Hello, there! My name is Preston Barta, and I am the features editor of Fresh Fiction and senior film critic at the Denton Record-Chronicle. My cinematic love story began where I was born: off planet on the isolated desert world of the Jakku system. It's there I passed the time scavenging for loose parts with my good friend Rey. One day I found an old film projector and a dusty reel of the 1975 film JAWS. It rocked my world so much that I left my kinfolk in the rearview (I so miss their morning cups of green milk) to pursue my dreams of writing about film. It wasn't long until I met two gents who said they would give me a lift. I can't recall their names, but one was an older man who liked to point a lot and the other was a tall, hairy fella. They got me as far as one of Jupiter's moons where we crossed paths with the U.S.S. Enterprise. Some pointy-eared bastard said I was clear to come aboard. He saw that I was clutching my beloved shark movie and invited me to the "moving pictures room" where he was screening the 1993 film JURASSIC PARK to his crew. He said my life would be much more prosperous if I were familiar with more work by the god named Steven Spielberg. From there, my love for cinema blossomed. Once we reached planet Earth, everything changed. I found the small town of Denton, TX, and was welcomed into the Barta family. They showed me the writings of local film critic Boo Allen. He became my hero and caused me to chase a degree in film and journalism. After my studies at graduate of the Hogwarts School of Witchcraft and Wizardry, I met some film critics who showed me the ropes and got me into my first press screening: 2011's THE GREEN LANTERN. Don't worry; I recovered just fine. MAD MAX: FURY ROAD was only four years away.
We are halfway through the year and there are already more than a handful of superb films worth mentioning. From a sweeping documentary about one of our late-and-great singers to a chase across a desert to a lovely tale tackling our emotions, the best films of 2015 so far have brought screenplays to life with an astonishing scrupulousness that still left room for stunning artistic expression.
As we finish out the rest of the year, what I’m most interested in is finding out which films will top the five I’ve listed below. Leonardo DiCaprio teaming up with recent Academy Award-winning director Alejandro González Iñárritu in THE REVENANT seems promising, as does Richard Linklater’s spirit-sequel to DAZED AND CONFUSED titled EVERYBODY WANTS SOME (previously had the better title of THAT’S WHAT I’M TALKING ABOUT) and, of course, STAR WARS: THE FORCE AWAKENS. But until then, let’s look back at what these last six months brought to the cinema world.
Many of us remember the tragic day that Amy Winehouse died at the age of 27 in 2011. I remember that day, and I remember how her death had a certain inevitability about it yet was still shocking and very sad. This riveting documentary titled AMY invites you into her life by showing you unseen personal footage (like MONTAGE OF HECK with Nirvana). It’ll hit you right in the feels and make you understand why she was the way she was, while also showing you just how gifted she really was.
There were many films this year that tackled the tired subject of artificial intelligence, like CHAPPIE and AVENGERS: AGE OF ULTRON; however, none of them were as raw and realistic as EX MACHINA. One of the reasons why this film is so breathtaking is because of Alex Garland, who is mostly known for his script work for 28 DAYS LATER and SUNSHINE. Now, the talented filmmaker takes his talents behind the camera in his directorial debut, and what a debut it is. You’ll think you’ve experienced true art, but then you’ll see EX MACHINA— a game changing film, not only of the genre, but of film itself.
Just when you thought the recent wave of rebooted franchises had run out of gas, along comes MAD MAX: FURY ROAD— George Miller’s non-stop concerto of clanking iron, splattering blood and broken bones.
FURY ROAD truly doesn’t let up, riding its momentum from start to finish. But don’t fret, Miller has orchestrated much more than mindless explosions and noise. The characters are unique, identifiable and moving, and their situations ring with vibrant authenticity.
From the moment IT FOLLOWS opens to the last frame you have an eerie feeling that something isn’t right. The music hints at the inevitable, the camera pans to show what may be lurking, and the actors’ interactions with one another cause the audience to forget that at any moment it will appear.
Writer-director David Robert Mitchell (THE MYTH OF THE AMERICAN SLEEPOVER) molds something together that has long since been absent from the horror genre– something that is restrained and toys with your imagination. He takes an entirely plausible occurrence, such as an STD, but instead of a few pesky bumps you get a supernatural entity calculating your every move– a simple yet effective premise, and one of the best horror movies in the past decade.
Pixar’s latest feat, INSIDE OUT, is not only a triumphant return to quality storytelling but it’s both original and engaging for audiences to relate to. You know you’re witnessing something special when you’re in the theater smiling to yourself about the brilliance of an animated film introducing psychoanalysis concepts to an audience composed mainly of children, while also explaining these concepts with clear and understandable visual metaphors. It’s inventive, unique and brings a new way to understand human life– undoubtedly this year’s finest outing.