Making a top 10 of the most entertaining films of a certain period, is something I wanted to do for some years now. It is motivated by the fact that to most people in the world, film is associated with leisure time and entertainment. Sure, these days more and more people are interested in film beyond its sheer entertainment value, but they still are a minority compared to the entire world population who are able to watch movies.
When people come home from a hard day's work and want to do something that relaxes them, watching a movie is only one of so many options to consider. If they choose to watch one, their preference probably won't go to some highly praised movie that won awards on obscure festivals or made it to the top 10 lists of erudite film critics. Film is mostly entertainment to many people and, this can't be stressed enough, there is absolutely nothing wrong with that.
While I do prefer more profound, stimulating and transgressive cinema, I very much can relate to watching a film only for its entertainment value. For me, watching complex, layered and stylistically exhausting or challenging movies can feel like a hard day's work. Which doesn't mean it isn't fun or enjoyable (many people love their hard day's work, no?), but you can't keep that level of concentration and effort all of the time.
To acknowledge there is a difference between movies made to entertain us and movies that want to transcend this, makes it easier to appreciate each kind of film on its own. In this respect, comparing a Bulgarian art film with an American blockbuster feels completely useless since their intention, form, content and target audience are so different. You can prefer one over the other, of course, but it feels a bit nonsensical to mention both of them in one, quantitatively ordered list.
This is why I chose to make two lists this year (apart from the fact that I just love making these lists): one with the most entertaining films and one with films who aren't (only) about entertainment. The first one to counter elitism, the second to counter commercialism. This post will address the first. I would recommend this list to everyone who hasn't got the time or the interest to watch many movies, but can enjoy a recreative one now and again. If you are more of a value seeker, think mainstream entertainment is boring or want to resist marketing's dictatorship on cinema, this list probably isn't for you. A note of importance is that this list will focus primarily and even solely on English movies, since this is the language that dominates most of our spare time (in the West anyway).
Like all previous years, the entertainment industry still is completely consumed by remakes, sequels, prequels, spin-offs and reboots (Spectre, The Hunger Games: Mockingjay - Part 2, Cinderella, Pan, Avengers: Age of Ultron, Jurassic World, Minions, Furious 7, Mission: Impossible - Rogue Nation, Insurgent, The SpongeBob Movie: Sponge Out of Water, Horrible Bosses 2, The Woman in Black 2: Angel of Death, Taken 3, Night at the Museum: Secret of the Tomb, Poltergeist, Paul Blart: Mall Cop 2, Terminator Genisys, Insidious: Chapter 3, Ted 2, Fantastic Four, Sinister 2, Vacation, Hitman: Agent 47, Maze Runner: The Scorch Trials, The Transporter Refueled, Hotel Transylvania 2, Paranormal Activity: The Ghost Dimension, Wild Card). Even original screenplays are getting very scarce since more and more adapted screenplays from tv-series, books, comics, short stories/films and plays get picked up (Big Hero 6, Fifty Shades of Grey, Ant-Man, The Man from U.N.C.L.E., The Martian, Mortdecai, Seventh Son, The Walk, Entourage, The Peanuts Movie, The Longest Ride, Paper Towns, In the Heart of the Sea, Home, Pixels, Dark Places, The Gunman). Creativity these days is about being creative within the framework of screenplays and storylines that themselves don't aspire to be more than a copy of something that already exists. This maybe explains why so many blockbusters are visually and technically striking and beautiful, but narratively can be quite predictable and uninspired.
Of course, originality in screenplays still exists, albeit being formulaic (Ricki and the Flash, Sleeping with Other People, Krampus, The Age of Adaline, The Intern, The Night Before, Ouija, The Nut Job, San Andreas, Man Up, The Last Witch Hunter, The Taking of Deborah Logan, Tracers, Run All Night, She's Funny That Way, Survivor, Solace, Burnt). In some instances this leads to wonderful ideas (Tomorrowland, Jupiter Ascending, Inside Out, Regression, The Good Dinosaur, The Interview, Chappie, Focus, Infinitely Polar Bear, Self/less), but when it comes to the execution of those ideas they mostly fail to deliver. On other occasions the execution is quite good, but the ideas themselves - despite being original - lack imagination and a more interesting approach (Straight Outta Compton, Spy, The Green Inferno, Crimson Peak, Southpaw).
