The Year In Cinema 2015

The Year In Cinema 2015

A Critical Round-table of the Best in Cinema of 2015

Each January, we at The Alone in the Dark Film Blog gather together our favorite critics, curators, and cinephiles to review and revel in the past year in film. From the vastly overrated to the criminally under-appreciated, we gather the new discoveries, the endearing masterworks, and the personal moments that make cinephilia so vital- and share them with you.

This installment finds film critic Amy Menell (of Cinemynx and Screen Relish); cinephile Shay Wescott (of the cinema program at the Boedecker Theater); Crested Butte Film Festival Screening Committee head Scott Aigner; journalist and film critic Chris Harrop (of Denverflicks and the Aurora Sentinel); Turner Classic Movies film critic and writer Kimberly Lindbergs, and our own author and film critic Jack Hanley (of The Gaze, Mile High Cinema, and the Alone in the Dark Film Blog) venturing boldly into the celluloid Thunderdome that was 2015.

Most Overrated Film of 2015:

Hateful Eight- Courtesy of Miramax Productions (2015)

Jack- Perpetual mockingbird Quentin Tarantino’s latest outing reaffirms two acknowledged universal truths: that he no longer makes films (but rather extended, hyper-stylized trailers) and that while he gives undeniably brilliant foreplay, he still can’t deliver in the final act. We continue to hold out in vain that the director who showed such flourishes of promise (PULP FICTION and the immaculate JACKIE BROWN) might someday transcend mere spastic homage aimed for the sensibilities of 14 year old boys- but (as Ordell Robbie recognized) while you can never trust Tarantino- you can always trust Tarantino to be Tarantino. Swiping the best moments from Sergio Corbucci, John Ford, and Sergio Leone and simply overlaying the Spaghetti Western atop John Carpenter’s THE THING, we can at least be thankful that QT is now cribbing from a better class of cult cinema.

Amy- While MAD MAX: FURY ROAD was visually arresting and compelling in a crystal meth kind of way, I feel its praise, especially of late — appearing in many critics “best of 2015” lists — is utterly incomprehensible to me. Following the original George Miller MAD MAX threads, a one-armed beautiful female protagonist smuggles nubile concubines out of hideous enslavement by a dystopian crazed monarch with a monosyllabic mystery nomad (the ever and all too present Tom Hardy)…OK, I’m down with that. But in practice it is one remarkably tedious chase with future-retro-war-rides broken into two chapters, and some really great explosions. Oh — there’s a nice dust storm too. Not that it is not entertaining in a beer-guzzling-testical-grabbing kind of way. But best picture nominee??? Please…

Chris- The film that I most overrated in 2015 after first viewing was James Ponsoldt’s THE END OF THE TOUR. The performance by Jason Segel remains strong, but all else feels far less memorable upon repeat viewings.

The Big Short- Courtesy of Paramount Pictures (2015)

Shay- THE BIG SHORT was a mess. Unfocused and frenetic, Adam McKay’s first “serious” film has no control over its actors and no idea what it’s trying to say. It buries its already weak anger and call to action under a soul-crushing array of gimmicks pulled off with little to no grace. Even its supposedly simplified economic lessons become distracting and convoluted by cultural references. But the worst part? For all its efforts, the film isn’t even remarkably funny.

Kimberly- The BIG SHORT played like a clumsily directed and badly written episode of Sesame Street complete with “celebrity guest stars” that spoon-fed adults data about the financial crisis of 2007–2010. It uses comedy (including bad wigs- at least I think those wigs were supposed to be a joke?) to elicit laughs, but I thought the whole enterprise fell extremely flat. I didn’t find the film particularly funny or clever and I never once believed that any of the cardboard characters were human. It’s bad cinema no matter how earnest its message is and there are plenty of good documentaries about the topic that deliver the same information in a much more compelling and clear-cut way including INSIDE JOB as well as multiple episodes of Frontline.

