A recurring theme that hounded the fresh batch of movies in 2015 is the year of movies wasn’t any good. It’s a hard case to argue either way, since viewing movies is inherently subjective, and extremely difficult to objectively quantify. However, everyone seems to be on the bandwagon, arguing how poor this year was for movies (following what was said for the crop of 2014). This is plagued by tonal inconsistency and the inability to truly let movies age and gain their proper place in the film pantheon.

Star Wars: The force Awakens has a narrative that will probably end up being the biggest of all time. The narrative being shaped is how many people saw it, how much money it made, and how much like the other Star Wars movies it was, that the movie itself is barely discussed on its own merits. Every article, recommendation, and critique comes with the amended chaser referencing a different Star Wars movie. The true value and opinion of this movie won’t be known for years, and possibly not until the end of the decade, when the new trilogy is done. Why, then, is everyone in such a hurry to make it the best movie or worst movie of 2015 – the conversation about this movie won’t accept it in its own terms, so it seems hard to judge the movie by its own terms yet. On the same end, Mad Max is considered to have the narrative of the best action movie ever. It seems universal now, but aging may show Mad Max where it truly is, and still quite possibly the best action movie ever made.

2015 included the praise of thought provoking independent movies being released. Movies like The Gift, Ex-Machina, Dope Slow West and Room, however, the narrative exists that independent movies had a down year, and movies overall were only studio fares. It’s a hard narrative to truly embrace. You can’t have one side without the other, and some of these movies, come Oscar time, will be praised and nominated. Is it a pity nomination? Hardly.  This year gave us new works from Spielberg, Abrams, Vaughn, and Miller while raising new voices including Garland, Edgerton, and Maclean. It’s the same type of year that most other years have. It’s not the 1990s where film school students would quickly rise to prominence, but 2015 didn’t have a lack of new creative voices emerging.

The better way to judge is to let movies age four to five years and then evaluate their class. From there, you can gain more clarity in themes of the year and what movies really resonated. You get to properly critique the talent and truly see what emerged as film trends.  In the end, no year will truly be amazing or lacking perspective. By keeping that, we’re able to see what’s truly on the horizon. Movies are a unique vessel that change as we do, and no movie means exactly the same thing to every person. Look at 2010 and see what appears. The answer may surprise you.

Until it’s 2020, please refrain on telling me what a terrible year in film this has been.

About The Author

Creator / Managing Editor

David Postma is the creator, co-managing editor, and writer for Filmtakeout. After receiving an Associates Degree in Journalism from Grand Rapids Community College in 2006, he attended Columbia in Chicago where he graduated in 2010 with a Bachelors in Film. Dave interned at Lionsgate Studios in 2008 where he worked in both the Television department and the New Media department. Dave also runs a production company, Beyond the Horizon, which helped to produce "Weed Road", a hit reality show on the Discovery channel. He currently assists with Global Benefits LLC in financing for commercial, real estate, and entertainment ventures; and he recently became Chief Operating Officer at M6 International where he assists both in financing structures for the company and helping assist overseeing productions of entertainment and commercial projects across the company stratosphere. Dave also sits on the board of directors for Downbeat Collective, a non profit dedicated to creating artistic endeavors to help provide funding to non profit organizations of various need.