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Every film I saw in a theater this year

For whatever reason I saw a lotta movies this year than I usually do. Here they all are, in order of viewing.
1Henry Jackman
Big Hero 6

2.5/5. Yeah it's cute, yeah the Baymax scenes are hilarious, yeah the art direction is lovely, yeah there's plentiful room for a sequel, but at the end of the day, it just isn't engaging at all, a lot of which has to do with how flat these characters are and how predictable the story is. Aside from Hiro, I don't know or care who all the other members of the team are, since all we're told about them is their name and one specific character trait, and as such I don't care what happens to them, making the film's title feel innacurate. Hiro, meanwhile, has a decent arc in regards to his coming-of-age, but even that's ruined by the ending. Just wasted potential every step of the way.

OST: 3.5/5. Don't give a fuck what anyone thought of the new album, that Fall Out Boy song is such a jam, and hypes up the film big-time. As for the composed stuff: standard cutesy Disney affair with varying levels of optimism, but with a sort of Japanese-ish, electronic-ish twist. It's fun, basically.
2Henry Jackman & Matthew Margeson
Kingsman: The Secret Service (OST)

3/5. Reasonably fun spy-thriller pastiché with a great lead and nothing else noteworthy. The jokes are fine. The action is fairly hokey and stretches belief, but is fine. The acting is fine. It's all very adequate and if you feel like James Bond could do with a little more immaturity then this is right up your alley. But good god are Samuel L. Jackson's scenes awkward.

OST: 3/5. Few interesting compositions scattered here and there, but for the most part, samey orchestral fluff that you can find in most action films the past fifteen years.
3Lorne Balfe
Home

3.5/5. Honestly? I was having too much fun with the characters and the comedy to pay much attention to how derivitive and predictable the story was. Much like Focus, it's the two leads and the way they bounce off each other that carries the film, both in its lighthearted and more dramatic moments, and what a bounciness it is. The idea of selling Jim Parsons and Rihanna as buddies is a laughable concept on its own, but it's the absurdity of this pairing that's where the charm is drawn from. The king alien is also very hammy in a Rob Paulsen sort-of way. Just good, lively, crazy family fun with a great art style and acting.

OST: 3/5. Cutesy, short-and-sweet indietronica tunes that don't really go beyond being a catchy distraction.
4Brian Tyler and Danny Elfman
The Avengers: Age of Ultron

3/5. Leaves a really good taste in your mouth when you're done with your first viewing (and in my case, makes you go on a several-month-long Buffy binge) thanks to the greater emphasis put on giving every character an equal amount of depth and less meme-y chemistry between everyone than in the first film, but in retrospect, feels derivitive in comparison to the original, especially with how liberally it borrows plot cues for the third act. On top of that, the action scenes feel like much less of a spectacle now that the idea of the Avengers all being together is no longer authentic. But it's clearly trying, and based on interviews it appears Whedon wanted to make things much more personal and smaller (something which shines through in the Hulk's very engaging character arc), of which I applaud him for that. But of course, being a blockbuster, we can't make things too out-there for the kids now can we.

OST: 2.5/5. See: Kingsman
5John Debney
The Spongebob Movie: Sponge Out Of Water

2/5. If you ever needed closure as to how much of a mess the show is nowadays but couldn't bring yourself to actually watch it, this movie is more than happy to oblige. The skewered narrative, phoned-in action movie tropes and unengaging slapstick and characters all come together to make one of the most obnoxious kids films I've watched in recent memory. I can't even imagine kids enjoying this, with how confusing and psychedelic the story comes across as at times. It's as if someone involved in production was a bit too full of themselves and felt they could put themselves out there if they experimented on their latest project, but forgot what film they were working on. Few funny moments scattered here and there, but for the most part just pain.

