Variety Critics Pick Their Least Favorite Films of 2015

The Worst Movies of 2015
Courtesy of Sony/Focus Features

A proper accounting of the year’s most egregious cinematic stinkers cannot limit itself to Adam Sandler comedies and pointless Marvel reboots alone. It must take in the full spectrum of cinematic awfulness — which is to say, even those movies ostensibly made with the best of intentions. In that spirit, we’ve asked our critics not only to pick the worst films of the year, but also to name the acclaimed, serious-minded prestige film of 2015 that left them cold. Here are the results:


The worst: I’m tempted to put forth the unholy Happy Madison trinity of “Paul Blart: Mall Cop 2,” “Pixels” and “The Ridiculous 6” (for shame, Netflix). But in the end, I have to call it a tie between “No Escape,” an utterly vile piece of Third World exploitation that might as well have been titled “White Lives Matter: The Movie,” and “Some Kind of Beautiful,” some kind of hideous excuse for a romantic comedy which was mercifully spared a wider release. Taken together, it’s the most moronic and enervating Pierce Brosnan double bill imaginable; I’m not one to suggest that an actor fire his reps, but forcing them to watch these two back-to-back sounds like fair and constructive punishment.

Empty prestige: For Oscar-humping banality and excruciating politesse, Tom Hooper’s “The Danish Girl” was hard to beat. Even the strongest element of this gorgeously insipid movie works against it: Every vividly inhabited minute of Alicia Vikander’s performance puts to shame the mannered self-regard of Eddie Redmayne’s star turn as transgender pioneer Lili Elbe — all studied feminine mimicry with barely a flicker of interior life. Not that anyone else could have done much better with such gutlessly watered-down material, especially when Lili undergoes a groundbreaking gender-reassignment operation dramatized with all the corporeal trauma of a root canal. Wake me when the David Cronenberg remake shows up.


The worst: An embarrassment to America, Michael Moore’s latest editorial cartoon of a documentary is as sloppy as its author’s appearance (easily twice his “Bowling for Columbine” heft). Unlike his earlier, urgent wake-up-call docs, “Where to Invade Next” cherry-picks aspects in which other countries can be made to appear more progressive than the States, while conveniently overlooking the limitations of each grass-is-greener locale. At the base, it’s a fine idea, implying the humility to ask what we can learn from others, though Moore is a boorish ambassador at best, and his disingenuous approach undermines his own argument.

Empty prestige: On paper, Patricia Highsmith’s juicy lesbian romance might well be the film Todd Haynes was born to make, yet in “Carol,” the wooden result fails to communicate why we — or for that matter, Rooney Mara’s character — should love its vapid heroine. The hand-me-down script reduces an actress as gifted as Cate Blanchett to an aloof fetish object, defined more by her fabulous hair, lipstick and wardrobe than by her personality. It’s further crippled by a lamentable PC stance that projects tragedy upon the novel’s smoldering, period-appropriate sense of illicit perversion. In short, Haynes forces subtext to the surface, while keeping his character insights skin-deep.


The worst: Shortly after I left the first — and to date, only — public screening of Mathew Cullen’s calamitous adaptation of Martin Amis’ “London Fields,” the film was pulled from the Toronto Film Festival due to a legal brouhaha between Cullen and the film’s producers. It hasn’t been seen since. For any other film, this would be a disaster. In the case of “London Fields,” it could well be a blessing in disguise, as the lawyerly intrigue, contradictory accounts and lingering questions of authorial legitimacy surrounding its release are infinitely more interesting than anything in the film itself. Best-case scenario: It enters the realm of cinema legend, unseen, as the postmodern noir version of “The Day the Clown Cried.”

Empty prestige: Risking frostbite in subzero temperatures, sleeping in animal carcasses, eating chunks of raw bison liver, shooting only with natural light — judging solely from the pre-release mythmaking surrounding “The Revenant,” you’d be forgiven for thinking Alejandro G. Inarritu and Co. were busy making the world’s most expensive episode of “Man vs. Wild.” The actual film is considerably more refined, and frequently wondrous to watch — placing one of the greatest living cinematographers in some of the world’s most scenic locales will always produce breathtaking vistas — but its insistence on substituting actual physical suffering for serious philosophical inquiry left this viewer as cold as the freezing rivers Leonardo DiCaprio so boldly hurls himself into. As a collection of stunning nature imagery, it’s Terrence Malick without the underlying intelligence. As a survivalist parable pitting man against the pitilessness of nature, it’s little more than a gussied-up, drawn-out retread of Joe Carnahan’s future classic “The Grey.” And for all its ballyhooed frontier bloodletting, any halfway faithful adaptation of Cormac McCarthy’s similarly minded “Blood Meridian” would make “The Revenant” look like “Rugrats.”


