17) Infinitely Polar Bear
Living with bipolar disorder is, according to one quote, "having the motivation to change the world at one moment, and then not having the motivation to even wash yourself." In kid - friendly terms, it's "waking up not knowing if Tigger or Eeyore will be making your decisions for you."
Kenosha, Wisconsin's golden boy Mark Ruffalo, already in the mix for his supporting turn in Spotlight, plays Cam Stuart, a father dealing with raising a family and simultaneously fighting manic depression. His wife Maggie (Zoe Saldana), is sympathetic to the tumult of his situation until it starts to be too much to handle; during an episode of hysteria, she feels threatened and locks herself and the kids in the car. Feeling like she has no choice, she has him committed and takes their two daughters Amelia (Imogen Wolodarsky, real life daughter of writer-director Maya Forbes) and Faith (Ashley Aufderheide) to live in a small apartment. When he returns home, she lets him know about her game plan: I got into business school in New York City, and you are going to watch the kids. Overwhelmed at first, he takes on the role with vim & vigor. But it's taxing enough being a single dad--especially one with mental health issues --and the pressure starts to rear its ugly head.
The story is über autobiographical for Maya Forbes, whose daughter is the stand in for twelve-year-old-her. At times as the viewer you wonder if some of the oddities are a little embellished, but it helps that the performance is in such capable hands. Mark Ruffalo was nominated for a Golden Globe, and he should be one of the five best actor nods in Oscarland. He is, simply put, outstanding. Every nuance of the disease feels well-portrayed, from bizarre highs to soul-sucking lows and violent swings of anger, to wanton disorganization and hyper - motivated cleanliness. Zoe Saldana is certainly no slouch either, bringing real and authentic emotion to a character that manages to be just as conflicted. And the daughters are the unsung heroes of the film. Both actresses fight embarrassment and rage at their father all while struggling with racial identity and abject poverty. They find ways to see the good in him, and it's a beautiful thing to see.
16) Brooklyn
1952 Ireland, where the world is small and life is simple. Ellis (read: AY-Lish) is getting by, but her boss is the absolute worst and she wants more. When her sister hooks her up with an opportunity in America, she literally leaps at the chance to ride the Ellis Island Express. The ride over is anything but smooth; she is sick and locked out of her bathroom. But a sexy, savvy, independent woman takes her under her wing and talks her through "all you need to know about America."
After securing work as a shop girl in an upscale jewelry store, she is at a dance with friends when she bumps into Tony (Emory Cohen, last seen as both fatter and younger as Bradley Cooper's son in The Place Beyond the Pines), an Italian American living in the same neighborhood. She does her best to reject his wiles, but before long they go from chums to lovers. Out of the blue, she gets a call from back home detailing a tragedy. She needs to get her back on the next boat. Her home sickness is given a visceral counterpart, and now she is torn between two worlds: a comfortable life at home (now featuring Domnhall Gleeson as eligible bachelor Jim) or adventure and excitement abroad with Tony.
Since the jump, Brooklyn has felt like Oscar bait. Period piece? Check. Coming of age story? Check. Old world vs new? You bet. Still and all, it is a good movie anchored by an impressive performance from young Saoirse Ronan, who we sure as s*** haven't seen the last of. Michael Brook's score is well done, swelling and hitting the right spots when it is supposed to. Nick Hornby brings his gift for the word to the big screen (usually it's his novels getting the Hollywood treatment, not the other way around.) Finally, it looks outstanding, a trip back to when it was cool to wear white tees and twist the night away.
Don't get me wrong, Brooklyn is an extremely well-made movie. It just didn't feel like any new ground was broken, here. It didn't feel all that compelling.
15) Room
Speaking of impressive performances...
Speaking of novels getting the Hollywood treatment...
When it became clear that the book for Room was going to be turned into a film adaptation, I talked to quite a few people who read the book and were like "Yeah, the book was really good. And it's in first person from the perspective of a five-year old." Me and those quite a few people were like "So how the hell are they supposed to pull that off, exactly?
