2017's TOP 10 MOVIES

1. Dunkirk 

Dir. by Christopher Nolan

Christopher Nolan is one of the few working directors that manages to appeal to a wide range of audiences whilst creating thought provoking movies. He combines the escapism viewers yearn and demand from movies with complex storytelling and incredible visuals.

“Dunkirk” is yet another example of his outstanding filmmaking skills. Charges with powerful imagery, the film has, in my opinion, a subtle message of mankind’s relationship with nature, as it portrays the evacuation from three perspectives: land, sea, and air. Whilst the absence of dialogue means that no character or actor really has a chance to stand out, Mark Rylance’s Dawson managed to connect with me- the actor brings his mild mannered screen persona, not too different from the one he portrayed in Spielberg’s “Bridge of Spies”, and pump it with a “hands on” approach to what he sees as his personal duty.

It would be unfair to attribute the film’s achievement to Nolan alone- Hoyte van Hoytema has taken Wally Pfister’s role as Nolan’s go to guy when it comes to cinematography. He captures Nolan’s intentions on both a cerebral and emotional level.

Hans Zimmer produced the best soundtrack of the year and one of the best soundtracks ever produced. The audio illusion he created, by using the “Shepard tone” made my viewing experience complete. In fact, experiencing the powerful imagery that accompanies Zimmer’s “Home” on IMAX will remain one of the best movie experiences I have ever had.

A unique WWII epic and the best thing I’ve seen in 2017

Overall Rating: 10/10

2. Blade Runner 2049

Dir. by Dennis Villenueve

So I joined the in "in Villeneuve we trust" bandwagon. He took one of the most influential movies of all time (one that didn't required a sequel) and created a follow up that is on par with the original. Can't wait to see him clean up the mess David Lynch made with "Dune". Villeneuve's "Blade Runner 2049" takes the bleak, grey and cynical world created by Ridley Scott and turns it up to eleven.

The movie deals with a myriad of topics: from environmental issues and subtle hints at historical revisionism to the built-in obsolescence of both technology and humans. It's as complex as its predecessor and virtually every scene confronts the audience with ethical dilemmas.

Harrison Ford's Deckard is analysed over a different type of lens this around. He is more human (yes, I had to include a pun related with the "Is Deckard a replicant?" questions). The performance alone is worthy of an Academy Award nomination in the "best supporting actor" category.

In addition to this, there are two other key aspects that make "Blade Runner 2049" a great movie: -Hans Zimmer's soundtrack is heavily inspired by the work of Vangelis, but still manages to sound new and refreshing. -Roger Deakins' cinematography. Seriously, all Oscar ballots should have a pre-printed cross next to his name "Blade Runner 2049" is a 10/10 for me!

Overall Rating: 10/10

3. The Disaster Artist 

Dir. by James Franco

The year was 2011. Whilst enjoying my Summer holidays, a debate started among my group of friends: What was the worst movie ever made?. I recall that it was long debate, one that would compromise friendships. But out of that debate a new event was born. A Festivus for the rest of us. (Thank you, George Costanza). This particular “festivus” is called “Trollfest”, named after the worst movie ever made “Troll 2”, and aimed to “honour” movies that were intended to be serious and good but failed at both. During the third edition of this yearly event we watched “The Room” and the rest is history.

To say that I had high expectations for “The Disaster Artist” is a euphemism. Yet James Franco’s movie managed to surpass them with a comedy that addresses the importance of friendship, celebrates the commitment to artistic vision and surprisingly work as a “feel good” movie. Franco managed to capture beautifully the persona of the enigmatic and untalented Tommy Wiseau. For those who have read the material that inspired the movie and watched “The Room” it is satisfactory to see Tommy Wiseau finally succeed- even if it’s 14 years later.

A celebration of movies and the murky side of Hollywood and creativity.

Overall Rating: 9/10

4. Get Out 

Dir. by Jordan Peel

2017 was a great year for the horror genre. At least three entries managed to revitalize a category that has fallen victim of the formulaic trap. Penned and directed by Jordan Peel, a comedian whose horror references were a hit with pop culture enthusiast such as myself (a brilliant nod to “The Shining”). Again, “Get Out” epitomizes what I believe movies are all about: a reflection of a period and place and the very same people that populate that space.