OST: 3.5/5. Evokes the charm of traditional cartoon music circa Hannah-Barbera with some seriously catchy big-band performances from Debney's orchestra, and a few modern twists as the film's story goes apeshit. Legitimately worth checking out.
6Junkie XL
Mad Max: Fury Road

3/5. It's okay. The setting, imagery and effects are glorious, and the first couple action sequences are breathtakingly excessive. But by the time the third act rolls around and it's demonstrated that it's essentially a one-trick-pony when it comes to car chases, you start to wish there were more developed characters or a fleshed out story for it to fall back on, that unfortunately don't exist. Plus, the whole "MAD MAX" label just feels like it's there to sell some extra tickets with how much bearing he has on the plot. But for what it's worth, a fun, mindless trip filled with some of the best practical effects ever put to use.

OST: 4/5. Lord in heaven, those DRUMS. The sheer amount of building tension and ravaging noise, helped by indutrial metal-influenced instrumentation, almost puts you directly in the film's setting, like you're driving at a thousand miles per hour with sand in your eyes. While the slower moments are a tad boring, this is one helluva rollicking score. Chekkit.
7Michael Giacchino
Jurassic World

2.5/5. An empty spectacle for the first two thirds, an actual spectacle for the last. The fact that I remember the name of the Indominus Rex and literally not a single human character speaks volumes. They're boring, they're flat, their dialogue is trite. Hell, even when everybody starts getting killed all I could think was "Boy this is a rather drastic change in tone". And it's trying so hard to make me care, taking its sweet-ass time with the dinosaurs to shove the humans down my throat, but it's just no dice.

OST: 3.5/5. A soundtrack that manages to follow along with the movie's constantly shifting tone but does so in a much more graceful manner. The echoes of Williams' original score from the first film sends shivers down my spine, and Giacchino's compositions are worthy follow-ups, conveying wonderment, horror and melancholy with some wonderful, nuanced performances by his orchestra. Give it a try.
8Lorne Balfe
Terminator Genisys

1.5/5. Like seriously, how the hell do you manage to make a film so bland, yet so confusing at the same time? This pisses all over the original film in ways even two-bit novelisations aren't capable of. I guess the action and effects are okay. Arnie still has a lot in him comically-speaking. But everything else is just so, well, stupid. And annoying. The two leads take overacting to a whole new level, the villain is just ridiculous, the time travel mechanics are mind-boggling. I just can't comprehensively blurt out how bitter of a taste this leaves in my mouth, and I'm not even that big a fan of the franchise.

OST: 3.5/5. THIS, on the other hand, works wonders. The metallic edge of the original movies' scores gets a modern update and it sounds as good as ever, both in terms of the new original compositions and occasional odes to the older scores. The slower, ambient moments meanwhile are very heartfelt and act as great segways between the tense heavier tracks. Check it out.
9Christophe Beck
Ant-Man

2/5. Generally good plot and characters wasted on a screenplay that's been all but diluted to account each of the credited writers' ideas and differenciating visions, before being dropped into the lap of a director with no prior interest in the source material. Not a scene goes by without some sort of awkward line, direction or editing. While the visuals are very crisp and the shrinking effects are great, the way the movie is cut and paced leaves a lot to be desired. Nothing offensively terrible here, but clearly a product of a troubled development. I'm pretty sure anyone currently calling this the best MCU entry will probably change their opinion sometime next year.

OST: 3/5. See: Kingsman (although there's more of a heist movie-ish edge to it)
10Michael Giacchino
Inside Out

4.5/5. The best Pixar film, period. The way in which Docter and his possé of writers/storyboardists approach the coming-of-age genre is so many levels of inventive, especially in regards to the setting of Riley's head which is very alive and wonderous, and exploited well for comedy. But at the center of it is a deeply intimate and heartfelt care for its characters that's unparalleled as far as family films go. I imagine this'll be that sort of film that follow kids through their pre-adolescent years and influence them on an emotional level, which is a truly pleasing prospect.