 Most Underrated Film of 2015:

Tangerine- Courtesy of Magnolia Pictures (2015)

Scott- Sometimes I have trouble with this category — what do I base this on? I usually justify it in my mind as “a film that more people should have seen”. Critics certainly (mostly) loved this film, but the film only had a limited release and only had the opportunity to bring in just over $700,000 in revenue. The film I’m talking about is TANGERINE. Once the “gimmick” of knowing that it was filmed on a iPhone wears off, what you are left with is still a remarkable story and some phenomenal performances.

Amy- PAWN SACRIFICE is a poetic and wildly gripping portrait of Bobby Fischer and his climb to become the World Chess Champion, a title he fought against his formidable opponent Boris Spassky, the USSR Grandmaster of chess who had held the title for three years. Fischer is by no means an easy person to explore, explain, or represent- however director Edward Zwick, gifted with an insightful and intimate script, allows us to see Fischer with both caution and empathy. The drama and tension Zwick brought to the silent and all to often plodding game of chess is hard to believe, but it is thrilling and elegant.

Kimberly- Going by the critical reviews on Rotten Tomatoes and IMDB, I’d have to say the Belgium horror film CUB . It is the first feature film from director and writer Jonas Govaerts who shows a deft understanding and deep appreciation of the horror genre. Like many recent thrillers, it’s a throwback to the early 1980s but offers a unique and surprisingly mature spin on the classic “camping horror” genre. Govaerts’ manages to ratchet-up the suspense with his creative camera work and sound design while creating an atmosphere of dread that is missing from many modern horror films. He also got an amazing performance from his young star Maurice Luijten.

Diary of a Teenage Girl- Courtesy of Sony Pictures Classics (2015)

Shay- While well-received by everyone who saw it, DIARY OF A TEENAGE GIRL has been criminally under-seen and mostly inaccessible all year. For the same reasons that the plot is born of the stuff of parental nightmares, it is the most honest and empowering account of a young woman discovering her sexuality. Bel Powley’s brave performance made me feel more confident and comfortable in my own skin- it’s a shame that kind of message isn’t marketable.

Chris- Trey Edward Shults’ KRISHA, which played during the 38th Denver Film Festival, is right near the top of my best-of-2015 list and few of my most-trusted cinephile friends have had the chance to experience it yet. For a film that had so much buzz coming out of SXSW, I am perplexed as to why more viewers haven’t sought out this intense domestic drama.

Biggest Surprise(s) of 2015:

Yakuza Apocalypse- Courtesy of OLM, Inc (2015)

Kimberly- Takeshi Miike’s YAKUZA APOCALYPSE was a pleasant surprise. Miike’s one of my favorite directors but I’ve lost track of his work in recent years. This crazy Yakuza vampire epic stood out for its sheer wackiness, abundant style, and bravado. Not everything worked in the film but it was sure fun to watch and reminded me why Miike is one of our most interesting and innovative filmmakers.

Jack- The triumphant resurgence of Horror as a nuanced and satirical genre (IT FOLLOWS, GOODNIGHT MOMMY, THE WITCH); feminism at the forefront with Bechdel-tested blockbusters (STAR WARS, MAD MAX, INSIDE OUT); and the subtle and moving blend of the nostalgic and the poignant in the unexpectedly brilliant CREED. Pleasant and welcomed surprises, all.

Amy- MAGGIE is a small zombie film in a sea of far too numerous zombie stories. What elevates MAGGIE from the masses is that the zombie virus is but a backdrop for what is actually a profound story about a father’s love, dedication and sacrifice for his daughter. The greatest surprise is that the quietly powerful love comes from none other than Arnold Schwarzenegger who for once becomes truly human, emotive and sympathetic. MAGGIE is a reserved but impactful film with a beautiful yet cold palette, and Schwarzenegger, like you have never seen him, is actually good.