The following top 10 consists out of four sequels, three adaptations and three originals. First, here are some films that didn't make the cut but deserve being mentioned:
- Family entertainment: Cinderella, Pan, Minions, Big Hero 6, Tomorrowland, Inside Out and The Good Dinosaur.
- Blockbuster entertainment: Spectre, Ant-Man, The Martian and Avengers: Age of Ultron. The Martian actually could've been in the top 10, since it was one of the most unexpected comedies last year, but I finally decided to give a lesser known film the spot.
- Niche entertainment: Regression, The Green Inferno, Crimson Peak, Chappie, Straight Outta Compton, Focus, Spy, The Walk, Southpaw and Infinitely Polar Bear.
Personally I thought The Hunger Games: Mockingjay - Part 2, Jurassic World, Fifty Shades of Grey, The Man from U.N.C.L.E., Mortdecai, Seventh Son, Insurgent, Home, Jupiter Ascending, The Interview and Self/less were disappointing to awfully bad. Instead of entertaining, they irritated me to the point that I couldn't even watch some of them till the end.
Damn, let's see this top 10 already!
In all honesty, I believe this to be one of the most underrated entertaining films of 2015. The story tries to capture the spirit of a certain part of today's youth, more specific those affiliated with the EDM music scene. Richard Silverman, the writer of the film's story, compares this spirit to rock 'n' roll in American Graffiti and disco in Saturday Night Fever. While I doubt that EDM will have an equally big impact on the evolution of music, it cannot be denied that festivals like Tomorrowland and reborn party scenes in (among others) Berlin, Ibiza and Florida speak to the imagination of many young people around the (Western) world. When you walk across a small, little, almost deserted village in Spain and come across some ten-year-olds who ask you where you're from, and upon answering "Bélgica" they immediately shout out "TOMORROWLAND!", it feels like EDM in all its variaty has the potential to become the sound of a generation. This might sound overtly romantic (being logically inductive and all), but against the backdrop of the never-ending economical recession the need to party away all the worries and responsibilities is real to many people. We Are Your Friends shines its light on a group of American (do'h) youngsters in San Fernando Valley, Los Angeles who aspire to do something great with their lives. Zac Efron, who's gradually growing as an actor, plays the lead role of 23-year-old DJ Cole Carter. He tries to break through in an already saturated music industry while hanging out with his friends. Although the story is far from original and the score is made out of some of the most cheesy and commercial EDM out there, its timeless sentiment and contemporary setting will undoubtedly relate to many young people today (see the statistics on IMDb: the ratings are negatively correlated to the age of the voters), making it possible for We Are Your Friends to become somewhat of a cult hit in twenty years from now. And if not, we will always have the amazing rotoscoping scene while Cole is high on angel dust. To all those who have a soft spot for coming-of-age stories and can get over the fact that this is all very First World-centric: it might be exactly the kind of entertaining film you want to see on a Friday or Saturday night, provided that you're not off to party, of course.