Jordan Peel’s screenplay takes a story audiences have seen before (think of the 2005 thriller “Skeleton Key”) and gives it a unique twist. Whilst it is presented as an apolitical piece, “Get Out” takes a stab at extreme political correctness of the left and pokes fun of the stereotypes and racism that are generally assumed to be perpetuated by some members of the conservative right.

Daniel Kaluuya shines in this horror satire and his performance as Chris Washington is instantly relatable regardless of the viewer’s gender, color or creed. But it’s Jordan Peel who deserves the sole credit for delivering a brilliant movie.

Overall Rating: 9/10

5. IT

Dir. by Andy Muschietti

In a time where every horror movie relies on a single commodity:cheap scares, "It" is in a league of its own.

The movie is the most faithful adaptation of a Stephen King novel- it never sets aside the themes covered by the author in his book: the sense of loss and mourning, the challenges of adulthood and even racial tensions. "It" is way up there with the original version of "Carrie" and "The Shining" when it comes to horror movie excellence.

It's so rare that a horror movie (or most current movies, as a matter of fact) delivers the goods when it comes to character depth and development.

On top of it, the soundtrack is simply amazing (unlike the soundtrack of a certain Netflix show that wants us all to believe that American kids in the 80's only listened to British indie rock) and there are plenty of easter eggs that will put a Pennywise-like grin in every movie buff's face (subtle references to a certain "clown" from the Batman series and a brief homage to Freddy Krueger). I highly recommend "It"!

Overall rating:9/10

6. Three Billboards Out Of Ebbing, Missouri

Dir. by Martin McDonagh

In a Missouri town, a mother decides to act in the face of the local police's inability to find her daughter's murderer and rapist, renting three huge posters at the entrance to the settlement in which she asks for explanations, stirring up the local community. The premise sounds more than adequate, almost extreme, to this era of #MeToo.

Frances McDormand revisits her muse of the North American rurality, one that was first shared with audiences in “Fargo”. This time around she’s on the other side of the law, the perfect role for the prolific actress to demonstrate her acting range. Sam Rockwell and Woody Harrelson deliver solid performances as the authority figures, both complex in their own way and dealing with their personal demons.

The script is populated with twists and turns, driven mainly by human condition which confers McDonagh’s movie a realist tone- the search for truth and justice seen from the eyes of Midlred, the main character.We are in the presence of q clear frontrunner for Best Actress, Best Supporting Actor and Best Original Screenplay at this year’s Oscars.

Whilst, I failed to see or understand the “dark comedy” element that some reviewers pointed out, I quickly embraced the tragic search for redemption and I do plan to revisit Ebbing, Missouri in the near future.

Overall Rating: 8/10

7. The Post

Dir. by Steven Spielberg

In “The Post”, Spielberg delivers a true character driven piece that becomes even more relevant in today’s “fake news” age. What is so unique about the movie is its unbiased political analysis, as it points the finger to both left and right- a feat that is remarkable considering it addresses the leak of classified documents from the perspective of The Washington Post, a newspaper that was once dubbed “Pravda on the Potomac”.

Meryl Streep and Tom Hanks shine as expected, aided by the smart dialogue crafted by Liz Hannah and Josh Singer. Both Streep’s Kay Graham and Hanks’ Bradlee invite the audience to take part in their choices: compromise friendships for the sake of professional integrity whilst avoiding to publish a sensationalist piece around the subject of the US’s long term involvement in the Vietnam War.
Not eclipsed by the star power of the leads is Bob Odenkirk’s (from “Better Call Saul”) Ben Bagdikian, who steals the show as true old school reporter- like Woodward and Bernstein on steroids.

Whilst satisfactory, the movie falls short of exposé genre excellence: One can’t help but feel that movies like Alan J. Pakula’s All The President’s Men and Michael Mann’s The Insider offer a far darker and gritty approach, one that’s needed when dealing with a subject of this nature.
Still, Spielberg has successfully expanded his range, which a lot to say coming from a director who has succeeded in so many different genres and created a zeitgeist driven film that requires a second and third viewing. One of the best movies from 2017.

Overall rating: 8/10

8. I,Tonya 

Dir. by Craig Gillespie

“I, Tonya” joins the exclusive ranks of movies where you actually root for the anti-hero. Whilst I was familiar with the Tonya Harding story, the movie provides an interesting background view into her life outside of the spotlight and media attention. “I, Tonya” works as both a biopic and a sound analysis of America’s obsession with fame and celebrities. Ironically, the movie allows Margot Robbie to cements her Hollywood status as a serious actress, a journey that started back in 2011 with the “Mad Men” ripoff, “Pan Am”. Her screen presence is enhanced with the anger and motivation she channels as Tonya Harding.