Goodnight Mommy- Courtesy of Ulrich Seidl Film Producktion GmbH (2015)

Shay- It may be an interpretive stretch, but I have to go with the film that surprised me in the most literal sense. Austria’s GOODNIGHT MOMMY had me immediately under its spell. I cowered in gleeful fear throughout, but, more than that, the suspense itself was so engrossing that I ignored the almost embarrassingly obvious conclusion until its final minutes and- in this case- a childlike sense of naivete reaped some gloriously terrifying rewards.

Scott- LOST RIVER. Not necessarily a good surprise, but certainly not a bad surprise. What is most surprising about this film is the potential it shows. This is Ryan Goslings’ directorial debut and wowza it is strange. At times it feels like an obsessively indulgent homage to what he clearly loves (think Mario Bava and Nicholas Winding Refn), at other times it feels like a nice experimental foray into some kind of weird fantasy sub-genre. What makes it a surprise to me is that it is interesting. I left it wanting to see what he would or can do next. (and what a GREAT — maybe even most memorable villain performance by Matt Smith!). Runner-Up — Sylvester Stallone in CREED.

Best Female Performance of 2015:

Room- Courtesy of A24 Films (2015)

Scott- Brie Larson in ROOM. This was a tough call for me (see Runner-Ups), but I’m giving Brie Larson the win here because it is long deserved. I’m glad she is finally getting some major recognition for her performance. A tough, raw, performance. Runner-Ups — Yana Novikova in THE TRIBE and Charlize Theron in MAD MAX: FURY ROAD.

Shay- Elisabeth Moss’s descent into madness in Alex Ross Perry’s QUEEN OF EARTH is equal parts unnerving and darkly comedic- the real feat being that it takes place almost entirely on her face. Sometimes subtle, yet visceral, sometimes cartoonishly creepy, her expressions let you know exactly what is going on inside her head. Moss’s character consistently complains that she can feel her bones grinding under her face; you want to roll your eyes, and yet, you can almost see it happening.

Chris- Cate Blanchett in CAROL is impossible to slight and is my favorite lead female performance this year. But I would be remiss not to mention Tilda Swinton totally disappearing into her role in TRAINWRECK.

The Tribe- Courtesy of Garmata Film Production and the Ukrainian Film Agency (2014)

Jack- With apologies to Larson and Rampling, with over 275 films screened last year, no single performance came close to the devastatingly haunting debut turn by Yana Novikova in the Ukrainian masterwork, THE TRIBE. Daring, audacious, and mesmerizing…

Amy- Nina Hoss in PHOENIX. In the post-WW2 story of a young woman disfigured in a concentration camp and given a new face after reconstructive plastic surgery, Hoss conveys a life of pain, love and reprisal with little dialogue. Searching for her ex-husband who may, or may not, have given her up to the Nazis, Hoss is alarmingly frail and birdlike with a resolve and drive of iron.

Best Male Performance of 2015:

Courtesy of Paramount Pictures (2015)

Chris- Even though he never appears on screen and not all of his characters are male, my vote goes to Tom Noonan for a hundred different voices or so in ANOMALISA.

Scott- Super biased here — feel free to hate (or agree). I’m going with Leonardo DiCaprio in THE REVENANT. I’m a sucker for Leo, and flaws aside I’m super happy about much I enjoyed this Iñárritu follow up.

Shay- Oscar Isaac could probably just stand silently at the edge of the frame for an entire film and I would be charmed- so seeing his “science-bro” villain break into a mesmerizingly weird dance sequence in EX MACHINA sealed the deal for the Best Male Performance- now and forever.

Pawn Sacrifice (2015)

Amy- Tobey Maguire’s portrayal of Bobby Fischer is masterful. He achieves what all actors aim to do: lose themselves completely in the role, and allow the audience to forget Tobey Maguire completely. Fischer was certainly mentally ill, and he was a largely unlikable person — impatient, angry, demanding, paranoid. He was also brilliant, childlike and, most importantly, fascinating. Maguire gives a performance which rubs against the edge of hateful and brings us a Fischer who mesmerizes us, compels us and in the end, for whom we have great fondness and sympathy.