09. Everest
The past years we got a lot of "(wo)man vs. nature" films: The Way Back, 127 Hours, All Is Lost, Kon-Tiki, The Grey, Life of Pi, Tracks and Wild. Before that, there were classics such as Deliverance, Cliffhanger, The River Wild, Cast Away, The Beach and Into the Wild. This "(wo)man vs. nature" genre, that balances between drama, thriller and adventure, has its own kind of audience - those who are fascinated by our most primal instinct: survival in the face of nature's greatness. While you can hardly say that Everest is as impressive as most of the above films, it is one of the most entertaining. Entertaining in the way that its build-up manages to make you feel constantly anxious. Knowing that people die every year while trying to conquer the world's highest mountain - during the shooting of the movie in April 2014 in Nepal, sixteen Sherpa's died in an avalanche -, adds to this continuous feeling of tension. The vast landscapes (mostly shot in the Alps) make up for an impressive, but daunting scenery. And although the daredevils' desire to climb Mt. Everest feels ridiculously dangerous, you cannot help but feel admiration. Everest is definitely the kind of movie that is directed to a more specific audience, but the cast (Brolin, Watson, Knightly, Worthington, Gyllenhaal) will probably lure viewers who normally wouldn't watch this. Since most of the cast members haven't got much individual screening time, this probably isn't the best idea though. It's not like watching Suffragette for Meryl Streep (where she has about five minutes of screening time) or Into the Woods for Johnny Depp (barely ten minutes), but for some actors (especially Knightly and Worthington) it isn't that much more. Anyhow, everyone who usually likes these kinds of adventure movies and often stands in awe of nature's grandeur, might enjoy this one a lot.
Magic Mike didn't leave a big impression on me. Soderbergh failed to convince with his story about a male stripper who wanted to become an entrepreneur. It all felt too much as an advertisement for the Chippendales. While Magic Mike XXL has the same kind of advertising potential, it actually is a lot more entertaining because it doesn't try to be something that it's not. The whole film has actually a very episodic kind of vibe: Mike's dancing scene in his working space, the dance-off in the gay club, the striptease act in the gas station, the MDMA trip in the fro-yo van, the events in the strip club, the awkward situation in the mansion,... Magic Mike XXL isn't really a consistent film but that's exactly its strength. While the ending is a bit anti-climactic, there are so many moments during this film where you cannot help but chuckle because of the overwhelming feel good-vibe. Yes, the upper torso's of male leads Channing Tatum, Matt Bomer and Joe Manganiello definitely might make some male viewers wish for those bodies, but for some reason the laid-back atmosphere of the movie doesn't inflict insecurity on its male audience like so many movies still keep on doing towards women. This is the updated, American version of The Full Monty which the first Magic Mike missed out on. Although some will consider the second installment to be the lesser one, this might have more to do with sex differences than the the film itself (see the statistics on IMDb: there wasn't much difference in rating between males and females with Magic Mike, but with Magic Mike XXL the female audience loved the film a lot more than the male audience). Is it due to the fact that XXL has a more free-spirited vibe, including a rather gayish aura sometimes, that makes heterosexual, macho men feel more insecure, not about their bodies, but about the need to feel affirmed in their sexual orientation? Who knows. Maybe you should be the judge of that and prove me wrong.
07. Pitch Perfect 2
This is what crowd-pleasing looks like; a perfect example of our contemporary bread and circuses. All elementary emotions that feel so profound in puberty and still have the possibility to resonate with adults, are triggered throughout the whole movie. It's fun, it's charming and it has some of the most effective musical scenes of 2015. Of course, if you're not into music or dance flicks, Pitch Perfect 2 will not make you change your mind. But if you do love those kinds of movies, it'll entertain you just as much as its predecessor did. Anna Kendrick's "Cups" went on to become a major hit after the first one, which made me doubt if a second movie was desirable. Bringing back writer Kay Cannon and the whole cast, while replacing director Jason Moore with Elizabeth Banks, turned out to be a success: Pitch Perfect 2 is as witty, as feel good and as easily digestible as the first one. Like expected, this film scores higher with a younger, female audience, but being an adult male I refuse to label it just as a guilty pleasure, since I won't feel guilty for something that entertained me. Nor will I frame this ironically: watching it while saying it's bad. Life is too short to do things ironically. So if you can appreciate a nice (pop)music-centered film and are tired of watching the same talent shows over and over again, just watch this instead - it'll be a lot more fun and entertaining.