The worst: It seems almost enabling to hand one-trick auteur Tom Six any more acknowledgment for making “The Human Centipede III (Final Sequence),” whose only virtue was the word “final” in the title. But you can’t say he didn’t earn it: No other film this year worked so hard to be so childishly obnoxious. The viewer runs the full gamut of emotions from boredom to despair for these 102 minutes, trying to figure out which aspect is worst. Is it Dieter Laser’s bellowing, amateurish lead turn? The endless degradations dished out to former Charlie Sheen “goddess” and adult-film star Bree Olson as sole female here? Six’s own smug cameo as himself? Or the fact that erstwhile Oscar nominee Eric Roberts managed to shoehorn this career opportunity in among a purported 40-odd screen ventures in 2015? Impossible to choose.

Empty prestige: Alfonso Gomez-Rejon’s Sundance darling “Me and Earl and the Dying Girl” does everything short of roll over and wag its tail in its quest for cuteness. But the title should have just been “Me” (too bad Katharine Hepburn got there first): The generically quirky, self-absorbed adolescent protagonist shares with the movie a reluctance to waste quality time on anyone else, dying or otherwise; even the terminally cancerous “girl” has to act grateful that he occasionally grants her some attention. And don’t even ask about Earl: How such an underwritten, blatantly tokenistic role (“Look, this angsty white boy is cool! After all, he’s got an African-American friend!”) got a free pass from critics in 2015 is an issue more fraught than any probed in this evasive tweefest.


The worst: Spare a thought for Rosamund Pike: Rarely has an actor’s Oscar-nominated breakout been sandwiched on either side by such acrid dreck. Before killing us softly in “Gone Girl,” she had to endure the humiliation of “Hector and the Search for Happiness.” After came “Return to Sender,” Fouad Mikati’s nonsensical and lazily misogynistic rape-revenge thriller, which extracts Pike’s Hitchcock-blonde tartness to far dopier effect than David Fincher’s adult chiller, and dramatizes post-rape trauma as a series of OCD tics. Even if you were after dim-witted, ’90s-aping erotic trash, Jennifer Lopez’s “The Boy Next Door” had far more high-spirited giggles to offer than this plodding exploitation pic.

Empty prestige: I admit I wasn’t as enamored as many critics (and Academy voters) of Paolo Sorrentino’s Fellini-lite extravaganza “The Great Beauty,” but it had a kind of rich formal bluster that impressed in spite of its vacancies. But in “Youth,” in service of his thinnest, most sentimental philosophizing to date, all Sorrentino’s signature opulence merely wilts and putrefies, like a banquet left out in the sun for several days — even Luca Bigazzi’s exacting widescreen imagery has a sticky creosote finish. Beneath the torpid spectacle, meanwhile, its ideas are solipsistic and small: Aging is hard, mainly for privileged white men, yet nubile beauty flourishes through their eyes.


The worst: Leaving aside the question of whether a putative thriller about George W. Bush’s murky military record is worth the bother, James Vanderbilt’s loftily titled “Truth” shills obligingly for former “60 Minutes” producer Mary Mapes, who, along with Dan Rather, was fired for flawed reporting of gaps in Bush’s army service. Adapted (not loosely enough) from Mapes’ memoir, the movie careens between lionizing the Mapes-Rather dream team and indulging in boozy self-pity over the fall from grace of a show that has done more than most to accustom us to the newshound as rock star. Worse yet, it drags an overcooked performance out of Cate Blanchett, gifting her with what must be the year’s most hapless line of dialogue: “We’re ‘60 Minutes!’” she shrieks. “We’re the gold standard!”

Empty prestige: Speaking of shoddy journalism, the Academy of Motion Picture Arts & Sciences has succumbed without a murmur to “The Hunting Ground,” placing on its documentary feature shortlist a loaded piece of agitprop that plays fast and loose with statistics and our sympathy with victims of campus sexual assault. With death-defying leaps of logic on the basis of skimpy and distorted evidence, Kirby Dick and Amy Ziering’s film does violence to both the legitimate fight for women’s rights and the honorable cause of advocacy filmmaking.