But the real star of the movie is Allison Janney’s LaVona, easily the best supporting performance of the year. She is the vehicle that nurtures Tonya’s resentment and anger and gives the story the soapy elements it deserves and needs and contrasts with the glossy ambience in which the leading characters operate during a large portion of the movie. Her raw performance showcases working class anger in a way that could only be found in a 1970’s Bruce Springsteen album.

It is hard to classify “I,Tonya”: a mix of mockumentary and soap opera, a dramedy and a biopic. To manage all these genres is a tough task, much like performing a triple axel (the references I picked up from this movie…) and that’s where we find the major flaw in Gillespie’s movie. Still, it is a fun and entertaining movie whose imperfections are covered by sublime performances.

Overall Rating: 7/10

9. Battle Of The Sexes

Dir. by Jonathan Dayton and Valerie Faris

I had the pleasure to attend this year's BFI film festival and to watch a preview of the upcoming movie "Battle of the Sexes". The movie met the high expectations I had, delivering a faithful portrayal of the iconic tennis match between Bobby Riggs and Billie Jean King.

Emma Stone and Steve Carell's uncanny resemblance of King and Riggs makes the movie as they are immersed in a clichéd 1970's pastiche that lacks a powerful soundtrack as a companion ("American Hustle" did a better job in this department.

The only two flaws in this dramedy is the lack of tension in the third act and the waste of a good (not great) supporting cast that includes Elisabeth Shue, Bill Pullman and Alan Cumming. The movie could have easily added an extra 30 minutes to further explore Riggs and King's private life and "outside the court" battles.

On a positive note, Sarah Silverman steals every scene she's in. Easily, one of the best supporting performances of the year.

An enjoyable movie, that works both as comedy and drama that never aims to be more than what it was originally set out to be: a pop culture portrayal of a key event of the feminist movement that resonates with today's world

Overall rating:7/10

10. Downsizing

Dir. by Alexander Payne

“Downsizing” makes a compelling case for a misleading trailer. It suggests you are about to watch a utopic comedy. The fact that it stars Jason Sudeikis, Christoph Waltz and a brief appearance by Neil Patrick Harris appears to validate that hypothesis. But the movie quickly escalates into something different. “Downsizing” is a cruel examination of a wide array of themes around different social realities – too many to be contained and dissected in a two hour movie.

The highlight of the movie is Hong Chau’s Ngoc, perhaps the most grounded character in “Downsizing” and the true heart and soul of the movie. It’s her character that serves as the perfect juxtaposition to Payne’s visual-driven storytelling and the one who allows for Matt Damon’s Paul character development.

Although, nowhere near as satisfying as “The Descendants” I feel that the movie may require a second viewing to be fully appreciated. Its merits lie in the originality of the screenplay and Payne’s execution.

Overall rating: 7/10

2016's TOP 10 MOVIES

1- Silence

(Dir. Martin Scorsese)

Scorsese’s latest directorial output is a powerful meditation on the nature of faith. In “Silence” the subject is far more explicit than in any other entry (like “Wolf of Wall Street” or “Mean Streets”). Twenty something years in the making, "Silence" is one of those rare cases in which the movie is actually on par with the book. The pace of the story is slow, much like a "purification" process the audience must endure. Some of the elements that are now staples in a Scorsese movie are missing: The cinematography is restrictive and the soundtrack is practically non-existent. Yet the movie is still an all out epic, with Scorsese making the most powerful use of violence since "Raging Bull". While I was not particularly impressed with Andrew Garfield's performance, Issei Ogata's role as the Inquisitor definitely stole the show (and the actor certainly deserved an Oscar nomination as a supporting actor). A solid 9/10 for this epic which was the best movie I've seen in 2016.

2- La La Land

(Dir. Damien Chazelle)

It may very well be a reflection of the current times, but "La La Land" was able to connect with critics and audiences alike. The "feel good" vibe of the movie contrasts with the gritty reality we must face everyday, making "La La Land" a prime example of why movies were invented in the first place: to provide an escape. But I digress. Ryan Gosling and Emma Stone deliver the goods, while Damien Chazelle creates an environment that pays tribute the the 1940's, 1980's and 2016. The score and original songs are the cherry on top of the cake. "La La Land" deserves all the praise it has been receiving: a movie that takes a simple premise and an average screenplay and makes them work into a 2 hour film that doesn't pollute the mind with politics and has the perfect combination between magical realism and true reality. More than a diluted version of Francis Ford Coppola's "One From The Heart", "La La Land" is a classic in the making.