Give M. Night Shyamalan tons of money and you get The Last Airbender and After Earth. Give him the lowest budget he ever worked with (apart from his 1992 debut) - which still is $5 million -, and you get his most refreshing and entertaining film since Signs. ... Or make that The Sixth Sense. Who would've thought Shyamalan would make such a great found footage film one day? Even more, who would've thought he made a fairly successful attempt of reinventing the genre? Both child actors give incredibly believable and naturalistic performances. Rebecca, the oldest, wants to make a documentary of her grandparents whom she never met. Her technical knowledge about framing, mise-en-scène and documentary filmmaking are a delight for movie buffs. Tyler, the younger brother, is a hip hop fan and raps like a boss. He walks the walk and talks the talk of a true rebelling teenager. Shyamalan has made plot twists his trademark and The Visit is no different, but that is by no means the strength of this movie. It is the first time Shyamalan made a film that feels authentic, transcending both comedy and horror. If you can mix both 'scary' and 'funny' with an interesting narrative and stylistically solid cinematography, it makes up for a perfect scary movie night. Just get your expectations straight: this flick is not in the same category as the endless supply of ghost / demon / possessed / exorcism / haunted house stories.
05. Into the Woods
Who better than choreographer Rob Marshall (Chicago, Nine) to direct this wacky Broadway musical? When a childless couple tries to have a baby, they get help from the witch who lives across the street. In their adventures to meet the witch's demands they come across Little Red Riding Hood, Cinderella, Jack (the one from the beanstalk) and Rapunzel. These days reviving old fairy tales seems like a commercial certainty, especially if the Disney label is on the credits. But unlike all the remakes and origin stories, Into the Woods is an adaptation of the 1986 Broadway musical that wasn't particularly child friendly. I doubt the film will appeal to younger children because it is often (obviously) layered, morally ambiguous and can be freakishly weird. The isolated atmosphere of the wood in this undisclosed, fantasy land, can create a nightmarish feeling. Especially Meryl Streep, who excells yet again as the witch, can be rather creepy sometimes. Maybe not a film suited for family occasions, but on the other hand it is nice to see Disney bring a more adult-oriented fantasy film on the market. Into the Woods is without a doubt the most satisfying musical since Sweeney Todd and Across the Universe. Next time, don't ask Tom Hooper to direct Les Miz, ask Rob Marshall.
Spectre, Bridge of Spies, Spy, The Imitation Game and The Man from U.N.C.L.E. all made an effort in trying to make spy movies sexy again. In my opinion they all failed. Sure, the opening scene from Spectre was impressive. Yes, I had a few genuine laughs with Spy. Bridge of Spies was way better in its first half an hour of courtroom drama than everything that followed, The Imitation Game was more of the same tiresome biopic galore and The Man from U.N.C.L.E. was just too generic. Where are the crazy and morally subversive villains? Where are all the over-the-top gadgets? Why... so... seriousss? I'm not saying spy movies should suffer from the same ADHD as Archer, but is it that difficult to lighten' up the mood without becoming trivial? Kingsman: The Secret Service hits that spot just right. It feels like an adrenaline rush that keeps on going, literally culminating in dozens of colorful explosions. Samuel L. Jackson's Valentine is probably the coolest, craziest and creepiest bad guy since Heath Ledger's The Joker. Add some of the most brutal action scenes of the year and a lot of witty dialogue, and you've got yourself the spy movie you've been waiting for since James Bond got prefabricated with Brosnan and humorless with Craig. Definitely one of the most entertaining movies of 2015!
03. American Ultra
I stand by this. Really. American Ultra is without a doubt one of the most entertaining stoner movies in a long, long time. I watched it both high and sober and both times it all felt right. The dialogue is recognizable and Jesse Eisenberg's mimicry of a pothead is simply spot-on. The paranoia, erratic thought spirals and constant need to relax in stressful situations (all inherent to cannabis intoxication), provide an excellent start for this romantic action flick with great chemistry between Eisenberg and Stewart. Topher Grace's overacting might be irritating sometimes, but all in all he is just a means to tell a love story of two mavericks. And although the storyline is undoubtedly farfetched, Max Landis' writing is some of the most creative and original in Hollywood these days (which Chronicle already proved of course). American Ultra is niche cinema and will mostly please the audience that is looking for stoner fun. On the other hand, this stoner fun has definitely more to offer than what we see in most Kevin Smith, Rogen / Franco, Todd Phillips or Harold & Kumar movies, since this is about more than comedy alone. It tries to delve into the core of THC-influenced conversations and situations: from its dreaminess and feelings of profound revelations to the inexhaustibly creative and manic mind. I'm not saying this movie grasps it all, but against the setting of a violent manhunt and a tragic romance, there's more to American Ultra than meets the eye. Don't expect it to be groundbreakingly perceptive though, the film's primary goal still is to entertain.