All of which is to say, you should probably rush out and see “Spotlight.”

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  1. Cerone says:

    The Revenant is one of the worst films of the year? Sure.

    • slipp forbi says:

      Meme – Fry: “Not sure if sarcasm or if dumb.”

      Personally I found the Revenant visually spectacular. The positives ended there.

      While Di Caprio was obviously aiming higher he fell well short of mediocre. It was a poor film. Although a shorter scene, his disastrous quaalude drive in the Lamborghini (Wolf of Wall street) was reflective of better acting by someone named Di Caprio crawling around on their stomach.

  2. mystiberry says:

    I’m appalled that a national publication publishes fat-shaming. The author and this publication lose the reader’s trust with that kind of nonsense. Moore is a polarizing figure, but I expect a review to focus on the film, not throw “clever” insults at the filmmakers.

    • Ashley says:

      Agreed. Not what I would expect from a professional journalist. I’m no Michale Moore fan, but Debruge lost any credibility with me before getting to why he thought the movie was bad.

  3. LFP2015 says:

    All the anti-Michael Moore rants here are hilarious. The truth hurts, doesn’t it?
    I suggest that you leave your double wides in Arkansas once in a while and see how people live in other countries.
    Sure, no country is perfect, but how does 8 weeks of vacation per year sound? How about free healthcare and free college education?
    Moore is simply pointing out the obvious: Europeans have a lot to teach the US about how to live happy lives. The statistics back him up, as usual. The truth hurts!

  4. Jon Snow says:

    @JustinChang – you missed the whole point of No Escape. It’s the complete opposite of that. The point was the “white” westerner comes into these third world countries, completely uses and destroys them for their own gain while not caring about the local people. Re-watch the bit of dialogue Pierce Brosnan has towards the end of the roof and he sums up the film. He doesn’t blame how the people are reacting because the western people did this to them. It’s an anti-USA film if anything.

    • Justin Chang says:

      Thanks for engaging thoughtfully with the film, Jon. I appreciate your point even though I disagree with it. That line, which I addressed in my review (, strikes me as mere lip service to the complexities of a situation that the movie has otherwise ruthlessly simplified and exploited over the preceding 90 minutes. A film made with a fuller understanding of that situation, and a more human perspective, would look very different from “No Escape.”

  5. Human Cobras says:

    Carol was a magical film. It should win best film of 2015

    • Sal U. Lloyd says:

      Mr. De Burge begs to differ.

      And I’m also surprised the feminist HUNTING GROUND on here. MMmaybe Hollywood is turning over a new leaf???

  6. Simon Chen says:

    Thank you, Ella for calling “The Hunting Ground” for what it is. Everybody should avoid it like the plague or armed with at Christina Hoff Summers fact checks.

  7. Whisper Willow says:

    Michael Moore is a poor man’s Jabba the Hutt. His act is stale and predictable. Basically, he’s become a propagandist. His time is up. He’ll explode sometime in the near future. Mealtime is all the time for this blubbering idiot.

  8. Dale says:

    Carol, The Danish Girl, Where To Invade, mostly received good reviews. I think this writer is reviewing with his beliefs and not as an open minded reviewer.

  9. “Unlike his earlier, urgent wake-up-call docs, “Where to Invade Next” cherry-picks aspects in which other countries can be made to appear more progressive than the States, while conveniently overlooking the limitations of each grass-is-greener locale.”

    …Um…remember “Sicko”? Where he praises the virtues of Cuba’s health-care system? CUBA’S? This factual cherry-picking is nothing new from Moore.

  10. Cadac says:

    Carol is a great movie.

  11. TheBigBangof20thCenturyPopCulture says:

    Why was the word worst nixed from the title? That’s so wussy PC. And why not pick them all? I love pointing out how showbiz generation suck sucks. It’s like saying the sky is blue.

  12. Carl R White says:

    I am always comforted that critics can not get past their own biases and brainwashed beliefs to simply judge a film on nothing more than its artistic merits and entertainment value any better than the average person.
    At least the average person does not as often subject us to the BS narcissism of trying to pick films that though they may have failed, even been bad, were on thoughtful subject matters or at least tried to create something that may or may not ultimately be art, in an attempt, I guess, to appear smarter than the rest of us.
    Personally, I would rather watch a filmmaker swing and strike out, even when they are simply a bad, even stupid, filmmaker than watch some dreck made by some cynical capitalist for no other reason than to make money by exploiting our basest instincts to see senseless sex, violence, nudity and Adam Sandler on screen.
    With that I raise my glass to Dennis Harvey for actually picking something worthy of being called the worst. Come on, is “No Escape” “Truth” and “Where to Invade Next” truly worse than “The Human Centipede III (Final Sequence)”?