OST: 4/5. Easily the most ambient of the Pixar soundtracks, with the traditional big-band orchestra separated and often accompanied by dreamy ambient passages that really shape the setting. The final suite in particular conjures up images of Giacchino and his band just having a very laid-back and catchy jam session, and is a clear standout, next to "Tears of Joy", a deeply affecting ballad. Highly recommended.
11Marco Beltrami and Philip Glass
Fantastic Four

1/5. You know, I kinda feel indecent when I rate this so low, considering the circumstances in production. The film is very blatantly unfinished. It's in dire need of at least another year in development, and has been proven to not be what the director had originally intended. What gets to me though, is the attitude of Fox and how they've handled this mess. Instead of taking time to fix things and polish what might otherwise be a decent superhero film with a body horror edge, they decide to shill it out as fast as possible and get away with everyone's money before word of mouth beats it to the ground. This really is a turning point in the deteriorating relationship between audiences and studios these days, and what we're left with is a product that is soulless and inconcise in every aspect of its presentation. One for the history books for sure.

OST: 3/5. See: Kingsman.
12Daniel Pemberton
The Man From U.N.C.L.E.

2.5/5. While I appreciate the authenticity of the setting and the lack of showy-ness Ritchie is known for in a lot of his filmography, I was never really pulled in with regards to the plot and characters. Cavill is the only real standout performer here, hamming it up big-time and ringing back the delightfully corny nature of 60's spy phenomena. Everybody else seems bored and the script isn't up to much either. At the end of the day, a fairly average action film through an appealing retro lens.

OST: 3.5/5. For the first fifteen minutes, this is fucking fantastic. The choice of licensed songs to include with the original score is perfect, and the jazzy, 60's-inspired action themes with almost tribal-like percussion are infectious in a cartoony sort of way. But about halfway through, as the film becomes more serious, the score follows suit and becomes more standardized with a couple memorable tunes from then on, which is very disappointing. Consider checking out that first half, however.
13Joe Kraemer
Mission: Impossible - Rogue Nation

3.5/5. The definition of popcorn entertainment. Action first, story and characters later but not unaccounted for. The setpieces are phenomenal, the jokes mostly land, the story is simple and gets the job done. Accessible cinema with charming characters and writing. Fun. Fun fun fun. Are you having fun yet?

OST: 1.5/5. Have YOU ever wondered "Man, I wish I could get that Mission Impossible theme tune out of my head."? Well boy have I got a product for YOU! Now there's an album that will drill that tune in your head for over an hour, so it's ALL you'll ever hear and eventually get used to on a subconcious level! Oh and don't forget that boring, trepid, derivitive orchestral score of other compositions you've heard a million times to go along with it! GET IT WHILE IT LASTS!
14Marco Beltrami
Hitman: Agent 47

2.5/5. "Hmm I'm in the mood for an objectively good film. I think I'll go see Hitman" - No one, ever (2015). Although with that said, this is more-or-less about as good as a videogame movie that isn't directed by Uwe Boll can possibly get these days. As an ironic comedy in the vein of Mortal Kombat? Eh, it's fine I suppose. There are certainly moments where I laughed, but at the same time there were moments where I genuinely felt for the characters and was interested to see where they'd end up. But with that said, the third act is where things get terrible beyond even being funny; a lot of the resolutions are anticlimactic and the villain turns out to be bland as all fuck. But hey, videogame movie, what do you expect? For real though, when was the last time a videogame movie had this big a budget behind it? Prince of Persia? Not to mention we've got Sly Cooper, Ratchet & Clank and Warcraft movies coming real soon; christ it's like the early 90s all over again.

OST: 3/5. See: Kingsman
15Harry Gregson-Williams
The Martian

4/5. I was worried going into this that the ensemble cast was going to make a film that's meant to be all about a character being isolated feel busy. Boy was I wrong. Not only is the focus kept squarely on Damon throughout and follows how psychological downward spiral wonderfully, but the politics on earth that surround getting him home turned out to be really interesting. Granted the performances of Wiig, Daniels and Bean are rather boring, and it takes more than a few liberties with the science side of things, but it's still a massively entertaining thriller with a surprising sense of optimism from the main character to add to the film's humanity.