This is the best Star Wars movie of the whole franchise. There. I said it. Like every skeptic I was very annoyed with the violent marketing which wasn't based on getting to know this film, but about shoving a product so far down your throat there was no escaping it. Normally, when this strategy is used, I refuse to acknowledge the product's merits, 'cause it all feels fabricated and it's just part of a big, commercial propaganda scheme. It's the kind of marketing that creates opinions about a product before the product itself is experienced, bought or tested. People get equally polarized and worked up about it as during political elections or moral disputes. That's why marketing of this size does more harm than good: no movie is worth that kind of attention and the childish bickering that goes along with it. It can be fun, of course, to troll people. Die hards, pro- and anti-Star Wars, have trouble putting things into perspective. Especially when you emphasize the vital role marketing, and not the film's qualities, plays in forming an opinion. But in the end it's just best to block and ignore everything Star Wars related. Debunk its marketing by not giving it any more buzz. This is the second time I write about The Force Awakens and it'll be the last. Concerning the franchise itself, I am more an anti- than a pro-Star Wars person. George Lucas made up an interesting universe, I'll give him that, but its protagonists were completely flat and its action was more charming than it was exciting. The first trilogy's entertainment value has dropped significantly compared to The Force Awakens. J.J. Abrams revived the Star Trek franchise and now does the same with the Star Wars franchise. It might be that in forty years Abrams also feels outdated, but in the meantime he is the one who started the wonderful beginning of a new saga for a new generation to enjoy. Simultaneously, it'll probably be the first time since The Lord of the Rings trilogy that a franchise will (at least partly) succeed into transcending generations, sexes and nations all over the world. In that respect I thought this was the best Hollywood blockbuster since The Dark Knight. Curious to see if the next five episodes will live up to the standard Abrams has set.
01. Mad Max: Fury Road
All of you who refused to watch the fourth Mad Max movie because it never could live up to the original trilogy: you were wrong. Apart from the character's name, the post-apocalyptic world and George Miller's directing, this film leaves the original trilogy as it was. Narratively it has nothing to do with Gibson's character or the storylines from the movies in 1979, 1981 and 1985. Above all, this movie has been in the making for over fifteen years. This is not a project that was fixed in a few years time to revive a cult phenomenon and quickly cash in on it. This is Miller's long awaited artistic project. There have been thirty years between Beyond Thunderdome and Fury Road. Miller was 40 in 1985 and is 70 now. It's a wonder this movie saw the light of day at all! So, while DiCaprio and Iñárritu try to gain respect by never missing an opportunity to stress the fact that they went through hell while shooting The Revenant, I've never heard Miller doing the same. The fact that the whole film was shot in sequence, almost all stunts were practically executed (by artists from Cirque du Soleil and Olympic athletes), they shot in extremely hot circumstances in the Namibian desert and Tom Hardy broke his nose, are all examples of the harsh conditions in which Fury Road was made. The movie itself feels like a constant rush of blood to the head, a pure and genuine adrenaline ride. It features some of the most intense car chases ever shot on film, combined with a pumped up score by Junkie XL and a delightful saturated color palette (I can't wait to see the black and white version!). Add to that the central theme of female empowerment and the tackling of one of the world's biggest challenges - water scarcity -, and you've got yourself some rather intelligent and aesthetically beautiful entertainment.There it is. My top 10 of the most entertaining films of 2015. Next up: a top 25 of the best films of 2015. Some of them also will be about their entertainment value (although more in an "indie" way), others will demand more focus, patience, affinity to the subject or an acquired taste. In all honesty, Mad Max: Fury Road could've been in the top 25, 'cause it really is one of the best movies of 2015.
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