3- Arrival

(Dir. Denis Villeneuve)

Denis Villeneuve continues to broaden his CV across different genres and he definitely hits a high note with "Arrival". How can you deliver an original movie on a subject that has been explored time and time again? With a strong screenplay, a mesmerizing soundtrack by Jóhann Jóhannsson and a stellar performance by Amy Adams. The plot twist can be spotted a mile away, but it really doesn't matter when you are fully immersed into the visual design of the spaceship and the aliens and the gripping emotional drama that drive the first two acts of the movie. The absence of violence evokes a slightly subtle message that is consistent throughout the movie: an argument for the limits of military might of the US and the global superpowers. After watching "Arrival", I know that the "Blade Runner" sequel is in good hands.

4- Hail Caesar

(Dir. Ethan and Joel Coen)

The "other" tribute to the golden age of Hollywood that was sadly forgotten by many after having premiered just a year ago. "L.A. Confidential" meets "The Player" in this amazing satire about the yesteryears of Tinsel Town. The best comedy of the year explores the excesses of the epics from 1940's and 1950's, the Red Threat and blacklisted actors and even a brief glance of the exaggerated political correctness we see today as Eddie Mannix (played brilliantly by Josh Brolin), convenes Catholic and Greek Orthodox priests, a protestant minister and a rabbi to evaluate if the script is kosher. George Clooney gives a wonderful performance as the aloof superstar, while Ralph Fiennes steals every scene in which he is on. A smart comedy and the best in its genre in 2016.

5- Manchester by the Sea

(Dir. Kenneth Lonergan )

A careful study on the process of grief, "Manchester by the Sea" never slips into melodrama. A plus on the movie's structure is the remarkable usage of flashbacks which serve to build up the drama. Casey Affleck is the Oscar frontrunner for a very specific reason: Lee Chandler is a man that cannot express his grief with words and resorts to violence and rage outbursts to do so. Michelle Williams' Randi appears in the screen for roughly 15 minutes but delivers a character that manages to impact the story in a way that had only been achieved before by Beatrice Straight in "Network". Lucas Hedges' first role highlights the young actor's potential. A depressing entry, but one that must be seen in the big screen in order to fully enjoy it.

6- Nocturnal Animals

(Dir. Tom Ford)

"Nocturnal Animals" is a work of exceptional craft and pure creativity. The one movie that made me think about it, long after I left the movie theater. The story within the story premise that drives the movie is near perfectly executed - the misuse of Amy Adams being the only flaw. While each of the three stories that form "Nocturnal Animals" do coexist as separate entities, with the one element that connects them being Amy Adams' Susan reading of the novel. Jake Gyllenhaal manages establish himself as the most underrated actor currently working with his suberb performance, while Michael Shannon and Aaron Taylor Johnson shine in supporting roles. While Tom Ford can sometimes be "too much in your face" (like the in the opening credits scene) he tries to guide this attitude by following David Lynch's "Blue Velvet" rulebook.

7- Hell or High Water

(Dir. David MacKenzie)

While David MacKenzie's modern day western doesn't add anything new to a genre audiences have become very familiar with it manages to check all the right boxes. Jeff Bridges is the true star of this vehicle that works also as a piece of Americana, reminiscent of 1970's classics like "Charles Varney" and "Dog Day Afternoon". Well paced, the movie does manage to fit right into 2016: It's a tale about the rich and the poor, the establishment and the common man, the faceless corporations and banks and relatable characters. Nobody is a saint and it becomes tougher and tougher to figure out who the antagonist really is. Nick Cave and the Bad Seeds' soundtrack add the additional layer of perfection to this outstanding picture.

8- Hidden Figures

(Dir. Theodore Melfi )

A sleeper hit that has something to offer to everywhere: a historical drama, a tale of winning underdogs, a remarkable story on the evolution of the civil rights movement and the right elements that make it an enjoyable dramedy. While all the members of the trio equally share the screen time, each of them has the opportunity to stand itself out. Janelle Monaé's fierce Mary Jackson was the one that kept me rooting for winning team during the movie's two hours. "Hidden Figures" is not a boring documentary and deserves to be in the same ranks as "The Right Stuff" and "Apollo 13". Simply one of the best movies of the year.