Kimberly- I want to single out Richard Jenkins in BONE TOMAHAWK. His performance was just terrific- funny and soulful, recalling classic western sidekicks like Jack Elem and Gabby Hayes.

Best Personal Discovery of 2015:

It Follows- Courtesy of Animal Kingdom and Northern Lights Films (2015)

Scott- Two horror films (and their directors) make the cut here for me this year. Robert Eggers’ THE WITCH and David Robert Mitchell’s IT FOLLOWS. Young, fresh, inspired, haunting — all words I would use to describe these directors and their films. Two names I will most definitely be keeping an eye on in the future.

Kimberly- The Turkish horror film NACIYE was a real surprise. The plot centers around a middle-aged woman (skillfully played by celebrated Istanbul-born actress Derya Alabora) who refuses to leave her family home even though she can no longer afford to maintain it. She quickly and crudely disposes of any new occupants who attempt to move in and as the body count begins to mount, we learn more about her curious upbringing and nightmarish childhood. This is director Lutfu Emre Cicek’s first feature film and it’s a surprisingly grim and gory debut embracing a weird romanticism that I found oddly enchanting. In simple terms, it’s a reverse home invasion thriller that exploits the genuine horror of displaced people in a unique and utterly gruesome way. And at just 81 minutes it never wears out its welcome.

Shay- Writer/director Joel Potrykus has a name that is really fun to say. He also wrote and directed one of my favorite films of the year, BUZZARD, a mumblecore-esque film about a sociopathic slacker and a small-time scam artist with a homemade Freddy Kruger glove.

Hard to Be A God- Courtesy of Lenfilm (2014)

Chris- I will shamefully admit I was unfamiliar with Aleksei German until after his death. But one of the first films I watched in 2015 was his final film and masterpiece, HARD TO BE A GOD. It’s sci-fi the way I love to see sci-fi: mostly bereft of techie doo-dads and futurism, and instead focused on characters plunged into a muddy, unforgiving world that looks a lot like the Middle Ages.

Jack- Russian satirical sci-fi lit. Aleksei German’s Tarkovskyesque flourishes. The beautiful hybridity of the philosophical and the grotesque. The Bosch-soaked allegorical epic HARD TO BE A GOD is quite simply a masterpiece- nasty, brutish, and brilliant.

Best Documentary of 2015:

Listen To Me Marlon- Courtesy of Passion Pictures (2015)

 Kimberly- Stevan Riley’s LISTEN TO ME MARLON. The film is a cinematic tone poem that mixes previously unheard private audio tapes of Brando along with his home movies, clips from various films, and news footage to create a haunting portrait of the actor at his most vulnerable. It’s beautifully executed and made me feel as if I was being visited by Brando’s ghost.

Chris- My temptation is to list Jafar Panahi’s TAXI, but that would stretch the definition of documentary beyond my comfort level. When it comes to an honest-to-goodness doc, my top pick for 2015 is IN TRANSIT. The intimacy captured of the riders of the Empire Builder train mirrors the kinds of manufactured dramatics of road movies, only rendered here without the help of a script.

Drunk Stoned Brilliant Dead: The Story of National Lampoon- Courtesy of 4th Row Films (2015)

Amy- DRUNK STONED BRILLIANT DEAD: THE STORY OF NATIONAL LAMPOON. For his fourth documentary, director Douglas Tirola turned his focus on what is arguably ground zero for what we now consider standard comedic fare. In April, 1970 National Lampoon Magazine was birthed by three Harvard graduates and satire was never the same. Beyond its scorching political content, its hilarious fake advertisements and its now iconic cover art, National Lampoon and its subsequent productions established the most famous and influential comedic actors of the 20th century; among them Bill Murray, John Belushi, Harold Ramis, Chevy Chase, the sadly now deceased Michael O’Donoghue and John Hughes. If you happen to be of a certain age (ahem) it is like experiencing your own formative years all over again with the stark reality of age reminding you of just how may of the talents we loved are no longer with us. DSBD is a brilliant and bittersweet ride.

