concentration-camp survivor whose disfigured face is rebuilt by a plastic surgeon: if only reclaiming her old life could be as simple. The husband she still loves, played by Ronald Zehrfeld, chilling in his seemingly benign allure, has presumed her dead and now doesn’t recognize her, though he’s not above using her as a pawn in a deceitful inheritance scheme. Director Christian Petzold has given us a noir romance of vast, bruised beauty, stylish on the surface but capable of cutting deep.

1. Spotlight

Spotlight
Open Road Films Spotlight.
In Tom McCarthy’s urgent, rolled-up-shirtsleeve of a movie, detailing how the Boston Globe uncovered a hydra-headed sex-abuse scandal within the city’s Catholic Archdiocese, reporters don’t just work the phones and trawl the web: They actually leave their desks. Though it’s set in the early 2000s, this isn’t a picture about how journalism used to matter, but a reaffirmation that it must always matter, whether the story emerges in ink or pixels.




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