OST: 3/5. Works fantastically during the film as a backdrop, but on its own as an album, generally just unengaging ambience.
16Johann Johannsson
Sicario

4.5/5. Fuck me this was grueling. Everything from the direction to the performances to the cinematography to the implementation of the score to the goddamn lighting are masterfully pulled off in such a way to make you feel uneasy and constantly on-edge. The plot, while I feel pokes at an easy target in the form of corrupt police, is also dastardly subtle and filled with uncertainty, going in directions you would never think of, again to great effect. Absolutely stellar thriller.

OST: 3/5. See: Martian
17Steve Jablonsky
The Last Witch Hunter

3.5/5. Big, dumb, charming, hilarious, and with a big shit-eating grin spread across its face to let you know that it knows how ridiculous and childish it is. If Agent 47 didn't tickle your irony-bone, this sure as shit will. Can't ask for much else than that as far as I'm concerned. Enjoy.

OST: 3/5. See: Kingsman.
18Thomas Newman
Spectre

1.5/5. Basically undoes all the work Casino-Quantum-Skyfall put into breathing humanity into the Bond character by going all out with the stupid age-old Bond tropes, obnoxious sense of humour and dialogue a 14-year-old would find lazy. They're trying so hard to make an event out of the fact that it's the last Craig film that they throw out any and all dignity they have and just make a huge advert out of the whole thing. But hey, why wouldn't they? Every British person is going to go out and buy it anyway because it's that big of a cash cow, so why even bother?

OST: 2.5/5. See: Kingsman. I like to imagine Newman was paying more attention to polishing the Bridge of Spies score than he was with composing for this tepid bullshit. Also, good god this is way too long.
19Alexandre Desplat
Suffragette

3/5. Carey Mulligan's performance is fantastic and the thing that holds pretty much this entire film together to keep it from capsizing. I feel like if this was just a film about her self-destruction as a result of being a woman in the 1920s as is depicted, as opposed to how it currently is as a docu-drama on the rise of the feminism with this big ensemble, then it would've been infinitely more engaging, since she's the one part of the film that's consistently written with delicacy and regard for development. Everyone else often feels second-thought and merely a product of the era, rather than well-rounded characters. And really, character is what's needed the most for a period piece like this, seeing as how much of the ground has been covered before and on this occasion it isn't done in any sort of inventive fashion. Also, Meryl Streep has absolutely no business being on any of the promotional material with how little she's in the film.

OST: 2.5/5. See: Martian.
20Michael Brook
Brooklyn

4/5. Let's cut the shit: if you like American Football's self-titled album (specifically, the lyrical themes and tone) then this film is 100% up your alley and you should go watch it right now. Yeah it's a little Oscar-baity looking and maybe the dialogue is hokey in places, but with performances, cinematography and characters like these, it's irresistible to not be affected by. Based Saoirse better get that damn Oscar or there'll be hell to pay. Masterful melodrama.

OST: 3/5. See: Martian, but replace "ambience" with "sombre orchestra", and please for the love of god listen to the "Casadh an Tsúgáin" track if you want some quick goosebumps.
21George Fenton
The Lady In The Van

3/5. I feel like I would enjoy this more if I was brought up as a drama student in London in the 1970s, but unfortunately I wasn't, and as such I feel like a lot of the humour flies over my head for being too subtle or sophisticated or exclusive to literature and theatre types. While I'll probably watch it again at some point to see if I can pick up on more of the jokes, what I will say is that this starts out rather full of itself as a fairly self-contained comedy but later flourishes as a straight melodrama about old age and human decency, with one helluva performance by Maggie Smith to carry it through some of the more plodding stretches.
22Daniel Pemberton
Steve Jobs

4/5. The script is so snappy and layered, the actors so in-the-moment, and the direction, good lord the direction. This felt a lot shorter than two hours, and I'm pretty sure it's because this film milks its three acts for all they can in terms of confrontations and relationships between characters that you're constantly on edge to see what will happen in the next one, how they've developed and what parallels can be drawn from all their meetings over the years. There's a few things that I could do without, like how everyone always seems to be in the right place at the right time just so Jobs can argue with them and I'd rather they not work in extended flashbacks in a film that more-or-less takes place in real time (and does so smartly), but those are just little things that temporarily take me out of the moment when so much is happening at any given moment. Very engaging stuff.