Shay- WELCOME TO LEITH was the most compelling documentary of the year for a myriad of reasons, but most notably the fact that it maintains a level of objectivity about the seemingly black and white subjects of white supremacy and domestic terrorism. It’s definitely a challenging film, but one that evokes real conversation more than merely a sense of shared outrage.

Best International Film of 2015:

White God- Courtesy of Magnolia Pictures (2014)

Shay- WHITE GOD’S entire conceit is wild (in the best way, but executed with such a sobering sense of control. As an allegory, it can be both applied to Hungarian geopolitics as well as universally. While sometimes difficult to watch, the dynamic cinematography and a powerful use of classical score carry the film to its final, stunning moments.

Jack- Hungarian auteur director Kornél Mundruczó slips off the muzzle in his latest film WHITE GOD- a brilliantly subversive Hitchcockian allegory of race, class, and the hierarchical power construct set atop a feral revenge tale of the canine persuasion. WHITE GOD (whose title proves a playful nod to the Sam Fuller film) takes a sharp satirical bite out of the classic minority/exploitation narrative while seamlessly blending elements of both neorealism and magical realism. However, the real subversive genius on “First World sensibilities” is the cruel irony that the West only cares about assimilation, social justice, and the refugee crisis when our protagonists are less dark skinned- and more furry. Wicked, stunning, and stylistic with an astonishing turn by young newcomer Zsófia Psotta, Mundruczó debuts his most political and provocative film yet- and reaffirms that every dog will, indeed, have his day.

Kimberly- All my favorite foreign language films this year were rather dark and unsettling, which probably says a lot about where my head was at in 2015. They include ALLELUIA, Fabrice Du Welz’s clever, grisly and cryptic update of THE HONEYMOON KILLERS; Kornél Mundruczó’s WHITE GOD, which masks its social and political narrative within a modern fable about a young girl and the dog she’s forced to abandon; Severin Fiala & Veronika Franz’s GOODNIGHT MOMMY involving young twins with disintegrating identities who grow increasingly suspicious of their mother’s persona following her plastic surgery; Xavier Dolan’s mournful and moody thriller TOM AT THE FARM; and CUB, which I’ve already mentioned numerous times. I also appreciated the look of Aleksey German’s HARD TO BE A GOD and Peter Strickland’s DUKE OF BURGUNDY.

The Tribe- Courtesy of Garmata Film Production and the Ukrainian Film Agency (2014)

Scott- Personally, this is a non-contest. No other film this year has had an impact on me (or cinema) in the way that THE TRIBE has. The use of deafness, Ukrainian Sign Language, silence, and sound design only begin to touch on the ways this film has brought something new to the table. Not only did it bring something new to cinema — but it brings it with a coup. The film is HARSH — don’t take it lightly. This is one of the most difficult films I have seen in my entire film watching history. It is difficult not only for its presentation methods (Ukrainian Sign Language with no subtitles) and choices but difficult because of it’s harsh images and unrelenting boldness. These may not all sound like words of praise — but I assure you they are. This is one film that will stick with you — for good and for bad. It WILL make you talk, it WILL make you cringe, it WILL make you think. Director Myroslav Slaboshpytskyi challenges viewers every step of the way and proves how film is truly a VISUAL medium. This film will enter film history canon.

Chris- László Nemes’ SON OF SAUL comes across as confident as any film I saw this year, moments sliding in and out of focus amid the chaos of the Auschwitz-Birkenau concentration camp. The camerawork by Mátyás Erdély is perhaps the best of the year, which is an impressive feat in a year when fellow DPs Emmanuel Lubezki (THE REVENANT), Roger Deakins (SICARIO) and Robert Richardson (THE HATEFUL EIGHT) are all doing great work.

