Amy –The story of Amy Winehouse, as she goes from precocious child to drug-addled superstar, is a horror film of sorts, where the monster is fame. Brooklyn – Featuring a luminous performance from Saorise Ronan, a wonderfully empathic script by Nick Hornby, and stunning, painterly cinematography by Yves Bélanger, this story of our heroine’s journey from Brooklyn to Ireland (and from girlhood to womanhood) is the very essence of a simple story, beautifully told. It feels good to feel this much at the movies. Brie Larson is outstanding as a woman who powers through her own fear and anger to be a rock for her son (a remarkable Jacob Tremblay). Room – Story of a mother and son held captive in a small shed-and the sense of wellbeing she gives him despite their predicament-is one of the most emotionally intense cinematic experiences in recent memory. The contrast between what our heroines present to society-two platonic friends, out to lunch or on a road trip-and what’s burning beneath the surface, is what gives the film such potency. Carol – Never has the impossible glamour of Cate Blanchett been used to better effect than in Todd Hayne’s ravishing and romantic film about a forbidden lesbian affair in 1950s Manhattan. ![]() In some cases, I used excerpts from my own previously published reviews.ġ. I did 25 films this year-like a crazy woman!-because there were four films I absolutely adored ( Carol, Room, Brooklyn, and Amy) and 21 films I liked a whole lot. The intro is usually where I make grandiose pronouncements about the recurring themes we saw in the Year in Film, but those kinds of neat summations tend to be forced (although the paradoxical ruthlessness and beauty of nature came up a lot) and besides, no one reads intros anyway.
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