    P.S. Sandler is an easy shot, an easy joke, and normally a hit below the belt I would not take, but he is also someone that I used to think was funny, really funny. So, I take the easy shot, as shame on him for continuing to take people’s money when obviously he quite caring, and quite trying, long ago and that is truly the worst thing a filmmaker can do in any year.

  13. Trudy says:

    ANY Film, that doesn’t make back their budget…SHOULD FIRE THE PRODUCERS for NOT having brain-Cells

  14. kjnkgjn says:

    This is complete bullshit. Each of those “Empty Prestige” movies are each fantastic, critically acclaimed films.

  15. Murica! says:

    The Revenant is a masterpiece!!! Andrew Barker is a complete moron!

  16. Jesus H Christ says:

    Chang is a bigot and a racist. He apparently doesn’t think White lives matter at all. Perhaps he should remove from himself everything that White people produce, created, built, invented, and the civilization that they built. Oh that’s right, he would be living in a mud hut, eating grub worms, and dead before he was 30 from parasites and disease, if he wasn’t captured as a slave by a warring tribe and sacrificed to their god. People like him make me sick. Hypocrites. Lambast the very people whose culture and civilization he enjoys.

  17. Sophie says:

    The critics should have considered Macbeth film. Also it had great reviews here, a film so amazing like this but underrated deserves more support and recognition.

  18. Rolo says:

    Believe it or not, the ultra-disappointing “Revenant” is as politically correct as “Dances with Wolves”. The native-friendly Dicaprio has an Indian wife and son (how noble!) and rescues the abused Indian girl from the big bad band of white rapists (evil imperialists!). And of course the villain Tom Hardy is an evil white racist who kills the Indian son (racist! racist!).

    Thanks Hollywood for another trite and banal moral lesson instead of a story with authentic characters.

    • glaad says:

      The Revenant is a brilliant piece of film making and one of the best films of the year by far.

      • dee says:

        Trudy, you wrote: “LEO has has revealed his ‘Ultra-Liberal-Hypocrisy’ so most Americans will no longer go to his movies.”

        Please don’t speak for everyone. There are plenty of liberals in the USA – unlike what you wish, ‘liberal’ is not a dirty word.

        Also, I understand ‘Ultra-Liberal’ but what is the ‘Hypocrisy’?

      • Trudy says:

        It’s actually very simple. NOBODY CARES, how great you think it is. LEO has has revealed his “Ultra-Liberal-Hypocrisy” so most Americans will no longer go to his movies.

      • Rolo says:

        Completely disagree. All the POV footage makes Revenant seem like a GoPro project for the big screen.

        Weak stories, weak characters, weak script.

  19. Cecil B. Devine says:

    “Spotlight” will get best picture because psuedo-intellectual soft-core cover-ups of cover-ups are all the rage at the Ministry of Propaganda, Western Region. Call it the Zero Dark Argo Syndrome of Zion.

  20. SeattleConservative says:

    Started to read this, then realized I don’t care. Hollywood is no longer relevant to anyone but Hollywood.

  21. Luckie Day says:

    “Dope” was the worst movie I saw this year

    • glaad says:

      “Dope” was fresh and outstanding. You have very, very poor taste in movies.

      • Luckie Day says:

        Yes, outstanding how cool it is to sell drugs and be an asshole until you win everything. Really great message for the kids. That thing was about as fresh as a teenagers crusty tubesock

  22. maroonvee says:

    Where is the report scam button?

  23. Dave Golen says:

    Did I really just read “the future classic The Grey”? I couldn’t have read that right. No one could possibly say The Grey is a future classic. Wait… Someone did? I guess I can’t say anything because I haven’t seen The Revenant yet because I don’t have a pirated copy of the film like everyone else does. The fact remains that a Variety staff member said The Grey is a future classic. Yeah, Joe Carnahan’s The A Team is a future classic too.

  24. Rolo says:

    The first three picks for empty presige are spot on — “Revenant” is mere scenery without characters or a story, “Carol” is dull as dirt and substitutes period dress for characters, and “Danish Girl” is as much whoring after Oscar glory as was Sean Penn’s “I Am Sam”.