9- Deadpool

(Dir. Tim Miller)

For years I have been openly critical of the superhero genre. It has reached its peak with Nolan’s Dark Knight trilogy, but it was able to reinvent itself with “Deadpool”. The R-rated, tongue in cheek superhero entry has redeemed Ryan Reynolds while delivering the goods. It is filled with pop culture references, constant fourth wall breaking and a degree of self-awareness that has never before been a staple in either Marvel or DC’s comic world. For its originality, value of entertainment and the ability to stand out in a crowded market, “Deadpool” deserves a spot on this list. An action comedy that works as both a superhero spoof and as a standalone origins entry.

10- The Neon Demon

(Dir. Nicholas Winding Refn)

More polarizing than his prior movie, “The Neon Demon” delivered the most provocative story of the year. While the deterrents point out that the movie is shallow and empty, I saw it as an accurate portrayal of the world of fashion and an optimal crossover between “Showgirls” and “Mulholland Drive” via the route of “Suspiria”. The highlights of Refn’s latest output are Elle Fanning and the soundtrack that go hand in hand as the audience accompanies Jesse’s evolution both as a person and as a model. A scary visual journey into the place where dreams go to die in Tinsel town. Less subtle than “Only God Forgives” and “Drive” but nevertheless an effective effort in storytelling. 

2015's TOP 10 MOVIES

1. Love & Mercy

(Dir. Bill Pohland)

A refreshing approach to the biopic genre, “Love & Mercy” chronicles the life of the co-founder of and creative power of the Beach Boys, Brian Wilson. Focusing on two key moments of Brian’s life: the period around the recording and release of what is arguably the group’s magnum opus “Pet Sounds” and the 1980’s where Brian was already under the control of the radical therapist, Eugene Landy. Paul Dano (nominated for a Golden Globe) and John Cusack  steal the show in a dual performance that captures the essence of Wilson’s troubled genius across two decades.

Unconventional and immersive, “Love and Mercy is a trip to a recent past that remains relevant in the age of the “everybody is an entrepreneur/misunderstood genius”. Unlike anything this critic has seen this year or in previous years it managed to achieve what very other movies couldn’t: a deep bound with the audience.

2. The Martian

(Dir. Ridley Scott)

Known for the gritty and grim vision of future, Ridley Scott was an unlikely choice to helm this project. Still the output is nothing short of remarkable: a feel-good movie about the triumph of the human spirit that managed to do what “Gravity” and “Interstellar” couldn’t: merge a compelling and captivating storyline with outstanding special effects. Matt Damon’s Matt Watney is a great upgrade on Tom Hanks’ Chuck Noland and is able to stand on it’s own. The supporting ensemble is terrific as well and heavily contributes to the smooth change of pace between comedy and the tense drama of a rescue mission.

On par with Ridley Scott’s great space epics, “The Martian” picks up what could be a clichéd and already overused storyline and transforms it into something new. One can only hope Scott uses this second wind for his next set of projects, namely the upcoming follow ups to both “Prometheus” and “Blade Runner”.

3. The Big Short

(Dir. Adam McKay)

If we compare “Wall Street” to the “The Godfather”, then the 2007/08 Subprime Mortgage Crisis demands a “The Godfather Part II” to cover it and sadly, “Wall Street: Money Never Sleeps” didn’t cut it. Luckily enough, Adam McKay assembled an amazing cast and chose an outstanding source (one of this critic’s favourite authors Michael Lewis- who’s “Flashboys” I heavily recommen

d) to cover the subject. Like the previous entry it alternates between drama and comedy, but here comedy takes a darker tone that conveys this satire a style of its own.

Christian Bale and Steve Carrell steal the show while Ryan Gosling essentially plays himself. A 180º turn for director Adam McKay, known for directing Will Ferrell in the “Anchorman” entries among others, that worked out amazingly well.

4. Mad Max: Fury Road

(Dir. George Miller)

In the age of the reboot/prequel/sequel (rps), “Mad Max: Fury Road” comes out as the sine qua non of the successful rps. What makes this movie work is a wide set of factors: Resorting to the minimal usage of CGI effects, the “plot twist” that quickly focuses on a feminist motif, the perfectly executed action sequences, outstanding cinematography and the fact that it was directed by the creator of the series George Miller. The latter is quite important- Mr. Miller was able to distance himself from a universe he created and make it move forward; something that didn’t quite work for George Lucas.

