The MacGuffin’s Top 10 Films of 2015

Martian Movie Header Image

4. The Martian – 20

From Sarah Ksiazek’s review: “The Martian is another space sci-fi film done extremely well and it is a great adaptation of its source material. The film visualizes and makes things real from the novel, things that I did not fully grasp in my reading. Ridley Scott has been hit or miss with his films of late, but this is a film that you should see ASAP. Go ahead and splurge for the 3D version also. It gives depth to the Mars landscape and is not used for special 3D effects. I have to hand it to Ridley Scott, Matt Damon, screenwriter Drew Goddard, and Andy Weir for pulling off a phenomenal story of space, adventure, and humanity. It almost is certainly a shoe in for nominations in the upcoming awards season. This is one film that I will be seeing again.”

Hateful Eight Movie Header Image

5. The Hateful Eight – 19

From Adelaide Blair’s review: “Okay Tarantino fans, here’s my review of The Hateful Eight in a nutshell: If you love Quentin Tarantino, you will probably enjoy this film. If you think his movies are crap, there is nothing here that will change your mind. If you, like me, have mixed feelings about his stuff, than you are going to feel right at home here. If you’ve seen one of his pictures before, than you know what you are getting: lots of swearing, action, violence, some decent gore, the possibility (or more) of a man getting raped, some enjoyable dialogue, and the flagrant overuse of the n-word. The first half of the film sets up a mystery, and the second half reveals what is really going on. It’s like the longest, meanest, most foulmouthed episode of Scooby Doo ever.”

Tribe Movie Header Image

6. The Tribe – 17

From Matt Voigt’s review: “Visually, The Tribe has one of the most distinctive uses of 2.35 widescreen I’ve seen in a theater. Almost all takes are long, in both visual distance and temporal length. The film is almost completely devoid of close-ups. Most shot show head-to-toe bodies in detailed focus, isolated on both sides by the dead space of decrepit walls and semi-trailer parking lots. After its initial set-up, the school is presented as a collective ecosystem – a dour ant farm of depravity – with the specifics of individualized motivations obscured through the lack of subtitles. Scenes become exercises in slowly dawning significance. We observe the beginnings of actions before understanding their significance, and see the characters as a group before understanding their individuated motivations.”


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Sarah resides in Dallas where she writes about films and trailers in her spare time when she is not taking care of her animals at the zoo.

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