    And the comments on Michael Moore are priceless! Good to know that critics at Variety are independent minded and that they really have standards. Well done.

  25. Joyboy says:

    Wow. Did no one tell these social justice “warriors” that this was not really a best films list, rather a sly check on their racism? These fools came through with flying colors. What a bunch of hateful jackals. But no worries, they’re only down on white lives, so their pass is in the mail. Variety, replace these racist fools. You can do it if you look in the mirror for a second. Try it. It won’t hurt. Much.

  26. Marco DeNola says:

    He’s fallen for the mantra that white people are the scourge of the earth and everyone else is their victim. I was going to suggest giving him a break about it, but on second thought, No.

  27. 214bobd says:

    “Flawed reporting” in “Truth?” Rather, it is was the prime example of irresponsible reporting, by swallowing hook, line and sinker, fraudulent evidence that was manufactured. This is reporting based on the personal agenda of two people. The real story would have made a much better version of “Truth.”

  28. ghost says:

    Not only is anything from Michael Moore garbage anyone who actually pays money to watch a film from that fat slob needs to have their heads examined! I think I’d rather watch paint dry than watch any of his nonsense.

  29. Steve McKay says:

    Star Wars was way overrated and most lacking in depth in any movie this year. I’ve seen better film on on my shower wall.

  30. Jimmy Green says:

    hateful 8 = heaven’s gate (2015)

  31. Worst opinions i’ve ever read.

  32. Sloan says:

    Picking the worst movies would be a tough job – merely because the list is so long. The vast majority coming out of Hollywood is junk.

  33. Rick4982 says:

    VERY hard to pick the worst. Almost ALL of them qualify.

  34. Andy Howe says:

    Has anyone been able to identify the 10 or so fair performances by minority actors and actresses that will have to get Oscar nominations to make up for all the blather of last year? Frankly, I don’t recall hearing of any.

  35. Sardondi says:

    “…an utterly vile piece of Third World exploitation that might as well have been titled “White Lives Matter..

    Because as we the folks at Variety know, they don’t.

  36. BMG says:

    And not one of these critics smells anything foul with the Stallone hysteria? The same critics year after year whine about how the Oscars (especially in the supporting actor category) tend to award aged old white men for a respectable performance but really for a body of work. Stallone qualifies for neither. His resume is arguably the worst of any Oscar nominated actor. And what exactly about his “acting,” in this rehash of a tired old story excels? Michael Shannon, Kevin Corrigan, Liev Shreiber, Paul Dano, Richard Jenkins, Tom Hardy, are to be ignored in favor of Stallone? And no one has the guts to say it.

    • Milo says:

      This is probably the most terrible year in films. I don’t think their is one film that deserves a best picture Oscar, except that one indie film that is most likely overrated by critics.

    • Nanny Mo says:

      I really don’t think Stallone will get anything. It’s all hype and nonsense.

  37. Sal U. Lloyd says:

    Let me get this straight, Chang doesn’t like THE DANISH GIRL because it’s not tranny enough for him???

  38. Jon C Sullivan says:

    What do you know…Variety hires social justice warriors as their film critics, with little Justin Chang as the lead warrior (skinny jean beta male pretentions intact). Perhaps he can elaborate on just what White Lives Matter: The Film entails? Perhaps it’s just folks who don’t like 3rd world crime & savagery in their supposedly first world nation. Either way, I’ll take that over the Black Lives Matter : The Film, with professional syncopants throwing up their hands in support of drug pushers.

    • lambchops says:

      It seems that what our inarticulate, skinny jean beta male, so called “film critic” is trying to say is that if the protagonist’s and antagonist’s races had been reversed, the film would be just spiffy.

    • Justin Chang says:

      What are syncopants? Are they skinner than my jeans?

      • Alison says:

        Wow Justin. That’s your reply? To point out a spelling error? Evidently everyone, but you, knows Jon meant syncophants. You just proved Jon’s point of being “skinny jean beta male…”.

  39. Liz Dixon says:

    At last, critics are discovering what many Australians knew already: Cate Blanchett is not such a great actress. In fact, to listen to her pontificating to a fawning media on every subject from government funding of the arts (Cate’s always begging for money) to climate change and marvel at her pretentiousness. She dresses well, though.

  40. John Navarro says:

    White Lives Matter: the movie? I agree the movie was a total piece of crap, but that assertion is offensive to say the least.