 Favorite Film of 2015:

The Revenant- Courtesy of 20th Century Fox (2015)

Jack- The Malickian meets the Herzogian in Alejandro Iñárritu’s visceral and poetic masterwork THE REVENANT. Under his direction (and Emmanuel Lubezki’s immaculate camerawork), the lens (and our sensibilities) darts and hovers god-like and impassive over the icy condemnation of our primal infancy. It is not just our protagonist that slouches and grunts about on all fours toward civilization- this is Iñárritu’s allegorical indictment of America and our own bestial radix. A radical standout adrift in a sea of innocuous cinematic mediocrity, Iñárritu again stakes claim as one of our greatest- if not most ambitious- modern auteurs.

Amy- Although I can hardly believe it myself, after a year of viewing, I was blown away by Tarantino’s eighth film THE HATEFUL EIGHT. Beyond the fact that it was filmed in warm glorious 70mm celluloid and is one of the most visually beautiful films I have ever watched, it presents like a stage play in two acts: first the tight confines of a stagecoach, followed by the close warmth of a cabin in a blizzard. It may be numbing outside but inside it is a firestorm of suspicion, rivalry, deceit and blood. The screenplay is like old western prose, full of lyrical fertile dialogue slowly burning until it bursts into a volcanic sea of blood. Even the violence is worthy of Balanchine. Brimming with testosterone, THE HATEFUL EIGHT’S single female emasculates all the men with her demonic contempt. We all want to see her hang and we would happily pull the lever ourselves.

Chris- It’s not anywhere near the top of my best-of list, but I am tremendously grateful that Rob Christopher’s PAUSE OF THE CLOCK got its day on the big screen. Completed after being shot in the mid-90s, it’s a sign of what’s possible in the crowdfunding age to rescue works that otherwise never get completed, never get seen. More of this sort of thing.

What We Do In The Shadows- Courtesy of the New Zealand Film Commission (2015)

Kimberly- My favorite English language films were a much more diverse lot and include Jemaine Clement & Taika Waititi’s hilarious and oddly touching New Zealand horror comedy WHAT WE DO IN THE SHADOWS; Yann Demange‘s politically charged “man on the run” thriller simply titled ’71; S. Craig Zahler ‘s horror tinged western BONE TOMAHAWK; Alex Garland’s slick science fiction parable EX MACHINA; Mark Burton & Richard Starzack’s refreshingly warm, funny and utterly charming animated ode to silent cinema, SHAUN THE SHEEP and CRIMSON PEAK. Guillermo del Toro’s stab at classic Gothic horror had plenty of problems and frankly the TV series Penny Dreadful does it all so much better but I loved the sumptuous style of the production and as a lifelong Hammer horror obsessive and Poe fanatic, it hit a lot of my buttons.

Scott- My favorite film of 2015 is a film I’ve mentioned once already — David Robert Mitchell’s IT FOLLOWS. I am an unabashed supporter of this film. Sure, it has its flaws, but it is also one of the most enjoyable watching experiences I have had in 2015. I was captivated by the incredible cinematography and stellar soundtrack/score composed by Rich Vreeland (better known as DISASTERPEACE). It is a skillfully made lo-fi horror film, and a film I genuinely wish I could call my own. (Runner-Ups — THE LOBSTER, THE REVENANT, STAR WARS: THE FORCE AWAKENS)

 Best Film of 2015:

The Tribe- Courtesy of Garmata Film Production and the Ukrainian Film Agency (2014)

Jack- And then- every so often- cinema radically changes, forever. The Ukrainian masterpiece THE TRIBE, helmed brilliantly by an all-deaf cast of non-actors is a beautiful- and brutal- visually poetic meditation on the human condition that features no translations and no subtitles. On a cursory level, director Myroslav Slaboshpytskiy seemingly overlays the tropes of traditional silent cinema and Steadicam flourish atop a classic Spaghetti Western; but even a rudimentary deconstruction reveals the nuance and complexities of a multitude of themes including systemic exploitation, institutional dysfunction, Eastern European geopolitics, patriarchal constructions, and social injustice. Is it excruciatingly visceral and nihilistic? You bet. But, more importantly, it is goddamn vital- and an assured, audacious, and astonishing work of art- and by far the best (and most daring) film of 2015.