Using voiceover from said 5-year old, Jack (Jacob Tremblay), filmmaker Lenny Abrahamson gets as close as he can to getting the feel right. Jack and Joy(Brie Larson) have been living in "Room" for about 7 years. Room is the basement of Old Nick (Sean Bridgers), where they are captives. It is the only life he knows and he treats lamps and eggsnakes (empty eggshells laced with string) and other inanimate objects as his friends and family right alongside Joy. Oftentimes Jack hides out in the closet while Old Nick is physically/sexually abusing Joy. Despite all this, Joy manages to show enthusiasm whenever possible for his sake, which is remarkable considering.
One day, Old Nick comes down and tells her that he lost his gig, and will have a tough time providing them supplies from here on out. With the clock ticking, Joy hatches an escape plan, getting Jack to play dead in a rolled up rug (after faking a high fever a couple days before, of course). From the back of the Nick's truck, Jack, repeating her instructions to himself, unrolls himself and runs for help. His views from the end of the tubes represent his first views of anything outside, ever, and it's a pretty magical moment. Getting out, though, would be the easy part; adjusting to life outside of Room is the biggest struggle of all.
Brie Larson has taken early favorite Cate Blanchett (Carol) and basically mopped the floor with her throughout the awards season. The Oscar for best actress will be no different, nor should it be. Every single one of those "powerhouse" and "tour de force" clichés apply. She has been on radars for years now, most recently for Short Term 12, and it's about time she got not only her due but her opportunity. Joan Allen and William H. Macy bring their dependable chops to the table as her parents, dealing with both massive guilt and relief. Mom Nancy is more curious and confrontational with Joy, while Dad Robert prefers to tiptoe on eggsnakes. Maybe the best thing about Room is Stephen Rennick's astonishing score and the pitch-perfect use of This Will Destroy You's (clearly disciples of fellow Texans Explosions in the Sky) "The Mighty Rio Grande" to soundtrack Jack's introduction to an earth beyond Room.
Don't get me wrong, Brooklyn is an extremely well-made movie. It just didn't feel like any new ground was broken, here. It didn't feel all that compelling.
15) Room
Speaking of impressive performances...
Speaking of novels getting the Hollywood treatment...
When it became clear that the book for Room was going to be turned into a film adaptation, I talked to quite a few people who read the book and were like "Yeah, the book was really good. And it's in first person from the perspective of a five-year old." Me and those quite a few people were like "So how the hell are they supposed to pull that off, exactly?
Using voiceover from said 5-year old, Jack (Jacob Tremblay), filmmaker Lenny Abrahamson gets as close as he can to getting the feel right. Jack and Joy(Brie Larson) have been living in "Room" for about 7 years. Room is the basement of Old Nick (Sean Bridgers), where they are captives. It is the only life he knows and he treats lamps and eggsnakes (empty eggshells laced with string) and other inanimate objects as his friends and family right alongside Joy. Oftentimes Jack hides out in the closet while Old Nick is physically/sexually abusing Joy. Despite all this, Joy manages to show enthusiasm whenever possible for his sake, which is remarkable considering.
One day, Old Nick comes down and tells her that he lost his gig, and will have a tough time providing them supplies from here on out. With the clock ticking, Joy hatches an escape plan, getting Jack to play dead in a rolled up rug (after faking a high fever a couple days before, of course). From the back of the Nick's truck, Jack, repeating her instructions to himself, unrolls himself and runs for help. His views from the end of the tubes represent his first views of anything outside, ever, and it's a pretty magical moment. Getting out, though, would be the easy part; adjusting to life outside of Room is the biggest struggle of all.
Brie Larson has taken early favorite Cate Blanchett (Carol) and basically mopped the floor with her throughout the awards season. The Oscar for best actress will be no different, nor should it be. Every single one of those "powerhouse" and "tour de force" clichés apply. She has been on radars for years now, most recently for Short Term 12, and it's about time she got not only her due but her opportunity. Joan Allen and William H. Macy bring their dependable chops to the table as her parents, dealing with both massive guilt and relief. Mom Nancy is more curious and confrontational with Joy, while Dad Robert prefers to tiptoe on eggsnakes. Maybe the best thing about Room is Stephen Rennick's astonishing score and the pitch-perfect use of This Will Destroy You's (clearly disciples of fellow Texans Explosions in the Sky) "The Mighty Rio Grande" to soundtrack Jack's introduction to an earth beyond Room.
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