  41. ohdee says:

    Thank you for posting this article. Now I know which critics to ignore.

  42. Bart Drennon says:

    After reading all the reviews I can honestly say that, as a whole, I loathe film critics. What a bunch of pretentious snobs.

  43. chicago860 says:

    If I had to pick the worst film, I’d pick Truth. if I had to pick the 2 worst films, I’d pick Truth twice.

  44. Absolutely the worst top ten EVER! says:

    WOW! Could not love the Variety critics any more right now!!!!!!!! LOL!!!!!!!! That they had the guts to drop the hammer down on The Danish Girl, Carol, The Revenant, The Human Centipede 3, Me, Earl, & The Dying Girl, Youth, and The Hunting Ground just blows me away. Actually, I didn’t see The Human Centipede 3, or 2 for that matter. One was more than too much for me. GOD AWFUL!!!! My favorite diss out of all of them was the critic, Dennis Harvey, smashing Me & Earl for its “quest for cuteness.” LOL!!!! OMG!!!! It’s so true!!!! It’s like the film is begging you to pat it on the back, hand out “ATTA-BOYS,” and accolades for its quirkiness, and sappy, senseless, use of figurative language and abstract philosophies. But most importantly, glad to see the critics here agree that The Danish Girl, Carol, Revenant, and Youth are all obscenely overrated. Kudos also to the critic that nailed Youth. All the naked old white men and women walking around and sitting around, staring into space like bloated, pregnant, prune faced slugs waiting to die was depressing. And it’s sad that that is the majority of the film, because Jane Fonda’s 15 minutes in the film is astonishing!!!! It gets lost in the clutter of mindless banter, and space staring(LOL!!!!!!!!!!!). And I can’t mention Jane Fonda’s powerful performance without also mentioning Harvey Keitel’s. They are really the two stallions that keep this film from totally being put out to pasture.

  45. Michael Sclafani says:

    Why are you picking on Michael Moore’s weight, which has nothing to do with the quality of the film? You completely lose your credibility with that bit of hatefulness.

    • Al Kirby says:

      Oh, GROW UP, Michael!

      Michael Moore has attacked anything good and honest about our country, lied so much that he makes Hillary Clinton look like Honest Abe, and is a left wingnut shill for the Hollywood Marxists.

      As a result, he’s fair game for “picking on” anything we want.

    • Bob says:

      Because it is an outward manifestation of his inner hypocrisy. Well fed and wealthy on the backs of his victims.

      • ohdee says:

        Such crap, Bob. You critique the movie, book, painting, etc. based on those items, not the writer/director/actors, author & artist. You know better – if you’re an adult.

    • John Wheaties says:

      I agree. It gave me an idea for my first New Year’s resolution – don’t read any critics for a year. I won’t miss a thing.

  46. Steve McKay says:

    What about Star Wars. Blah

  47. Anonymous says:

    Agree with most of these, especially “The Revenant” being over-rated. But nobody mentioned the sequel garbage like “Mad Max” and “Star Wars” not to mention the incredibly over-rated “Big Short” which is what an Oliver Stone three-quel to “Wall Street” might look like, except it’s not –it’s a wanna-be Oliver Stone movie made by the guy who came up with Ron Burgandy (wah?). That’s Oscar bait? Sounds cool, until you actually have to sit through it. The best little films this year got barely an Oscar push. I liked “99 Homes” “Love & Mercy” “Suffragette” — great performances Michael Shannon, Carrey Mulligan and Paul Dano — and “Everest” for the epic, challenging element. Critics are crushing “Hateful 8” for no apparent reason, when it’s one of the best most restrained Tarantino films in years with a great Morricone score and perfomances by Jennifer Jason Leigh and Samuel Jackson are tops. “Wild Tales” for foreign film (I think it qualified last year for US but this year for BAFTA). Another great film, lost amidst the fray…! Sad year for awards…

  48. Robyn says:

    Proving once again why filmmakers should never care what critics think. Make a film and then get back to us on what you think about films.

  49. Dean says:

    My vote for empty prestige goes to all of these ‘expert’ critics who can’t agree on the worst film of the year! I hope none of them were paid.

  50. Marie says:

    I will admit the character Carol wasn’t that much interesting and a bit vapid, but that scene when the finally dealt with the divorce but beautiful and sad. Also showed so depth to Carol, she really does love her daughter.

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