Charlize Theron steals the show as Furiosa in an award deserving performance. For the first time, this critic is looking forward for the sequels and even hoping George Miller has the chance to remake the wildly underrated “Waterworld”.

5. Bridge Of Spies

(Dir. Steven Spielberg)

Spielberg’s Cold War drama desserves its place on the list thanks to it’s casting: Tom Hanks as the mild mannered and patient lawyer aiming to do the right thing (basically Tom Hanks being Tom Hanks and excelling at it) and Mark Rylance as the Soviet spy. The scenes in which both interact escalates from a tense enemy vs. enemy setting to a softer sense of comradery and friendship. The slow pace of the movie emulates the real sluggish rhythm of negotiations between the two Cold War counterparts and really gives the movie a reality boost.

Rylance upstages the whole casts with both his rhetorical question “Would it help?” and his “Standing Man” monologue. Together with Dano and Stallone in “Creed”, he delivers the best supporting performance of the year.

6. Inside Out

(Dir. Pete Docter)

Since the release of  “Toy Story 3” in 2010, Pixar’s movies haven’t been able to quite deliver on the same quality standards they used to. To make matters worse the studio decided to double the output, releasing two movies per year starting in 2015. While “The Good Dinosaur” can be considered a true disappointment both in contente and box-office returns, “Inside Out” was a great return to shape by the animation studios. Tackling a complex issue like the human mind and explaining an even more complex stage, puberty, is no easy task, but Pixar sure made it.

Yet another huge step in the animation genre, “Inside Out” delivered the goods. A special acknowledgment to Amy Poehler who lends her voice to Joy- a very fitting choice.

7. The Hateful Eight

(Dir. Quentin Tarantino)

An homage to Ennio Morricone (and hopefully his first Oscar win), a tribute to John Carpenter’s “The Thing” and far from being yet “another Western”, “The Hateful Eight” is one of Tarantino’s most accomplished movies. While the recurring themes of violence and revenge are still well represented, the director takes his time (3 hours) and dedicates them to something missing from his latest entries: character development. The interaction between the 8 main characters reminds us why we queue up to see the latest Tarantino movie and why we will miss him in case he retires after his tenth outing.

The powerful soundtrack and the usage of Roy Orbison’s “There Won’t Be Many Coming Home” are, as usual in all his movies, a key component of the movie, working once again perfectly in Quentin’s eight feature.

8. Spotlight

(Dir. Thomas McCarthy)

The journalism exposé is a long lost genre. Peaked with a single entry and then disappeared in the middle of average productions. In 1976, “All The President’s Men” was a massive hit- mainly due to its relevance in chronicling an issue that was relevant and fresh in the viewer’s minds. “Spotlight” is, without a shadow of a doubt, the first movie to renew the interest in the genre by picking up in a relevant subject, one which the audience is well aware of but that still slips through the cracks and never gets enough airtime. “Spotlight” is subtle, slow paced and allows the viewer to somewhat get angry, as like the characters in the movie, he too is also passive to what’s happening.

With the second best ensemble cast of the year, the highlight of the movie is Rachel McAdams as Sasha Pfeifer, delivering some of the movie’s most emotional scenes.

9. Sicario

(Dir. Denis Villeneuve)

The main subject of “Sicario” is one that has currently been explored by Netflix’s “Narcos”. “Sicario” deglamorizes and cuts through the core of the government’s never ending battle with drug cartels. The pessimistic “unwinnable” war feel and the detailed analysis of the Mexican cartel operation are exquisitely shot by the director and convey a degree of realism that almost makes it a documentary. A relevant subject and an important one, “Sicario” excels also due to choice of Emily Blunt as the idealistic Kate Macer as well as Benicio Del Toro as the main antagonist.

As realistic as “Prisioners” and as heavy in gore and graphic display of violence as anything produced by Eli Roth and Quentin Tarantino, the movie delivers a very interesting take on a popular theme.

10. The Revenant

(Dir. Alejandro Gonzáles Iñarritu)

“The Revenant” is a movie whose major qualities (cinematography and soundtrack) are easily overshadowed by DiCaprio’s performance. The movie will always be known as the one which won him an Oscar and rightfully so. He steals the show with this years unbeatable performance. Not much dialogue and a whole lot of struggle could be the best way to describe his performance. While the sluggish pace and the fact that it could actually be one hour shorter work against it, it’s still bold in it’s execution, in a different level than “Birdman” but still bold.