To their own devices: A reflection on Pablo Larrain's 'The Club'

A man stands on a beach, holding a long pole. He turns in a circle. Tethered to the pole is bit of fur, possibly a rabbit’s. A dog chases the fur. The man drags the fur in the sand. The dog lowers its neck. The man raises the fur high into the air. The dog raises its neck and snout. The dog chases the fur in orbit around the man. He is the center. He is a priest.

A reflection on Tom McCarthy's 'Spotlight'

Brittany Harvey has written at LCB in the past. Here she is again with some thoughts on the Oscar-nominated film Spotlight:

Having watched my son learn to crawl and walk over the last year, I have not seen many movies. However, I did see Tom McCarthy’s Spotlight (2015), and I cannot imagine many films, if any, being better. The acting, writing, directing, the score, etc. are all fantastic. When these things are good, however, it really just means that a film is a fine specimen of its craft. And, while Spotlight happens to be well-crafted, it also happens to be one of those rare movies that remind us why we stare at a big screen production in the first place. When Spotlight ends, you wish there were more, though you realize to add any more might spoil what is already perfect.

The films I will remember having watched in 2015:

Many of these films are from 2015. Many are not. Feel free to add to the list, make suggestions, or question certain choices. 

Have you read Orwell's "On Shooting an Elephant?" This is somehow similar.

’71 (2015)

Yann Demange’s film about the Irish Troubles is like a lot of other films and then not quite. In terms of its suspenseful plot and labyrinthine alleyways, ’71 walks in the shadows of film noir, looking and sounding like A Most Wanted Man (2013) but, in truth, feeling a great deal more like The Third Man (1949). The apartment buildings of Belfast are as dark and confusing as the sewers in Vienna, into which Harry Lime escapes only to be killed.