OST: 3.5/5. See: Man from UNCLE, but replace 60's jazz with synthwave.
23David Hirschfelder
The Dressmaker

3.5/5. Walks a precarious line of black comedy (that at times borders on absurdist) and western-tinged melodrama, that's a more than a little hard to swallow at times with how the segues between the two conflicting tones are handled. Beyond that, however, is a quirky Australian tale of redemption, romance and ultimately revenge that is nicely engaging with some great performances, visual stylings and pacing. I feel like the romance is a tad rushed and uninspired in places though, and there are a few awkward jokes that don't really land, but it's a fun dramedy nonetheless. And I know this is a no-brainer, but good lord Winslet is gorgeous.
24Tom Holkenborg
Black Mass

3/5. It's difficult not to have The Departed in the back of your mind when watching this, but to the film's credit, it doesn't try to follow in its footsteps. Obviously it's from the mob boss' perspective this time, but it's also much slower in terms of both pacing and average scene length. Depp's performance is also blatantly Oscar-worthy, and some of the cinematography is just gorgeous. It's a shame then that most if not all the characters are shallow and serve mostly to be cardboard cutouts of the real people. I know you can't really take risks with things like that for the sake of misappropriation lawsuits, but for a film that's paced, written and edited like a character study there sure as shit isn't much character to be found. Passable, but interesting biopic.
25Carter Burwell
Carol

4.5/5. You don't know what "comfy" means until you've watched this. The imagery, sound design, acting and general attempts to capture 1950's New York create this very dreamy atmosphere that's massively engrossing and the perfect backdrop for a well-plotted and developed romance. Think Before Sunrise but with a few more stakes thrown in, especially towards the hour-and-quarter mark, when things get especially brutal for our characters, and that dreamy backdrop serves mainly to juxtapose everyone's harsh reality. Has you by the balls from the first frame, and never lets go. Rooney has a nice rack too.

OST: 3/5. See: Brooklyn.
26Thomas Newman
Bridge of Spies

3/5. Did you know that literally every Russian person in the world is the spawn of Satan and likes to eat kittens? I sure didn't, until I watched the inspired-by-true-events drama Bridge of Spies! Admittedly only the second Spielberg film I've seen (the other being War of the Worlds...yeah, I know), but it felt like every stereotype I've heard people associating with him for years, although the daddy issues are downplayed a bit in this one. For real though, decent enough legal drama with good emotional heft from Hanks' performance but lacking in some character building and general subtlety. The nationalism is just ridiculous though. Russian person shows up? RED LIGHTING. MENACING MUSIC. CREEPY FACIAL EXPRESSIONS. AMERICA FUCK YEAH

OST: 4/5. Harmonic and melodic orchestra with elements of ambient and industrial leanings in places. If that doesn't hit some personal masturbatory niche with you then I don't know what will, but frankly nobody does this sort of thing better than Newman.
27John Williams
Star Wars: The Force Awakens

3/5. I really, really hope Weiss from Alias gets a bigger role in Episode VIII. I giggled like a child internally when I saw him towards the end of the second act and all I could think of was how cool it was that out of all the Abrams regulars, he was the one who got picked to be "that guy". I actually want to go back and watch the rest of Alias just for his casting alone. Also, why is hype still a thing in 2015?

OST: 3/5. DUDE BRASS HORNS LMAO: The Album. Rey's theme is nice though.
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