Scott- THE TRIBE (see earlier remarks)

Anomalisa- Courtesy of Paramount Pictures (2015)

 Amy- Charlie Kauffman’s latest creation is a film that one sensorily experiences rather than watches per se. Michael Stone’s loneliness and melancholy is communicated through the sonic quality of the film more than the words of the screenplay itself. Unlike anything you have ever seen before, ANOMALISA is, yes I am saying this, a perfect film. Its stop-action animation allows Kauffman to aim the audience’s focus with laser precision, where we are slowly led and firmly held inside the mind and psyche of Stone in a way no filmmaker has even been able to achieve before Kauffman.

Inside Out- Courtesy of Pixar Productions (2015)

 Shay- This was hard for me (my official credo being “I hate having my heart warmed”), but INSIDE OUT got me excited about Pixar again. It has such universal appeal without all the pandering. The casting is perfect, the abstract setting reminds us of the limitless possibilities of animation, and the jokes are smart. My favorite aspect, however, is that Pixar managed to make a movie about a little girl that isn’t a “girl movie”- our heroine plays hockey but is never referred to as a “tomboy”, and her emotions are dominated equally by masculine and feminine ideas. This is a family film in a truest sense; it has equal appeal for children, adults, and even the deeply cynical.

Carol- Courtesy of The Weinstein Company (2015)

 Chris- As much as I try to find fault with it, Todd Haynes’ CAROL is sublime and more than makes up for what it loses in context from the novel in amazing performances and top-notch production design and costuming.

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Our Critics:

Kimberly Lindbergs is a member of the Alliance of Women Film Journalists and regularly contributes to Turner Classic Movies’ official blog at the Movie Morlocks. She has also written for Cineaste, Fandor, The Cultural Gutter, Cinedelica and Paracinema Magazine and has contributed liner notes for film scores released on Harkit Records and research for Anchor Bay DVD releases. Her Twitter handle is @cinebeats and her personal blog can be found at Cinebeats.com

Chris Harrop, when he’s not managing the newsroom of the Aurora Sentinel, also serves as the paper’s film critic. His reviews and articles can be found at www.aurorasentinel.com

Amy Mennell is a Manhattan bred, Boulder based life-long lover of film, student of film (hailing from the University of Colorado/Boulder under the epic Stan Brakhage), and film critic. Her musings, rants and searing insights can be found at Cinemynx.com, on Twitter, and as a contributor for ScreenRelish.com.

Scott Aigner is a midwestern at heart and a long time cinephile. Currently a higher education fine art studio instructor in Washington State by trade, he is an artist by passion, and a cinematic obsessive by blood. When not teaching and creating he can be found watching, pondering, and writing about film and heading up the Screening Committee for the Crested Butte International Film Festival. A wide range of his studio practice can be found at thelumierebrothers.com.

Shay Wescott is a transplant from Upstate, NY, currently enjoying her second year of post-grad limbo in Boulder, CO. She gets paid to pop popcorn and not break anything at the Boedecker Theatre in the Dairy Center for the Arts. Her qualifications to comment on film include the possession of too much free time, a memory of accidentally seeing THE SHINING at a young age, and a penchant for sitting alone in the dark. She enjoys hiking, red wine, and a nice pair of wool socks.

Jack Hanley is a writer, critic, and academic based in Boulder, Colorado. He is the host of several Boulder film series including The Clandestine Campus Cinema Society (CU Boulder), the Bloody Celluloid Film Series, and the Central and East European Film Series. Additionally, he is the Host and Moderator of the Crested Butte International Film Festival. Should you have the stomach for it, you can read his cinematic and cultural musings at the The Gaze, The Superlatives, the Alone in the Dark Film Blog, his Twitter page, and Mile High Cinema. He can occasionally be found in musty academic settings, usually savagely ruining films for his friends and family.